Operation Manual
Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Sabine Pfeifer, Benjamin Schütte This PDF provides improved access for vision-impaired users. Please note that due to the complexity and number of images in this document, it is not possible to include text descriptions of images. The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH.
Table of Contents 5 Introduction 70 About Workspaces 5 6 7 7 The Help System About the Program Versions Typographical Conventions How You Can Reach Us 70 71 71 72 72 72 73 Elements of a Workspace Audio Files Workspace Audio Montage Workspace Podcast Workspace Opening Files in a Workspace Organizing Workspace Windows About Tool Windows 8 Setting Up Your System 8 8 9 9 12 12 Connecting Audio About Audio Cards and Background Playback About Latency Defining VST Audio Connections CD/DVD Recorders Rem
155 Audio Montage 254 Writing Operations 155 156 158 159 160 160 161 162 167 169 178 179 183 188 198 201 202 202 204 254 256 257 260 263 Basic Terminology Montage Window Signal Flow in the Audio Montage Creating a New Audio Montage Creating an Audio Montage from an Audio File Import Options for Audio Montages Missing Files in Audio Montage Dialog Assembling the Audio Montage Rearranging Clips Clips Editing Track Activity Indicator Envelopes for Clips Fades and Crossfades in the Audio Montage Effects for
Introduction The Help System The detailed help system of WaveLab Elements makes it easy to look up interface features and get information from within the program. Three main types of help are available: • The help provides detailed information on the features and functionality of WaveLab Elements. You can set bookmarks, and use the search function and index to quickly find information. • “What’s This” tooltips give detailed information on the functionality of a specific user interface element.
Introduction About the Program Versions • To use the menu help, move the mouse over a menu item. The help text is displayed on the status bar at the bottom of the workspace window. • To see information on what kind of editing can be performed when using the mouse and modifier keys in the audio montage window, move the mouse over the montage window. The help text is displayed on the status bar at the bottom of the workspace window.
Introduction Typographical Conventions Typographical Conventions Many of the default key commands in WaveLab Elements 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.
Setting Up Your System Before you start working, you need to make some settings. IMPORTANT Make sure that all equipment is turned off before making any connections. Connecting Audio Your system setup depends on many different factors, for example, the kind of project that you want to create, the external equipment that you want to use, or the computer hardware available to you.
Setting Up Your System About Latency About Latency Latency is the delay between when audio is sent from the program and when you actually hear it. While a very low latency can be crucial in a real-time DAW application such as Steinberg Nuendo or Cubase, this is not strictly the case with WaveLab Elements. When working with WaveLab Elements, the important issues are optimum and stable playback and editing precision. You should not try to reach the lowest possible latency figures.
Setting Up Your System Defining VST Audio Connections high fidelity interface between a software application and the soundcard of a computer. PROCEDURE 1. In any workspace, except the Podcast workspace, select Options > VST Audio Connections. 2. From the Audio Device menu, select your ASIO driver. The ASIO plug-ins tab and the Control panel button are activated. 3. Optional: Click the Control panel button and make your settings. 4.
Setting Up Your System Defining VST Audio Connections 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.
Setting Up Your System CD/DVD Recorders 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, certain audio device drivers must be fully reset to work properly.
Setting Up Your System Remote Devices Remote Devices Dialog This dialog allows you to select a device to remote-control WaveLab Elements, and see the control map of MIDI control devices. In any workspace, except the Podcast workspace, select Options > Remote devices. Device Editing Tab This tab lets you select a MIDI control device and see the control map. Active Activates the selected device and scans the MIDI ports. In-Port/Out-Port Select the MIDI input/output ports of the device that you want to use.
Setting Up Your System Remote Devices The Global folder contain the parameters that can always be controlled. Options Tab This tab lets you use the MIDI Learn function to assign a control of a MIDI remote control device to a function. Emulate mouse wheel If this option is activated, the AI knob acts as a mouse wheel in the WaveLab Elements user interface, except for plug-ins.
Setting Up Your System Remote Devices CHANNEL SELECT Selects the previous/next track in the audio montage. To move the cursor to the previous/next clip edge in the audio montage, hold [Alt]/[Option]. To move the cursor to the previous/next region edge, hold [Shift]. To move the cursor to the previous/next marker in the Audio Files workspace, hold [Ctrl]/[Command]. EQ Section With the EQ section you can easily control the Steinberg Studio EQ plug-in.
Setting Up Your System Remote Devices HIGH ON Opens the Control Window. EQ-1 knob for the EQ Gain (G) Scrolls left/right on the timeline. EQ-2 knob for the EQ Gain (G) Adjusts the horizontal zoom on the timeline. EQ-3 knob for the EQ Gain (G) Adjusts the vertical zoom on the timeline. EQ-4 knob for the EQ Gain (G) Scrolls tracks on the Audio Montage workspace or scrolls vertically on the Audio Files workspace.
Setting Up Your System Remote Devices Cycle button Activates/deactivates Cycle mode. Stop button Stops playback. Press again to move the cursor to the previous start position. Press a third time to move the cursor to the beginning of the project. Play button Starts playback. Record button Press once to open the Recording window. Press again to start the recording. Press a third time to stop recording. The recorded file opens in the Audio Files workspace.
Setting Up Your System Remote Devices AI KNOB Controls the VST 3plug-in parameters, emulates the mouse wheel, for example, for scrolling, and lets you edit a focused numeric field. To control a parameter with the AI knob, move the mouse cursor over the parameter that you want to control, and move the AI knob. You can activate/deactivate the emulation of the mouse wheel and the editing of the focused numeric field in the Options tab.
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 can be used in any Steinberg product. • To select and move interface items, and to select ranges, click and drag with the mouse.
WaveLab Elements Concepts Basic Window Handling Basic Window Handling WaveLab Elements follows the basic guidelines for the Windows/Mac OS interface, which means that Windows/Mac OS standard procedures apply. Closing Windows • To close a tabbed window, click the “X” button of the corresponding tab or press [Ctrl]/[Command]-[W]. • To close a tabbed window without saving your changes, hold [Ctrl]/[Command]-[Shift], and click the “X” button.
WaveLab Elements Concepts Basic Window Handling Window Switcher The window switchers let you easily switch between workspaces, create new workspaces, or open existing projects. There are two types of window switchers: The central switcher bar and the floating window switcher. The floating window switcher behaves like the central switcher bar, but takes less room and floats above other windows.
WaveLab Elements Concepts Basic Window Handling Customizing the Central Switcher Bar You can customize the central switcher bar using the settings menu. To open the settings menu, right-click an empty part of the central switcher bar. Hide Hides the central switcher bar. Fold Minimizes the central switcher bar to a thin line. To unfold the bar, click the thin line. Left side/Top/Right side/Bottom Determines the location of the central switcher bar.
WaveLab Elements Concepts Selecting Audio 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. Selecting a Range by Dragging The standard way to select a range in a wave window is to click and drag. If you drag all the way to the left or right side of the window, it scrolls automatically, allowing you to select larger sections than what can be shown in the window.
WaveLab Elements Concepts Selecting Audio 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 nearest marker to the left or the start of the audio file.
WaveLab Elements Concepts Selecting Audio 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 Files workspace, you can apply an operation to one channel only or to the entire stereo material. Which channel is selected when you click and drag in the wave window depends on where you position the mouse cursor, as indicated by the pointer shape.
WaveLab Elements Concepts Selecting Audio Selecting in the Overview of the Audio Files Workspace The selection ranges that you make in the overview of the Audio Files workspace also apply to the main view. PROCEDURE • In the Audio Files workspace’s wave window, hold down [Ctrl]/[Command], and click and drag in the overview. Moving a Selection Range If a selection range is the right length, but at the wrong position, you can move it. PROCEDURE 1. In the wave window, hold down [Ctrl]/[Command]-[Shift].
WaveLab Elements Concepts Sliders Deleting Selections There are several options for deleting a selected time range. Audio Files Workspace The following options can be found on the Edit menu: Trim Removes the data outside the selection. Remove Removes the selection. The audio to the right of the selection is moved to the left to fill the gap. Sliders At various places in WaveLab Elements, slider controls are available to change parameters. There are a number of ways to change the value of a slider.
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 arrow up or down instead of [Return]. This way you move the focus on the previous/next item, while staying in the edit mode.
WaveLab Elements Concepts File Browser You can add your favorite folders to the left pane by dragging them from the middle pane. The following options are available in the File Browser windows: Look in Lets you select a file location to browse and lists the recently used locations. Back/Forward/Parent Directory Let you navigate through the list and file hierarchy. List View Shows only the file name in the file list. Detail View Shows the file name, size, type, and modification date in the file list.
WaveLab Elements Concepts Tab Groups Tab Groups With tab groups, you can view the content of different files and meters at the same time, without having to navigate through different windows. 2 empty tab groups in the Audio Montage workspace You can have two tab groups. Each tab group has its own content and title bar. In the Audio Files workspace, each tab contains an audio file. In the Audio Montage workspace, each tab contains an audio montage.
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 create an empty file inside a tab group, double-click an empty part of the tab bar. The created file uses the active file as template. 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.
WaveLab Elements Concepts Companion Files Companion Files Companion files (extension “.vs”) store Master Section presets and view settings for audio files. If this feature is activated when you save a file, the stored settings are recreated the next time that you load the file. Companion files are only available in the Audio Files workspace.
Program Overview Command Bars Commonly used tools, shortcuts, and commands are represented by command buttons. Related buttons are grouped into various Command bars. Command bars in the Audio Files workspace You can dock Command bars to any window edge or open them in a separate window, and rearrange them freely. Each workspace has an appropriate set of command bars that can be displayed. All the commands that are represented by the command buttons are also available on the menus.
Program Overview Status Bar Docking Command Bars Command bars can either be used as separate floating windows or docked at the top, bottom, left, or right side of the workspace window. • To make a command bar floatable, right-click the bar, and select Floatable. Then click the dots on the left side or the top of the command bar to drag the bar to another location. • To dock a floating command bar, right-click the bar, and select Floatable.
Program Overview Status Bar When you have zoomed in, you can right-click the indicator to display the selected audio range, the focused clip, or the whole file. Left-click the indicator to open the Audio Range dialog, where you can define or refine a selection. Zoom indicator Displays the current zoom factor. • To open a pop-up menu, where you can make additional zoom settings, click the indicator. • To open the Zoom factor dialog, where you can edit the zoom factor, right-click the indicator.
Program Overview Context Menus Context Menus Throughout WaveLab Elements, various context menus are available. These menus group the commands and/or options that are specific to the current working window. The context menus appear when you right-click certain areas and are useful for speeding up your workflow. For example, right-click a file tab to open a context menu with some relevant file options.
Program Overview Time Ruler and Level Ruler Level ruler (Audio Files workspace only) Time ruler Time Ruler and Level Ruler Options You can specify the time and level (amplitude) formats for each ruler in each wave window and the time formats for each ruler in the montage window separately by right-clicking the ruler, and selecting a format from the pop-up menu. Time Ruler Menu Timecode Displays a list of frames per second for various SMPTE timecodes and for CD resolution. Clock Displays time units.
Program Overview Time Ruler and Level Ruler Save current settings as default If this option is activated, the time ruler uses the current time format in all new wave windows or montage windows. Set ruler’s origin to start of file If this option is activated, the ruler’s zero position is set to the beginning of the first sample. Set ruler’s origin at cursor If this option is activated, the ruler’s zero position is set to the current cursor position.
Program Overview Time Ruler and Level Ruler Time Format Dialog In this dialog, you can customize the time format. The time format of the ruler is also used in various time fields, for example, the status bar and certain dialogs. In the Audio Files workspace, depending on whether you want to set the time format for the overview display or the main view display, select View > Overview display > Time ruler > Time format or View > Main view display > Time ruler > Time format.
Program Overview Time Ruler and Level Ruler Clock Tab On this tab, you can configure the appearance of the Clock option. Show Units Adds time units to the time format of the ruler. Compact Shows the time without unit indicators. Meter Tab On this tab, you can configure the appearance of the Bars and beats option. Time signature Lets you edit the time signature used to display the time represented as a musical notation.
Program Overview Time Ruler and Level Ruler Setting the Cursor Position Many operations, such as playback and selection, depend on the current cursor position. For example, playback often starts at the cursor position. The current cursor position is indicated by a vertical flashing line. There are various ways to move the cursor: • Click somewhere in the wave window, the montage window, or the time ruler. If you have made a selection, click the time ruler to prevent deselecting.
Program Overview Value Editing Value Editing At various places in the program, numerical values can be edited by using a combination of text fields and spin controls. These values are sometimes composed of several parts, for example, 12 mn 30 sec 120 ms. Each value can be edited by using any of the following methods: • To change a value, click in a value field and type a new value, or click the small arrows in the value field.
Program Overview Drag Operations Many types of objects can be dragged between different source and destination locations including files, text, clips, the playback head, items in a list, and markers. NOTE It is also possible to drag and drop files from WaveLab Elements to Steinberg’s Nuendo. Drag objects within and between workspaces to perform the following operations: • To dock a tool window, drag its title bar to any side of the workspace, beside or above another tool window.
Program Overview Undoing and Redoing • 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.
Program Overview Zooming • To undo a step, in the Audio Files workspace or Audio Montage workspace, select Edit > Undo. • To redo a step, in the Audio Files workspace or Audio Montage workspace, select Edit > Redo. Zooming There are several zooming functions in the Audio Files workspace and Audio Montage workspace. Horizontal zooming • When you zoom out as far as possible, the entire file fits in the window. • When you zoom in as far as possible, each sample occupies several pixels on the screen.
Program Overview Zooming • The curve also represents an estimation of the analog reconstructed signal to give hints on true peaks. Zooming in the overview and main view sections (Audio Files workspace only) • You can have different zoom levels in the overview and main view section. In the overview, a range indicator on the time ruler indicates which section of the file is currently displayed in the main view. The range indicator is only shown if the option Sync with other view is deactivated.
Program Overview 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.
Program Overview Zooming Using the Magnifying Glass Tool in the Overview The selection that you make in the overview of the wave window is displayed in the main view. PROCEDURE • In the overview of the wave window, click and drag left or right, and release the mouse button. RESULT The selected range of the waveform is shown in the main view. Zooming Using the Mouse With the mouse, you can change the zoom factor by clicking and dragging or by scrolling the mousewheel.
Program Overview 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 [Arrow Up] or [Arrow Down]. • To zoom vertically in the active wave/montage window, hold [Shift], and press [Arrow Up] or [Arrow Down]. • To zoom vertically to fit the available height, press [Ctrl]/[Command]-[Shift]-[Arrow Up].
Program Overview Zooming Edit Opens the Zoom factor dialog, where you can edit the zoom factor. • Samples per screen point allows you to specify how many audio samples are summarized in each screen point. • Screen points per sample allows you to specify how many screen points are used to represent a single audio sample. Reset vertical zoom to 1:1 Adjusts zoom to display audio levels up to 0 dB. Optimize vertical zoom Changes the vertical zoom factor so that the peaks are clearly visible.
Program Overview Zooming zooming options for tracks and the Zoom window for displaying a close-up view of the beginning of the focused track. Zoom Buttons in the Audio Montage Workspace The zoom buttons in the Audio Montage workspace allow you to apply zoom presets. • To only display the focused track, or also the tracks below and/or above the focused track, click the corresponding buttons.
Program Overview Managing Tabs 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 menu allows you to sort and close tabs and navigate between the tabs. Close/Close all but active/Close all Closes the active tab, all tabs except the active tab, or all tabs. Select files to close Opens a dialog in which you can specify the files to be closed. Sort Lets you sort the tabs by name, date, or modification date.
Program Overview Presets Select none Deselects all files in the list. Close files Closes the files. Presets You can create presets to save commonly used settings. WaveLab Elements provides a selection of presets that can be used by most dialogs. You can save customized presets. The next time that you load the program, the presets are available. Presets are saved as single files and can be organized in subfolders. The root folder of the preset is different for each type of preset and cannot be changed.
Program Overview Presets Modifying a Preset You can modify a preset and save the changes. PROCEDURE 1. Open the dialog that you want to use, and load the preset that you want to modify. 2. Modify the parameters of the dialog. 3. Click the Preset menu, and select Save. Deleting a Preset PROCEDURE 1. Open the dialog that you want to use and select the preset that you want to delete. 2. Click the Presets menu, and select Organize presets. 3.
Program Overview Saving a Picture of the Active Window Restoring Presets PROCEDURE 1. Open the dialog in which you have saved a preset. 2. Click the Presets menu, and from the Restore sub-menu, select a preset. Saving a Picture of the Active Window You can save a picture of the active window in the BMP, JPG/JPEG, or PNG file format, or copy it to the clipboard. NOTE Plug-in windows are not included in the picture. PROCEDURE 1. Click in the window for which you want to save a picture.
Program Overview Saving a Picture of the Active Window 4. Click OK. • If you have activated Copy to clipboard, the picture is copied to the clipboard. • If you have activated Save as file, the Save as dialog opens where you can specify the file location, file format, and file name. Click Save to confirm your settings. If you have set the montage window as the active window, the resulting picture could look like this.
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 PROCEDURE 1. In any workspace, select Options (WaveLab menu on Mac) > Global preferences > Display. 2. In the Miscellaneous options section, set the maximum number of items that you want to list in the following areas: 3.
File Operations Save and Save As • In the Audio Files workspace, all save operations except Save Copy clear the undo history, which means that after saving you cannot undo or redo. About Tab Colors Tab colors give information on whether a file is saved or not. The following colors can be shown: Orange The file is saved. Green (Audio Files workspace only) The file uses a decoded file format and is saved. Purple A new file that is not empty but has not been saved yet.
File Operations Save and Save As Save Multiple Files at Once You can save some or all open files at once. PROCEDURE 1. In any workspace, except the Control Window, select File > Save all. 2. Select the files that you want to save. 3. Click Save. Reverting to Saved File You can revert the file you are working on back to its last saved state. This undoes all the changes made to the file since it was last saved. PROCEDURE 1. In any workspace, except the Control Window, select File > Revert to saved.
File Operations Templates About Saving Audio Montages The saving operations for audio montages are the same as for audio files. However, there are things to note when saving audio montages. • Audio montage files only contain references to audio files. If you want to rename audio files referenced by audio montages, use the Rename dialog. All clip references are updated automatically.
File Operations Templates WaveLab Elements should propose a specific audio file configuration with optional meta-data when rendering an audio montage. 4. Click OK. Audio File Template Parameters Dialog This dialog displays the audio properties of the audio file template that you are creating. You can also specify whether to always propose a specific audio file configuration with optional meta-data when creating an audio file template or not. In the Audio Files workspace, select File > Export > Template.
File Operations Templates Include clips If this option is activated, clips are saved in the template. Include markers If this option is activated, markers are saved in the template. When saving, always propose a specific audio file configuration (with optional meta-data) If this option is activated, whenever you open the Render dialog, the audio file configuration specified below is proposed by default. Setting a Template as Default You can set a template as default template.
File Operations Templates Create From Template Dialog This dialog shows all templates. Here, you can open and delete them, and set a default template. In the any workspace, except the Control Window, select File > New from. If no template exists, the dialog will not open. List of the available templates Lists all saved templates. Use template name as default document name If this option is activated, the new file uses the name of the template.
File Operations File Renaming File Renaming The Rename function allows you to rename a file and update all references automatically. For example, if you rename an audio file named “India” to “Sitar”, all currently open files that reference the file “India” are updated to reference the file as “Sitar”. Audio files, peak, and marker files are also renamed accordingly. Renaming a File PROCEDURE 1. Select the file that you want to rename. 2.
File Operations Deleting Files Change folder If this option is activated, you can change the folder location of the file. NOTE This is only possible within the same drive partition. Keep as default If this option is activated, the same path is selected next time you open the dialog. This is useful if you need to move several files successively. Deleting Files You can delete the currently active file from within WaveLab Elements.
File Operations Temporary Files Depending on the workspace, not all options are available. Information Displays information about the active file. Add to Data CD/DVD Adds the active file and all the related files to a Data CD/DVD. Add to Podcast Adds the active file to a Podcast. Reveal in Windows Explorer/Mac OS Finder Opens the Windows Explorer/Mac OS Finder to show the location of the active file.
File Operations Work Folders vs. Document Folders Work Folders vs. Document Folders WaveLab Elements distinguishes between two types of folders: work folders and document folders. In work folders, temporary files are stored. Document folders contain WaveLab Elements-specific files, such as wave files, audio montages, etc. Specifying Folders You can specify which folder should open when you perform any open or save operation (document folder).
File Operations Work Folders vs. Document Folders In the list to the left, you specify the folder type that you want to make settings for. The following options are available: Folder for temporary files Specify a folder for storing temporary files. Companion files Specify a folder for storing the companion files, that is Master Section presets and view settings for audio files. Cache folder Activating Use cache folder for decoded files allows you to specify a cache folder.
File Operations Setting the Focus on the Current File Setting the Focus on the Current File If you are editing inside a floating window or a tool window and want to switch back the focus to a wave/montage window, you can use the Set focus on current file option. PROCEDURE • In any workspace, press [Win]/[Ctrl]-[ESC], to set the focus on the wave/montage window.
About Workspaces A workspace provides an editing and playback environment for a particular audio file type. Each type of workspace has functions for its specific file types. In WaveLab Elements, each file type has its own workspace designed for a specific purpose: • Audio Files workspace for viewing and editing audio files. • Audio Montage workspace for assembling and editing audio montages. • Podcast workspace for preparing and uploading Podcasts.
About Workspaces Audio Files Workspace • One or more Command bars with buttons for instant access to functions. Command bars can be customized extensively. • Tab groups to host the files to edit. This is the central part of the workspace. You can move a tab to another workspace, create a new empty tab, display the file path, and access other functions by right-clicking. • A set of Specific tool windows. Which tools are available depends on the workspace. They can be activated/deactivated individually.
About Workspaces Podcast Workspace Podcast Workspace In this workspace, you assemble, define, and publish your Podcast to the internet. RELATED LINKS: “Podcasts” on page 291 Opening Files in a Workspace You can open files in the workspace that you are working in and in any other workspace, without having to switch workspaces first. • To open a file in a workspace, select File > Open. From the file browser, select the workspace file that you want to open, and click Open.
About Workspaces About Tool Windows • To cascade all workspace windows, select Workspace > Cascade all. • To switch between the previously selected workspace window and the active workspace window, select Workspace > Switch to previous workspace, or press [F5]. • To close the active workspace, select Workspace > Close. About Tool Windows Throughout WaveLab Elements there are various tool windows available that allow you to view, analyze, and edit the active file.
About Workspaces About Tool Windows Shared tool windows The difference between specific and shared tool windows is that there can only be a single instance of a shared window in WaveLab Elements. For example, a single Master Section, or a single level meter. When you open a shared tool window in another workspace it undocks and moves from its original workspace, if this option is activated. An empty tab container with a title bar remains in its previous workspace.
About Workspaces About Tool Windows Tool Windows Command Bar On the Specific Tool Windows and Shared Tool Windows command bars you can quickly switch tool windows on and off, without having to navigate through a menu. To open or close the Shared Tool Windows command bar, select Workspace > Command bars > Shared Tool Windows. Shared Tool Windows command bar in the Audio Montage workspace To open or close the Specific Tool Windows command bar, select Workspace > Command bars > Specific Tool Windows.
About Workspaces About Tool Windows • On Mac OS X systems, a tool window is always on top of all other windows and a floating window remains visible even if its dependent workspace is not active or is minimized. If WaveLab Elements is not the active application, all its floating windows are hidden.
Playback WaveLab Elements offers numerous playback functions. There are 4 playback modes available: • Traditional playback, with playback starting from the cursor position and stopping anywhere when stopping playback. • Play range, where playback starts from a given point and stops at another point of interest. • Play from anchor, where playback starts from a specific point of interest. • Play until anchor, where playback starts anywhere but stops at a given point of interest.
Playback Transport Bar Skip range If this option is activated, playback skips the selected range and any region surrounded by exclusion markers. On stop, move cursor back If this option is activated, the edit cursor jumps back to the start position when playback stops. If you want to activate this option for the options Play from anchor, Play until anchor, and Play range, right-click this button, and activate On alternate playback stop, move cursor back to start.
Playback Transport Bar Anchors Lets 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 taken into account as a reference anchor or the closest marker near the edit cursor position if no marker is selected.
Playback Transport Bar To move the edit cursor to the start/end of the file, press [Ctrl]/[Command], and click the Move playback position backwards/forwards button. Loop Activates the loop mode. Right-click the loop button to select whether to loopforever or only a few times. Stop Stops the audio being played. If playback is already stopped, the edit cursor is moved to the previous start position. Play Starts playing the active audio file or audio montage from the edit cursor position.
Playback Transport Bar Transport Bar in the Podcast Workspace In the Podcast workspace, a simplified transport bar allows you to play back the selected Podcast episode. Play Button Clicking the Play button on the transport bar starts playing back the active audio file or audio montage from the edit cursor position. You can also use the Space bar or the Enter key on your keyboard to start playback.
Playback Transport Bar 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 the Play range button on the transport bar or press F6. RESULT The selected range is played back. Pre-roll and post-roll settings are taken into account.
Playback Transport Bar anchor marker, click the Play until anchor button on the transport bar or press F8. RESULT Play back starts from the anchor/until the anchor. Pre-roll and post-roll settings are taken into account. About the “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.
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, without needing to interact with the transport bar. This makes it easy to monitor your editing actions. PROCEDURE 1. On the transport bar, activate Auto selection mode. 2. 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.
Playback Transport Bar Using Auto Replay While Editing You can have playback automatically re-triggered 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 Auto selection mode icon, and activate Auto replay while editing. 2. In the wave window or the montage window, make a selection range and hold the mouse button pressed. 3.
Playback Transport Bar Solo track while editing If this option is activated, when holding down the mouse button while editing ranges or anchors in the montage window, the track is soloed when playing back via the shortcuts for Play range, Play from anchor, or Play until anchor. This option is only available in the Audio Montage workspace. This option works even when the automated selection mode is deactivated, because it is independent from this mode.
Playback Transport Bar 4. Depending on the Ranges mode, do one of the following: • If you have activated Selected audio range, make an audio selection in the wave window. • If you have activated Marked region where edit cursor is located, click the section 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 range, or press [F6] RESULT The selected range is skipped during playback.
Playback Transport Bar 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 the Use Post-Roll and Use Pre-Roll buttons on the transport bar.
Playback Transport Bar Playback Shortcuts In addition to the buttons on the transport bar, there are shortcuts that can be used even when the wave window or montage window is not the active window. Space bar Start/stop playback. 0 on numeric keypad. Stop. If the program is stopped and you trigger Stop again, the edit cursor moves either to the previous Playback start marker, or to the selection start (whatever is closer), until the start of the file is reached.
Playback Transport Bar Save Transport Bar Presets Dialog In this dialog, you can save a transport bar setup as preset. On the transport bar, click the preset icon, and select Save as. Path name Opens the root folder of the preset in the Windows 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. When preset is selected with shortcut This lets you assign a customized playback command to a shortcut.
Playback Transport Bar Transport Bar Settings In the transport bar settings menu, you can customize the transport bar. This is useful to optimize the transport bar according to the available screen space. To open the settings menu, right-click the transport bar, or click the Settings button on the transport bar. Hide Hides the transport bar. To make it visible again, select Workspace > Command bars > Transport bar. Fold Minimizes the transport bar.
Playback Playing Back Only One Channel Edit shortcuts Opens the Customize commands dialog, where you can edit the shortcuts for the transport bar commands. Playing Back Only One Channel You can choose to play only the left or the right channel of an audio file in the Audio Files workspace. PROCEDURE • In the Audio Files workspace, select Options, and activate/deactivate Play left channel and/or Play right channel.
Playback Using the Play Tool Using the Play Tool This tool allows you to play back from any position on one or both stereo channels. PROCEDURE 1. In the Audio Files workspace, select the Play tool from the Edit tools command bar, or press and hold [Alt]/[Option]. 2. In the wave window, click at the position where you want playback to start. The cursor shape indicates whether the left (L), the right channel (R), or both channels are played back.
Playback Scroll During Playback Scrubbing Using the Time Ruler PROCEDURE 1. Optional: In the Audio Files workspace, activate Options > Stop after playback scrubbing, to stop playback after scrubbing. The edit cursor then jumps back to the start position. 2. Start playback. 3. Click the time ruler and hold the mouse button pressed, and drag left or right. 4. When you are done scrubbing, release the mouse button.
Playback About Playback in the Audio Montage Workspace View follows cursor The view automatically changes to keep the playback cursor visible. Scroll view (partial) The view only scrolls when necessary to keep the playback cursor visible. Scroll view (always) Scrolls the view to keep the playback cursor centered. NOTE If you get dropouts during playback, do not use the scroll options.
Playback About Playback in the Audio Montage Workspace Playing Back Individual Clips You can play back an individual clip on a track. Overlapping clips or clips on other tracks are muted. PROCEDURE 1. In the Audio Montage workspace, right-click the lower part of the clip that you want to play back. 2. On the menu, select one of the following play options: • To play back the clip, select Play focused clip. • To play back the clip with pre-roll, select Play focused clip with pre-roll.
Audio File Editing Audio file editing refers to opening, editing, and saving audio files. Wave Window The wave window displays audio files graphically. Here, you view, play back, and edit individual audio files. The wave window consists of two displays. You can use one display as an overview to navigate through the project and the other as the main view for editing. You can synchronize the waveform displays so that they display the same part of the audio file, by clicking the Sync with other view button.
Audio File Editing Wave Window Magnetic Bounds in Audio Files Certain positions, such as markers or selection edges, can be defined as magnetic. Dragged elements can snap to these positions. This makes it easier to position items accurately. For example, when you move a marker and it gets close to one of the magnetic bounds, the marker snaps to this position. A label is displayed, indicating the snap position. Magnetic Bounds Menu On this menu, you can specify which positions should be magnetic.
Audio File Editing Wave Window Zero Crossing A zero crossing is a point where the waveform crosses the zero level axis. If you cut out a portion of a wave and paste it in somewhere else, there often is discontinuity where the two waves are joined. This discontinuity results in a transient in the wave, which is perceived as a click or bump in the sound. To avoid this, you must make the splice at a zero crossing, especially if you do not use crossfades.
Audio File Editing Wave Window preferences dialog, you can specify whether to allow snap at high zoom factors, and specify the scan range for the zero crossing detection. PROCEDURE 1. In the Audio Files workspace, select Options > Snap selection to zero crossing. 2. Select Options > Audio file editing preferences. 3. On the Editing tab, fill out the Snap selection to zero crossing options. 4. Click OK.
Audio File Editing File Handling in the Audio Files Workspace File Handling in the Audio Files Workspace About 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. The following table gives you some basic information about the formats: Format Description Wave (.
Audio File Editing File Handling in the Audio Files Workspace Format Description 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, .
Audio File Editing File Handling in the Audio Files Workspace NOTE The “$$$” file type is WaveLab Elements’ own temporary file format. In case you experience a computer, crash you may restore some of your work by opening any stray “$$$” files on your hard disk. About 20-bit, 24-bit, and 32-bit Float Files You do not need a 20-bit or 24-bit audio card to take advantage of the fact that WaveLab Elements can handle 20-bit and 24-bit audio files.
Audio File Editing File Handling in the Audio Files Workspace Saving in Another Format You can change the file format, sampling frequency, bit resolution, and stereo/mono status when saving. PROCEDURE 1. In the Audio Files workspace, select File > Save as. 2. Specify the file name and location. 3. Click in the Output Format field. 4. In the Audio File Format dialog, set the file format and specify the properties. 5. Click OK. 6. Click Save. RESULT A new file is created.
Audio File Editing File Handling in the Audio Files Workspace Channels Specify the number of audio channels for the files to be created. For multichannel audio montages, you can create multiple files. Sample rate Select a sample rate for the audio file. If you change this setting, a sample rate conversion takes place. IMPORTANT Use this only for simple conversions. For professional results, use the Resample plug-in to add limiting and dithering. Bit resolution Select a bit resolution for the audio file.
Audio File Editing File Handling in the Audio Files Workspace About Changing the Format When changing the sample rate, bit resolution, and number of channels of an audio file, several operations are performed. Property Action Sample rate If a new sample rate is specified, a sample rate conversion is performed. Bit resolution If a different bit resolution is specified, the file is either “truncated” down to 8 bits, or “padded” up to 24 bits.
Audio File Editing File Handling in the Audio Files Workspace Saving a Selection as an Audio File You can save a selection in the currently open audio file as a new audio file. PROCEDURE 1. In the wave window, make a selection range. 2. Select File > Export > Selected time range. 3. Specify a file name, location, and output format. 4. Click Save. Saving Left/Right Channel as Audio File You can save each channel individually into a separate file.
Audio File Editing File Handling in the Audio Files Workspace 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.
Audio File Editing File Handling in the Audio Files Workspace 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 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).
Audio File Editing File Handling in the Audio Files Workspace Stereo encoding - Joint In this mode, the encoder uses existing correlations between the two channels to increase the ratio quality/space. Stereo encoding - Dual In this 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.
Audio File Editing File Handling in the Audio Files Workspace Ogg Vorbis Dialog You can edit the encoding options when you save an Ogg Vorbis audio file. You can open the Ogg Vorbis dialog from most places where you can select an output file format. For example, in the Audio Files workspace, select File > Save as, click the Output Format field, select Ogg Vorbis as type, click the Encoding field, and select Edit.
Audio File Editing File Handling in the Audio Files Workspace select Windows Media Audio (WMA) as type, click the Encoding field, and select Edit. Encoder Lets you select the encoder. Output sample rate Lets you specify the output sample rate of the encoded file. The higher the sample rate, the higher the quality, but the larger the output file. Output bit resolution Lets you specify the output bit resolution of the encoded file. This parameter is not available for all encoders.
Audio File Editing File Handling in the Audio Files Workspace Creating an Audio Montage from an Audio File You can export audio files to an audio montage, including all markers that you have set in the audio file. PROCEDURE 1. Optional: If you only want to use a certain time range of the audio file, create a selection range in the wave window. 2. In the Audio Files workspace, select File > Export > Create audio montage from active file. 3.
Audio File Editing File Handling in the Audio Files Workspace Turning Selections Into New Files You can turn selections into new files via dragging, or by using the Edit menu. Turning Selections Into New Files By Dragging PROCEDURE 1. In the Audio Files workspace, make a selection in the wave window. 2. Drag the selection to the WaveLab Elements tab bar, and release the mouse button. RESULT The selection appears in a new stereo window. Turning Selections Into New Files Using the Menu PROCEDURE 1.
Audio File Editing File Handling in the Audio Files Workspace Special File Format Dialog When opening files via the Open as option, you can specify how to interpret the format of the audio file that you want to open. In the Audio Files workspace, select File > Import > Unknown audio file. 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.
Audio File Editing File Handling in the Audio Files Workspace Converting From Stereo to Mono and From Mono to Stereo You can convert audio files from mono to stereo and from stereo to mono. Converting a mono file into a stereo file produces an audio file that contains the same material in both channels, for example for further processing into real stereo. Converting a Selection From Stereo to Mono Using the Menu PROCEDURE 1. In the Audio Files workspace, make a stereo selection in the wave window. 2.
Audio File Editing File Handling in the Audio Files Workspace Converting a Selection From Mono to Stereo PROCEDURE 1. In the Audio Files workspace, make a mono selection in the wave window. 2. Select Edit > Copy selection to new window > Convert to Stereo. RESULT The selection appears in a new stereo window. Swapping Channels in a Stereo File You can move the audio in the left channel to the right channel, and vice versa.
Audio File Editing File Handling in the Audio Files Workspace Multiple copies Opens a dialog in which you can enter the number of copies that you want to create. Mix Blends two files into each other, starting at the selection or, if there is no selection, at the cursor position. • When you select the Mix option, a dialog opens, allowing you to specify the gain for the audio on the clipboard and at the destination.
Audio File Editing File Handling in the Audio Files Workspace Moving Audio Using Cut and Paste PREREQUISITE Decide whether you want to use Snap selection to zero-crossing. PROCEDURE 1. In the wave window, make a selection. 2. Use one of the following copy methods: 3. 4. • Select Edit > Cut. • Press [Ctrl]/[Command]-[X]. • Drag the selection onto the Cut icon.
Audio File Editing File Handling in the Audio Files Workspace 3. Click the selection. Pressing [Shift] switches nudge left to nudge right and vice versa. 4. To exit the nudge tool mode, click anywhere outside of the selection. RESULT The audio is moved one pixel. Exactly how much this is depends on how far you are zoomed in. For example, if the status bar displays x1:256, the selection is moved 256 samples. The moved section overwrites the audio at that position.
Audio File Editing File Handling in the Audio Files Workspace Copied section Paste wave Action Stereo Stereo If the wave cursor is only in one channel, the audio is only pasted in that channel. Material from the left channel is pasted in the left channel and vice versa. Stereo Mono Only the left channel is pasted. Mono Stereo What happens depends on whether the wave cursor is in one channel or both.
Audio File Editing File Handling in the Audio Files Workspace 3. 4. Select how you want to insert the selection: • If you want to insert the audio, click once at the position in the same file or in another file. • If you want to replace a section of audio, select it. Select Edit > Paste, or press [Ctrl]/[Command]-[V]. Copying Audio by Dragging PREREQUISITE Decide whether you want to use Snap selection to zero-crossing. PROCEDURE 1. In the Audio Files workspace, make a selection. 2.
Audio File Editing Changing the Audio Properties Changing the Audio Properties You can change the declared sample rate and sample accuracy of audio files. Changing these values does not process the audio file in any way (in contrast to using Save as). However, the following rules apply: • 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.
Audio File Editing Meta-Data Accuracy The accuracy of samples in the audio stream. Meta-Data Meta-data consists of attributes that describe the audio contents, for example, the title of the track, the author, and 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 also create different meta-data presets for audio files and audio montages.
Audio File Editing Meta-Data • ID3 v2, 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.
Audio File Editing Meta-Data montage. If you render to WAV or MP3 formats, the meta-data will be be associated to these files. Meta-data dialog for a WAV file Meta-data dialog for a WMA file 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 and MP3 files. The Use as default for new .wav files option allows you to define a set of meta-data as default.
Audio File Editing Silence Generator Dialog To edit the default meta-data preset, select Load default, and edit the preset. About 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 stores them if their names obey the CART standard.
Audio File Editing Silence Generator Dialog Destination - Replace selection Replaces the current audio selection with the silent section. Destination - Insert at cursor Inserts the silent section at the cursor position. Destination - From end of file until cursor Extends the audio file with silence up to the cursor position. Activating this option also defines the silence duration and ignores the Silence Duration setting.
Audio File Editing Waveform Restoration with the Pen Tool Fast Muting a Selection The Fast mute function replaces the selection with true silence without needing to write any audio sample to the media. PROCEDURE • In the Audio Files workspace, make a selection, and select Edit > Fast mute. Waveform Restoration with the Pen Tool The Pen tool allows you to redraw the waveform directly in the wave window. This can be used to quickly repair waveform errors.
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 specified properties.
Audio Analysis Global Analysis • 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”. Opening the Global Analysis Dialog The Global Analysis dialog provides various analysis options. PROCEDURE 1. In the Audio Files workspace, select a range in the audio file that you want to process.
Audio Analysis Global Analysis Global Analysis - Peaks Tab This tab is used to find digital peak values in the audio, that is, single samples with very high values. In the Audio Files workspace, select Analysis > Global Analysis, and select the Peaks tab. Find Peaks Enables peak analysis. Digital Displays the highest peak in the analyzed section.
Audio Analysis Global Analysis Global Analysis - Loudness Tab This tab is for finding 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 Audio Files workspace, select Analysis > Global Analysis, and select the Loudness tab. Loudness Settings Analyze Loudness Enables RMS loudness analysis. Average Displays the overall loudness of the analyzed selection.
Audio Analysis Global Analysis Resolution The length of audio to be measured and averaged. If this value is lowered, short passages of loud/weak audio are detected. When it 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.
Audio Analysis Global Analysis • 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.
Audio Analysis Global Analysis 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 found. Global Analysis - Errors Tab This tab helps you find glitches and sections where the audio has clipped. In the Audio Files workspace, select Analysis > Global Analysis, and select the Errors tab.
Audio Analysis Global Analysis Find possible glitches Enables glitch analysis. Find possible glitches - 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. Find possible glitches - Sensitivity 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.
Audio Analysis Global Analysis Performing a Global Analysis PREREQUISITE In the Audio Files workspace, select Analysis > 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.
Audio Analysis Global Analysis 5. Check the Number of hot points value at the bottom of the dialog. The value shows the number of positions that were found by the analysis. 6. Use the scroll bar below the Number of hot points value to browse between the found positions. The edit cursor shows the position in thte wave window. 7. To browse another property, click the corresponding tab, and then the respective value button.
Audio Analysis 3D Frequency Analysis Focusing Hot Points After a global analysis, you can focus the display on a certain hot point. PREREQUISITE In the Audio Files workspace, select Analysis > 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 the Focus button. The wave window zooms in on the selected point. The Global Analysis dialog is reduced to the bottom part. 3.
Audio Analysis 3D Frequency Analysis Analysis windows, each with a different perspective. This allows you to get a better view of an otherwise crowded graph. 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.
Audio Analysis 3D Frequency Analysis 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 Audio Files workspace, select Analysis > 3D Frequency Analysis, and click the 3D analysis options button. Top/Bottom frequency Specifies the highest/lowest frequency of the range. Logarithmic ruler (octaves) Divides the frequency ruler in equally spaced octaves.
Offline Processing Offline processes are useful for a variety of editing purposes and creative effects. For example, when the computer is too slow for real-time processing or when the editing requires more than one pass. After the processing the audio file is permanently altered. Applying Processing Processing can be applied to a selection or to a whole file. For certain operations processing the entire file is necessary.
Offline Processing Gain Dialog Gain Dialog In this dialog, you can apply a gain to change the level of an audio file. In the Audio Files workspace, select Process > Gain. Click Find current peak level to obtain a report on the peak level of the audio selection, or the whole file if there is no selection. This is useful if you want to calculate how much you can increase the overall gain of a file without clipping (exceeding 0 dB), for example. This processor also lets you add clipping.
Offline Processing Normalize Level Dialog Mix to Mono Mixes the left and the right channel. The resulting mono file will have the specified peak level. This ensures a mix without clipping. Find current peak value Creates a report on the peak level of the current audio selection, or the whole audio file if there is no selection. Basic Envelope Operations By adding points to the envelope curve you can create an envelope curve that changes the volume of the material over time.
Offline Processing Fades in Audio Files Fades in Audio Files A fade-in is a gradual increase in level and a fade-out is a gradual decrease in level. You can create fades by selecting an individual fading type for each fade-in/fade-out, or by using the Easy Fade function. Creating a Fade-In and Fade-Out PROCEDURE 1. In the Audio Files workspace, make a selection. 2. Depending whether you want to create a fade-in or a fade-out, select one of the following: 3.
Offline Processing Crossfades Crossfades A crossfade is a gradual fade between two sounds, where one is faded in and the other faded out. You can automatically create a crossfade when pasting an audio section into another. Creating Crossfades The material that you want to crossfade can either be in two different sections of the same audio file, or in two different audio files. PROCEDURE 1. In the Audio Files workspace, select the section that you want to fade-in. 2.
Offline Processing Inverting the Audio Phase Paste and Crossfade Options These options allow you to select a crossfade type for pasting. In the Audio Files workspace, select Edit > Paste and crossfade. Linear (equal gain) Level changes linearly. Sinus (equal power) Level changes according to a sine curve, the power of the mix remains constant. Square-root (equal power) Level changes according to the square-root curve, the power of the mix remains constant.
Offline Processing Reversing Audio Reversing Audio You can reverse an audio file or a part of an audio file as if playing a tape backwards. PROCEDURE 1. Optional: If you only want to reverse a certain time range of the audio file, create a selection range in the wave window. 2. In the Audio Files workspace, select Process > Reverse. DC Offset A DC offset is when there is too large a DC (direct current) component in the signal.
Offline Processing Time Stretching 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.
Offline Processing Time Stretching Result Target duration If this option is activated, the audio source changes its duration. Target tempo If this option is activated, the audio changes its tempo. For this to work, you must specify the original tempo or the number of bars and beats. Target stretch factor Lets you see 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.
Offline Processing Pitch Shift About the DIRAC Time Stretching Processor The DIRAC 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 tuning the pitch of a kick drum sample to fit a particular song, for example.
Offline Processing Resample Pitch field Specifies the resulting pitch. Length preservation Specifies how the length of the selection is affected by the operation: • A setting of 100 means that the length of the audio remains unchanged. • A setting of 0 means that the program behaves like a tape recorder, when the speed of its tape is changed. For example, if you raise the pitch by once octave, the audio is half as long. • Intermediate values give results in between these two extremes.
Offline Processing Resample • When you resample to a lower frequency, high frequency material is lost. Therefore, converting down and then up again leads to a degradation in sound quality. NOTE Using the Crystal Resampler in the quality mode High to change the sample rate results in the same quality as when using Process > Resample in the Audio Files workspace. However, that is only the case if the sample rate in the Sample rate dialog exists in the values of the Crystal Resampler Sample rate menu.
Audio Montage The audio montage is a multi-track non-destructive editing environment, which allows you to arrange, edit, play back, and record audio clips on multiple tracks. Non-destructive means that when you delete or change a part of an audio file, the audio is not deleted or permanently changed. Instead, a set of pointers keeps track of all the edits, so these can be readily reversed. WaveLab Elements provides comprehensive facilities for non-destructive editing.
Audio Montage Montage Window Montage Window The montage window in the Audio Montage workspace is where you assemble your audio montage. This is where you view, play back, and edit audio montages. The montage window gives you a graphical representation of the tracks and clips. Track Control Area The track control area offers several options regarding the track. Fold/Unfold Folds/unfolds the track. Mute Mutes the track. Solo Solos the track.
Audio Montage Montage Window Track menu 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 Menu This menu contains all track-related options. In the Audio Montage workspace, open the Track menu, or click the number button of a track. Add stereo track Adds a stereo track below the active track. Add mono track Adds a mono track below the active track.
Audio Montage Signal Flow in the Audio Montage 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 plug-in. Route to upper track only Routes the audio signal of the active track to the modulation input of the Ducker plug-in. Lock If this option is activated, you cannot edit the track.
Audio Montage Creating a New Audio Montage Master Section: • Channels/sample rate might change at each plug-in slot • Master Section meters • Master Section Dithering slot • Independent meters • Playback or file format rendering Creating a New Audio Montage You can add tracks and clips to your new audio montage. PROCEDURE 1. In the Audio Montage workspace, select File > New. 2. In the Audio montage properties dialog, select a Sample rate. 3. Click OK.
Audio Montage Creating an Audio Montage from an Audio File • File > Clone • Press [Ctrl]/[Option], and drag a montage tab on the tab bar • Double-click an empty section of the tab bar Creating an Audio Montage from an Audio File You can export audio files to an audio montage, including all markers that you have set in the audio file. PROCEDURE 1. Optional: If you only want to use a certain time range of the audio file, create a selection range in the wave window. 2.
Audio Montage Missing Files in Audio Montage Dialog Audio CD Opens the Import Audio CD dialog where you can browse for audio CD tracks to extract. Missing Files in Audio Montage Dialog This dialog opens when you open an audio montage, and some audio files that the audio montage refers to could not be found. You can then search for the files or select a replacement. Missing files list Lists the files that could not be found. Each file can be replaced by an existing file.
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 Windows 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 focused at a time.
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 workspace, click a track’s number button. 2. Select Move track up/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 workspace, click the number button of the track that you want to remove. 2.
Audio Montage Assembling the Audio Montage • To unlock a track, click the locked track, and confirm the dialog, or click the number button of the track, and deactivate Lock. About Clips A clip contains a reference to a source audio file on your hard disk as well as start and end positions in the file, 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.
Audio Montage Assembling the Audio Montage Inserting From Open Wave Windows Using the Insert Menu PREREQUISITE In the Audio Files workspace, open the audio files that you want to insert as clips. PROCEDURE 1. In the Audio Montage workspace, right-click an empty part of a track. 2. From the pop-up menu, select the audio file that you want to insert as clip. Using Copy and Paste PROCEDURE 1.
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 directly from the File Browser onto a track. PROCEDURE 1. In the Audio Montage workspace, open the File Browser window. 2. Select the audio file to which you want the clip to refer. On the right side of the File Browser window, a list shows the available audio regions of the selected file. 3. Drag any region to the track.
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. This dialog lets you create a resampled copy of the audio file. Resampling quality This option allows you to select the resampling quality. Recreate resampled files If this option is activated and a resampled file exists, it is recreated. Otherwise, the existing version is used.
Audio Montage Rearranging Clips have a different background color. Right-clicking a clip opens the Selected Clip menu. • A focused clip is the clip that you selected, clicked, or edited last. Only one clip can be focused at a time. By default, the focused clip is distinguished by a highlighted name label. There are certain functions that can only be processed on a focused clip. Right-clicking a clip opens the Focused Clip menu. More options for the focused clip are available in the Focused Clip window.
Audio Montage Clips Editing Clip Context Menus Many editing functions for clips can be accessed via the clip context menus. Depending on where you right-click the clip, different context menus are available. 1) Fade-in section: Opens the Fade-in menu where you can edit the fade-in. 2) Any part of a clip: Opens the Focused clip menu where you can edit the focused clip. 3) Sustain section: Opens the Envelope menu where you can edit the envelope.
Audio Montage Clips Editing Focused Clip Window This window allows you to edit the focused clips using various tools. For example, you can edit the cue points, envelope curves, fade-in/fade-out, and colors of clips. In the Audio Montage, select Workspace > Specific tool window > Focused Clip. Edit Edit plug-ins Opens the plug-ins used by the focused clip. Edit audio Opens the clip’s source file in the related workspace. Zoom Adjusts the view to display mainly the focused clip.
Audio Montage Clips Editing Delete clip Deletes the focused clip. Split at silences Opens a dialog, in which you can specify how to split clips at silences. Shortcuts Opens the Customize commands where you can define shortcuts for all the commands that are found in the Focused clip window. Cue Points Cue point - Set at cursor Sets the cue point at a fixed position from the start of the clip. Cue point - Follows fade-in end point Sets the cue point to be the fade-in end point.
Audio Montage Clips Editing Reset selected points to 0 dB Resets the selected points to their default level. Pan menu Lets you select a pan mode. Fade-in/Fade-out Zoom Adjusts the view to display mainly the fade-in/fade-out part of the focused clip. Linear Changes level linearly. Sinus (*) Changes level according to a sine curve. When used in a crossfade, the loudness (RMS) remains constant during the transition. Square-root (*) Changes level according to the square-root curve.
Audio Montage Clips Editing Re-ordering Clips in the Audio Montage By Dragging In the CD window, you can re-order clips by dragging them to another position in the list. PROCEDURE 1. In the Audio Montage workspace, 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.
Audio Montage Clips Editing • There are crossfading options that automatically adjust the volume envelope curves when you overlap clips. Options for Moving and Crossfading Clips The Options menu provides you with options that help you when moving and crossfading clips. In the Audio Montage workspace, select Options. Auto-shift clips on the right (on same track) Moves all clips that are located on the right of the edited clip to the right.
Audio Montage Clips Editing Duplicating Clips NOTE You cannot copy mono clips to stereo tracks and vice versa. PROCEDURE 1. In the Audio Montage workspace, select one or more clips. 2. Click the upper clip area and drag the clips in any direction. While you are dragging the clips, a dotted line indicates where the first of the copied clips will be placed. The position is also indicated on the info line.
Audio Montage Clips Editing Splitting a Clip You can split a clip in two. PREREQUISITE Decide whether you want to automatically create crossfades between the left and right clip by activating/deactivating Options > Create default fades in new clips. PROCEDURE 1. In the Audio Montage workspace, 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 takes on the shape of a pair of scissors. 3. Double-click.
Audio Montage Clips Editing Minimum silence between regions Sets the minimum length of a silent region. Silent regions shorter than this length will not cause additional split regions to be created. Silence is defined as a signal below (RMS) Lets you manually set the treshold level for silence detection. Levels below this value will be considered as silence.
Audio Montage Track Activity Indicator • To set the cue point before the start of a clip to position clips in a row with pre-defined spaces. • To set the cue point at the fade-in or fade-out point of a clip, making it easy to maintain defined fade lengths when crossfading. NOTE Each clip can only have one cue point. If you select another cue point insert option, the cue point is moved to a new position. Using Cue Points You can add one cue point for each clip. PROCEDURE 1.
Audio Montage Envelopes for Clips Instead of exact level readings the track activity indicator provides an overview of which tracks are currently playing back audio at what approximate level. Envelopes for Clips For clips in the audio montage, you can create envelopes for volume and fades and for panning. You can create an independent volume envelope curve to automate volume, to create fades and crossfades, and to mute clip sections. You can also draw pan envelopes to automate pan settings for clips.
Audio Montage Envelopes for Clips Selecting the Envelope You can switch between volume/fade envelopes and pan envelopes. PROCEDURE 1. In the Audio Montage workspace, select a clip, and open the Focused clip window. 2. On the Envelope panel, select which envelope to edit from the menu at the top. Hiding the Envelope Curves All clips display envelopes by default. You can hide these envelopes. However, hidden envelopes are still active.
Audio Montage Envelopes for Clips • To move all selected points, click one of the selected points and drag. • To raise or lower the value of two consecutive curve points, [Ctrl]/[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.
Audio Montage Envelopes for Clips Changing the Overall Volume Envelope of a Clip The default envelope curve contains no volume envelope points. In this condition, you can still use the curve to change the overall volume for a clip. PROCEDURE 1. In the Audio Montage workspace, place the mouse cursor on the envelope curve. The mouse cursor takes on the shape of a circle with two arrows that point up and down. 2. Click and drag the curve up or down to change the clip envelope volume.
Audio Montage Fades and Crossfades in the Audio Montage Pan Mode Description 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.
Audio Montage Fades and Crossfades in the Audio Montage • To create a crossfade, move a clip onto another. A crossfade is automatically created at the junction point. The resulting linear fade-in/fade-out curve is displayed in the clip, and the fade is also reflected in the waveform. If you position the mouse over the fade-in point, a label appears, showing the fade-in time in seconds and milliseconds and the volume in dB.
Audio Montage Fades and Crossfades in the Audio Montage Sinus (*) Changes level according to the first quarter period of the sine curve. When used in a crossfade, the loudness (RMS) remains constant during the transition. Square-root (*) Changes level according to the square-root curve. When used in a crossfade, the loudness (RMS) remains constant during the transition. Sinusoid Changes level according to a half period part of the sine curve. Logarithmic Changes level logarithmically.
Audio Montage Fades and Crossfades in the Audio Montage Exponential Changes level exponentially. Exponential+ Changes level strongly exponential. Set fade-in time/Set fade-out time Sets the fade-in time/fade-out time to the value that you have specified in the Focused clip window on the Fade-in/Fade-out panel. Applying Default Fades to New Clips PROCEDURE • In the Audio Montage workspace, select Options > Create default fades in new clips.
Audio Montage Fades and Crossfades in the Audio Montage or sine crossfade produces the intended result. The following rules apply: • A crossfade includes fade-in and fade-out. • You can edit the fade-in and fade-out curves in crossfades in the same way as fades. • To resize the crossfade time symmetrically, press [Shift], click the crossfade area, and drag left and right.
Audio Montage Effects for Tracks, Clips, and the Master Output Effects for Tracks, Clips, and the Master Output You can add VST effect plug-ins to individual clips, tracks, or the master output of an audio montage. Clip effects affect individual clips only, track effects affect all clips on a track, and the master output affects the whole audio montage. Only VST 2 and VST 3 plug-ins can be used in the audio montage.
Audio Montage Effects for Tracks, Clips, and the Master Output NOTE Effects that are used for tracks must support stereo audio, even if the audio track is mono. About the Master Output Effects You can add master output effects to an audio montage. While the Master Section is shared among all audio montages, the master output effects are local to each montage. This allows you to have a fully embedded project, without needing to use the Master Section.
Audio Montage Effects for Tracks, Clips, and the Master Output Add slot Adds a slot into which an audio plug-in can be inserted. Remove Removes the selected plug-in. Close all Closes all plug-in windows that relate to this audio montage. Copy Copies the selected plug-in and its settings to the clipboard. Paste 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.
Audio Montage Effects for Tracks, Clips, and the Master Output Latency Shows the latency (delay) in the audio path. Certain plug-ins must analyze the sound before passing it on. However, real-time changes, such as turning an effect knob, are delayed according to the maximum latency that is found among all clips. Plug-ins with latency cannot be used for adjusting the send level. Tail (clip effects only) Effects, such as reverb and delay, produce audio tails.
Audio Montage Effects for Tracks, Clips, and the Master Output Adding Effects to a Track, Clip, or Master Output You can add effect plug-ins to every track and clip of the audio montage, and to the master output of the audio montage. Adding Effects Via the Effects Window PROCEDURE 1. In the Audio Montage workspace, open the Effects window. 2. Select the clip section, track section, or master output section. 3. Click the Add slot button. 4. In the Effect name column, select the added slot. 5.
Audio Montage Effects for Tracks, Clips, and the Master Output • To add an effect to a clip, in the montage window, right-click the clip name, select Add effect, and select an effect from the menu. Removing Effects from Tracks, Clips, or the Master Output PROCEDURE 1. In the Audio Montage workspace, open the Effects window. 2. Select the clip section, track section, or master output section. 3. Click the effect that you want to remove, and select None. RESULT The effect is removed from the slot.
Audio Montage Effects for Tracks, Clips, and the Master Output 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. Press [Ctrl]/[Command]-[Z] to undo the settings.
Audio Montage Effects for Tracks, Clips, and the Master Output 3. Adjust the global gain using the fader on the left of the Effects window. 4. Click the pre/post button on the left of the global gain fader. 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 master output.
Audio Montage Effects for Tracks, Clips, and the Master Output • To open the plug-in window for a track, click the FX button in the track control area. • To open the plug-in window for a focused clip, in the Focused clip window, on the Edit panel, select Edit plug-ins. Adding Effects From Within the Plug-in Window Effects that are added to a clip, track, or the master output in the Effects window are automatically displayed in the plug-in window.
Audio Montage Effects for Tracks, Clips, and the Master Output Changing Effects From Within the Plug-in Window When displaying effect plug-ins in the plug-in window, you can change plug-ins to change the processing. PROCEDURE 1. In the Audio Montage workspace, open the plug-in window for the clip, track, or master output for which you want to change an effect. 2. Click the plug-in menu icon, and select an effect from the menu. The changed effect is also displayed in the Effects window. 3.
Audio Montage About the CD Window 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. In the Audio Montage workspace, open the Effects window. 2. Select Menu > Close all. About the CD Window The CD window displays the clips of the currently active audio montage, and lets you write the audio montage to an audio CD. NOTE Each clip in the audio montage is a CD track.
Audio Montage About the CD Window Track List You can edit tracks directly from the track list in the CD window. Playback triggers The following playback buttons are available: Playback from start with a pre-roll. -[Alt]/[Option] Playback from start with a long pre-roll. Playback from start. 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.
Audio Montage About the CD Window Comment Allows you to enter a comment. To enter a comment, double-click a cell. CD Menu Write Audio CD Opens a dialog from which you start writing 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.
Audio Montage About Cloning Audio Montages 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. In the Audio Montage workspace, 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.
Audio Montage Mixing Down - The Render Function Mixing Down - The Render Function The render function in the Master Section allows you to mix down the whole audio montage or a region of it to a single audio file. A mixdown is necessary to produce an audio file from the audio montage. RELATED LINKS: “Rendering” on page 225 Loudness Meta Normalizer This tool is a key mastering component to ensure that all songs get the same loudness and to prevent clipping.
Audio Montage Loudness Meta Normalizer 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. In the Audio Montage workspace, select Edit > Loudness Meta Normalizer. Clips, Master Section Output, and Audio Montage Output • When 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.
Audio Montage Notes Window Peaks menu Select whether WaveLab Elements should limit the sample values (digital peaks), or ignore the peaks. This setting is less important for clips, as the whole audio montage mixdown can be further reduced. Maximum peak Determines the maximum peak value that is not to be exceeded. 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.
Recording You can record audio in the Audio Files workspace and in the Audio Montage workspace. Setting Up the Recording Dialog Before you start recording, set up the Recording dialog. PROCEDURE 1. In the Audio Files workspace or the Audio Montage workspace, click the Record button, or press [*] on the numeric key pad. 2. In the File to create section, open the pop-up menu, and select whether you want to record a named file or a temporary file. 3.
Recording Dropping Markers During Recording 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: You can pause the recording by clicking the Pause button. 10. Optional: You can drop markers in the file during recording by clicking the drop marker buttons. 11.
Recording Recording Dialog Recording Dialog In this dialog, you can make recording settings and start recording an audio file. In the Audio Files workspace or the Audio Montage workspace, click the Record button or select Transport > Record. Main Buttons Record Starts recording. Depending on the recording options, the Pause mode is activated. Pause Pauses recording. Stop Stops recording. Discard Stops recording and deletes anything recorded so far.
Recording Recording Dialog Auto number from If this option is activated, increasing numbers are added to the file names of the successively saved 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. Where Specifies the folder where you want to save the recording.
Recording Recording Dialog 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.
Recording Recording Dialog Auto-start on sound - Threshold (RMS) Specify the average sound level that is sufficient to 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 when the option Auto-start if sound detected is activated.
Recording Recording Dialog Settings Opens the LeveL/Pan Meter Settings dialog, where you can customize the meter settings. Reset Resets the peak values. Monitor If this option is activated, the audio input is also sent to the output ports (not available if Windows MME drivers is used). Mix with playback If this option is activated and the same audio ports are selected for monitoring and for playback (in the VST Audio Connections dialog), the signals are mixed.
Recording Recording Dialog Spectrum Meter The Spectrum Meter shows a bar diagram, providing a continuous graphical representation of the frequency spectrum. From the Settings pop-up menu you can choose whether to restrict to high audio levels, or to include medium or low audio levels.
Master Section The Master Section is the final block in the signal path before the audio is sent to the audio hardware, to an audio file, or to the audio meters. This is where you adjust master levels, add effects, 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.
Master Section Master Section Window 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, in any workspace, select Global > Master Section. The Master Section consists of the Effects pane, the Master Level pane, and the Dithering pane.
Master Section Master Section Window Signal Path The three panes in the Master Section window correspond to the three processing blocks of the Master Section: Effects, Master Level, and Dithering. The signal passes through these blocks from top to bottom, as shown in the following figure: In the Master Section, the signal goes through all plug-ins, even when some plug-ins are soloed. However, the sound is not affected by this because the muted plug-ins are bypassed from the playback process stream.
Master Section Master Section Window Effects Pane This pane in the Master Section allows you to add up to 4 effect plug-ins in series, and manage them. In the Audio Files workspace or the Audio Montage workspace, select Workspace > Shared tool windows > Master Section. Rearrange Rearranges the Master Section according to the sample rate and channel configuration of the active audio file. The internal bus of the Master Section and any active plug-ins are configured accordingly.
Master Section Master Section Window Presets menu Lets you store and restore preset settings. The Presets menu offers additional options to save and load default banks and effects. Plug-in visibility Activates/deactivates the plug-in window. Switch effect on/off Excludes the plug-in from both playback and rendering, and rearranges the bus without this effect. Supported Effect Plug-in Formats WaveLab Elements supports different plug-in standards.
Master Section Master Section Window Setting Up Effects The number of effects available depends on which plug-ins you have installed. • To select an effect plug-in for a slot, click the slot, and select an effect from the pop-up menu. When you have selected an effect, it is automatically activated, and its control panel opens. • To turn off an effect, click its Switch effect on/off button. To activate the effect, click again. • To remove an effect plug-in, click the slot, and select None.
Master Section Master Section Window Render in place Processes the audio in place without any intermediary step. Bypassed plug-ins are excluded and rendered audio is crossfaded at boundaries. Switch effect on/off If you deactivate the plug-in, it is excluded from both playback and rendering. Presets Opens a menu to save/load presets for this plug-in.
Master Section Master Section Window Edit name of current program Allows you to define a name for the preset. Preset List Allows you to select one of the currently loaded presets. Presets for DirectX Plug-ins For DirectX plug-ins, the same functionality is provided as for WaveLab Elements plug-ins. In addition, you can import native presets created for the plug-in. Master Level Pane This pane in the Master Section allows you to control the master level of the active audio file.
Master Section Master Section Window Use these to get an overview of the signal levels. The numeric fields above the faders show the peak levels for each channel. The peak indicators turn red whenever the signal clips. If this happens, you should lower the faders, reset the clip indicators by clicking the Reset peaks button, or clicking the values, and play back the section again until no clipping occurs. Mono button The Mono button sums two channels to mono.
Master Section Master Section Window During low level passages, only a few bits are used to represent the signal, which leads to audible quantization errors and distortion. This is perceived as graininess during low level passages in a recording. When truncating bits, as a result of moving from, for example, 24- to 16-bit resolution, such quantization noise is added to an otherwise immaculate recording. By adding a special kind of noise at an extremely low level, the quantization errors are minimized.
Master Section Master Section Window 3. Locate the plug-in that you want to add to the Dithering pane in the list, and activate the checkbox in the Post column for the plug-in. 4. Click OK. RESULT The plug-in appears on the pop-up menu in the 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 Post column in the Plug-in settings dialog is activated.
Master Section Master Section Window Fold/unfold section Expands or collapses the Dithering pane. Bypass during playback Bypasses the plug-in during playback, and optionally for a rendering operation. Effect plug-in slot Slot where you can insert an effect plug-in. Presets menu Lets you store and restore preset settings. The Presets menu of the top slot offers additional options to save and load default banks and effects. Plug-in visibility Activates/deactivates the plug-in window.
Master Section Rendering Reset all Removes all the active effects from the effects slots and sets the master output to 0 dB. Setting menu Opens the Master Section settings menu. Render Clicking opens the Render dialog. Right-clicking opens a menu where you can select whether you want to open the Render dialog, render using the last settings, or use in-place rendering.
Master Section Rendering Rendering Files PROCEDURE 1. In the Master Section, make your settings. 2. On the bottom of the Master Section, click the Render button. 3. In the Render dialog, make your rendering settings. 4. When you have set up the rendering process, click OK. RESULT The file is rendered. NOTE Several rendering operations can be executed at the same time when using different files.
Master Section Rendering 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.
Master Section Rendering Render Dialog This dialog allows you to select what parts of an audio file to render, and into which format. To open the Render dialog, click the Render button in the Master Section. The following options are available for both rendering in the Audio Files workspace and in the Audio Montage workspace: Time range - One region Processes and renders a time range specified using region markers. In the drop-down menu below this option, select the region you want to render.
Master Section Rendering No tail If this option is activated, the audio tail produced by effects such as reverbs is not included in the rendered file. Some plug-ins do not provide a tail duration to WaveLab 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. An audio tail appears in this space.
Master Section Saving a Master Section Preset Time range - Selection Processes and renders the selected audio range. Process in place If this option is activated, the rendered audio range replaces the source audio range. Otherwise, a new file is created. Render Dialog in the Audio Montage Workspace The following options in the Render dialog are exclusive to the Audio Montage workspace: Time range - Whole montage Processes and renders the whole audio range.
Master Section Saving a Master Section Preset 5. 6. Decide, whether you want to include one or several of the following options in the preset: • To include the plug-ins from the Effects pane, activate Save Effects plug-ins. • To include the settings made in the Master Level pane, activate Save Master Level settings. • To include the plug-in from the Dithering pane, activate Save Dithering plug-in. • To exclude locked plug-ins, activate Exclude locked plug-ins. Click Save.
Master Section Saving a Master Section Preset Save Effects plug-ins If this option is activated, the effect plug-ins are saved with the preset. Save Master Level settings If this option is activated, the Master Level settings are saved with the preset. Save Dithering plug-in If this option is activated, the 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.
Master Section Saving a Master Section Preset Load Master Section Preset Dialog In this dialog, you can specify which parts of a saved Master Section preset to load when opening it. This dialog only opens if it is activated in the Master Section’s Presets menu. Open the Presets menu at the bottom of the Master Section window, and activate Open option box when selecting preset.
Master Section About Monitoring Background Tasks Save Saves the changes you have made to an existing preset. Save as Opens a dialog where you can select a name for the preset and choose a location. Organize presets Opens the Preset folder of the Master Section, where you can rename or delete presets. Open from any location Selects any Master Section preset located anywhere, not just in the default root folder.
Master Section About Dropouts About Dropouts A dropout most likely occurs when your computer does not have the processing power to handle all effect processors you have inserted. To avoid dropouts, try the following: • Use fewer effects. • Consider rendering the processing rather than running it in real time. Then master from the processed file without any effects. Dropouts never occur when rendering to a file. • Do not process any files in the background.
Markers Markers allow you to save and name certain positions in a file. Markers are useful for editing and playback, for example, to indicate cue points or absolute time locations, to highlight problem sections, and to visually separate tracks. For example, markers can be used to: • Set the wave cursor to a specific position. • Select all audio between two positions. • Loop sections in an audio file. There is no limit to the amount of markers that you can have in a file.
Markers Markers Window workspace. They are connected to the Loop mode when playing back audio. These markers are useful for editing and creating loops before transferring a sound to a sampler. Loop markers are used in pairs. Markers Window In this window, you can create, edit, and use markers while working on an audio waveform or audio montage.
Markers Markers Window Time Shows the marker position on the time ruler. To change the time position, double-click in the corresponding cell and enter a new value. Length Shows the time value from the marker start position until the corresponding end. • To zoom on the region between a start and end marker, in the Length column, click the corresponding cell. • To select the region between a start and end marker, in the Length column, double-click the corresponding cell (Audio Files workspace only).
Markers Markers Window Deselect all Deselects all markers. Delete selected markers Deletes all markers that are selected. Lock selected marker Locks the selected marker. If this option is activated, the marker cannot be moved or deleted. Customize commands Opens a dialog where you can customize marker-related menus and shortcuts.
Markers About Creating Markers About Creating Markers Markers can be created during playback or in stop mode. You can mark a selection range, for example. You can create specific markers if you already know what you want to mark, or create generic markers. Creating markers is done in the same way in the Audio Files workspace and the Audio Montage workspace. Creating Markers You can create markers in the wave window and montage window in stop mode or during playback. PROCEDURE 1. 2.
Markers About Creating Markers Name Lets you enter the name of the marker. When clicking the icon to the right of the name field, a default name is generated. To edit the default names, in the Markers window, select Functions > Default names. Type Lets you select the type of marker. Toggle start/end markers If this option is activated, and you create a region start or end marker, the related end or start marker is created when you click the Create or Create and close button again.
Markers About Creating Markers Create Region Dialog This dialog allows you to create and name a start and end marker from a selection during stop mode and during playback. In the Markers window, select Insert > Create/Name region from selection. Region name Lets you enter the name of the start and end marker. If nothing is entered, a generic name is created. When clicking the icon to the right of the name field, a default name is generated.
Markers Deleting Markers Duplicating Markers This is a quick way to create a marker from an existing marker. PROCEDURE • In the wave window or the montage window, hold down [Shift], click a marker, and drag. Deleting Markers Markers can be deleted in the wave window or the montage window, and in the Markers window. Deleting Markers in the Wave/Montage Window Individual markers can easily be deleted in the wave window. • In the wave/montage window, right-click a marker, and select Delete.
Markers Moving Markers Moving Markers You can adjust marker positions in the wave window and the montage window. PROCEDURE 1. In the wave/montage window, drag a marker to a new position on the time ruler. If Magnetize bounds is activated, the marker snaps to the cursor position, or the beginning/end of a selection or waveform. Navigating to Markers You can jump to the previous or next marker using the corresponding marker buttons.
Markers Renaming Markers Renaming Markers You can change the automatically generated names of markers. • To rename a marker in the wave window or the montage window, right-click a marker, select Rename, and enter a new name. • To rename markers in the Markers window, double-click a marker name in the Name column, and enter a new name. • To edit the default names, in the Markers window, select Functions > Default names.
Markers Selecting the Audio Between Markers The marker icon changes its background, to indicate the selected marker. Selecting the Audio Between Markers You can quickly select the audio between two adjacent markers or between any two markers. This allows you to select a section that has been marked. • To select the audio between two adjacent markers, in the wave window or the montage window, double-click between two adjacent markers.
Markers Binding Markers to Clips in the Audio Montage Binding Markers to Clips in the Audio Montage In the Audio Montage workspace, you can bind markers to clips. By doing this, the marker remains in the same position relative to the clip start/end, even if the clip is moved in the audio montage or resized. You can find the options regarding clips and markers in the Functions menu of the Markers window, and when right-clicking a marker.
Metering WaveLab Elements contains a variety of audio meters that you can use when 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 Audio Meters can be used in the Audio Files workspace and in the Audio Montage workspace. They can be used as following: • A docked window in a workspace • An independent floating window.
Metering Resetting the Meters • To check the results after changing the settings without closing the settings dialog, click Apply. • To close the settings dialog and discard any changes that you have made, even if you have clicked the Apply button before, click Cancel. Resetting the Meters You can reset the display of some meters, for example, the values of the Level Meter. PROCEDURE • In the meter window, click the Reset icon, or select Functions > Reset.
Metering Level Meter Level Meters The Level Meter shows the peak level and 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.
Metering Level Meter 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 for determining the loudness. The smaller this value, the more the VU meter behaves like the Peak meter.
Metering Spectroscope Spectroscope The Spectroscope shows a graphical representation of the frequency spectrum, analyzed into 60 separate frequency bands, represented as vertical bars. In the Audio Files workspace or the Audio Montage workspace, select Analysis > 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.
Metering Oscilloscope Oscilloscope The Oscilloscope offers a highly magnified view of the waveform around the playback cursor position. In the Audio Files workspace or the Audio Montage workspace, select Analysis > Oscilloscope. If you are analyzing stereo audio, the Oscilloscope normally shows the separate levels of the two channels.
Writing Operations This chapter describes the CD/DVD writing processes in WaveLab Elements. This chapter assumes that the respective preparations have been completed, and that you are ready to execute 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, in the Audio Montage workspace, open the CD window, and select CD > Write Audio CD.
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 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. Eject optical medium Ejects the optical medium present in the selected drive.
Writing Operations Erase Optical Media Dialog 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 disc is ejected after the write process. Erase Optical Media Dialog In this dialog, you can quickly or fully erase the disc before writing. In the Write Audio CD dialog, click the eraser icon. Quick erase Erases the table of contents of the disc.
Writing Operations About Writing Audio Montages 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.
Writing Operations About Writing Audio Montages 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.
Writing Operations About Writing Audio Montages In the Audio Montage workspace, in the CD window, select the track for which you want to edit the CD-Text, and select Functions > Edit CD-Text. Copies the name of the CD track start marker to this field. Copies the name of each CD track start marker to the title field of each CD track. Copies the text to all tracks located after the current one. Scroll bar Use the scroll bar to navigate across all CD-Texts.
Writing Operations Data CD/DVD Projects Data CD/DVD Projects A data CD/DVD project can be used to compile and write a data-only CD, DVD, Blu-ray, or to write to ISO image. You can enter a name for your disc and change the disc file structure before writing your data to a CD, DVD, Blu-ray, or ISO image. Creating a Data CD/DVD Project A data CD/DVD project can be used to compile and write a data-only CD, DVD, Blu-ray, or to write to ISO image. PROCEDURE 1. In any workspace, select Global > Data CD/DVD.
Writing Operations Data CD/DVD Projects Data CD/DVD Dialog In this dialog, you can create a data CD/DVD project, and write it to CD, DVD, Blu-ray, or ISO image. In any workspace, select Global > Data CD/DVD. Media 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 a size closest to your requirements. Volume name Specify the volume name of the CD/DVD.
Writing Operations Data CD/DVD Projects 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 CD/DVD or ISO file. In the Data CD/DVD dialog, click the Write Data CD/DVD icon. Device Here, select the disc writer 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 media. NOTE On the Mac, open WaveLab Elements without a media in the drive.
Writing Operations About Audio CD Formats ISO file name When ISO Image is selected in the Device menu, specify the file name and file location of the ISO file in the text field. Speed Here, select the writing speed. The highest speed depends both on the capabilities of your writing device and of the media present in the device. Test only, do not write If this option is activated, clicking OK initiates a simulation of writing the CD. If this test is passed, the real write operation will succeed.
Writing Operations About Audio CD Formats 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 stored in one big file. This is different from hard disks, for example, where each file is stored separately.
Writing Operations About Audio CD Formats 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. Event Description 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.
Writing Operations About Audio CD Formats 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.
Writing Operations About Audio CD Formats 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.
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. An example of this would be an organ sound.
Loops About Refining Loops • Short loops are difficult to position within the sound. Try to position them near the end. NOTE More information about looping in general, and the exact capabilities of your sampler in particular can be found in the manual of the sampler. Creating a Basic Loop PROCEDURE 1. In the Audio Files workspace, select the audio section that you want to loop. 2. Right-click the top of the ruler, and select Create loop from selection. 3. On the Transport bar, activate Loop. 4.
Loops About Refining Loops 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.
Loops About Refining Loops Refining Loops You can refine loops using the Loop Tweaker tool. PREREQUISITE Set up a basic loop. PROCEDURE 1. In the Audio Files workspace, select the loop that you want to refine by clicking between its loop start and loop end marker. 2. Select Process > Loop Tweaker. 3. Refine your loop using the settings in the Loop Tweaker tool. 4. Click Apply.
Loops About Refining Loops Automatically Detect Good Loop Points The Loop Tweaker tool can automatically search for good loop points. PROCEDURE 1. In the Audio Files workspace, select the loop that you want to refine by clicking between its loop start and loop end marker. 2. Select Process > Loop Tweaker. 3. On the Loop points adjustment tab, make sure that Link start and end points is deactivated. 4. In the Automatic search section, specify the Aimed correspondence and the Search accuracy. 5.
Loops About Refining Loops Set up a basic loop and open the Loop Tweaker tool. PROCEDURE 1. On the Loop points adjustment tab, in the Temporary memories section, select M. 2. Select one of the five memory slots. About Crossfades in Loops Crossfading is useful to smooth the transition between the end of a loop and its beginning, especially when using material that does not naturally loop. Sometimes it is impossible to find a loop that does not cause any glitches.
Loops About Refining Loops 7. 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 many 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.
Loops About Refining Loops Loop Points Adjustment Tab The top of this dialog shows the beginning and the end of the waveform between the loop markers. The bottom of this dialog offers the following options: Loop End - Green Arrows Move the loop end points to the left/right. Loop End - Yellow Arrows Invokes an automatic search for the nearest good loop point to the left/right of the loop end point and moves the start point to that position.
Loops About Refining Loops Display processed audio If this option is activated, the display shows a preview of the waveform after crossfading. If deactivated, you see what the waveform looks like without crossfading. This option only makes sense after you have set up a crossfade and clicked Apply. 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.
Loops About 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 section length of the audio file to be used in the crossfade. Generally, you want the crossfade to be as short as possible, with an acceptable result: • Using a long crossfade smoothens the loop. However, more of the waveform is processed, which changes its character.
Loops About Refining Loops Post-Crossfade Tab Crossfade audio after loop with audio of loop To enable crossfading, activate this checkbox. The crossfade is applied when you click Apply. Length Determines the section length of the audio file to be used in the crossfade. Generally, you want the post-crossfade to be as short as possible, with an acceptable result: • Using a long post-crossfade smoothens the loop. However, more of the waveform is processed, which changes its character.
Loops About Looping Seemingly Unloopable Audio About Looping Seemingly Unloopable Audio 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 sounds that seem unloopable. 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.
Loops About Looping Seemingly Unloopable Audio Loop Tone Uniformizer Dialog This dialog allows you to create sounds that loop from audio that seems unloopable. These are normally sounds that constantly decay in level or continuously change in timbre. In the Audio Files workspace, select Process > Loop Tone Uniformizer. The Loop Tone Uniformizer dialog consists of the following tabs: Uniformizers Tab This tab allows you to specify the methods that are used to even out the sound that you want to loop.
Loops About Looping Seemingly Unloopable Audio Slice Mixing - Number of slices The more slices you have, the more the sound changes. Chorus smoothing This processor uses a method known as phase vocoding 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.
Loops About Sample Attributes Crossfade audio before loop with audio of end of loop Enables crossfading, which is applied when you click Apply. Length Determines the section length of the audio file to be used in the crossfade. Generally, you want the post-crossfade to be as short as possible, with an acceptable result: • A long crossfade produces a smoother loop. However, more of the waveform is processed, which changes its character.
Loops About Sample Attributes 3. Optional: If you want to automatically detect the pitch of an audio selection, select an audio range, and select Detect from audio selection. 4. Specify the sample attributes. 5. Save the audio file to store 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.
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.
Importing Audio CD Tracks Import Audio CD Dialog Functions - Extract ISRC codes Reads the ISRC codes and displays them in the track list. Depending on your CD drive, this can take a while. Functions - Examine CD-Text Opens the CD-Text dialog where you can view the CD-Text. Not all CD drives support CD-Text. Functions - Extract CD-Text Extracts the CD-Text and displays a summary in the track list. Rename tracks - Name Renames the tracks according to the selected renaming scheme.
Importing Audio CD Tracks Import Audio CD Dialog Source Select the CD drive from which you want to import audio CD tracks. Speed Here, you select the writing speed. The highest speed depends on the capabilities of your writing device and of the media present in the device. Refresh If you insert a CD while the Import Audio CD dialog is open, you need to click this button to show the contents of that CD in the list. Eject optical medium Ejects the medium of the selected drive.
Importing Audio CD Tracks Import Audio CD Dialog Options Tab Trim silence If this option is activated, silence between imported tracks is removed. Only digital silence is removed, that is, samples with a zero level. Automatically refresh on CD change If this option is activated, WaveLab Elements checks for the presence of a new CD in the drive several times a second. If a new CD is found, the track list display is refreshed.
Importing Audio CD Tracks Importing Audio CD Tracks 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. Playback through Master Section If this option is activated, the audio track signal goes through the Master Section when playing back.
Importing Audio CD Tracks Searching Track Names on the internet 7. 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. 8. 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. 9. In the Output section, click the file format field, and select a file format for the imported audio files. 10. Click Save.
Importing Audio CD Tracks About Ultra-Safe Mode About Ultra-Safe Mode Sometimes, a small bit of a CD track is not properly retrieved. This depends on the quality of your CD drive. This can result in unpleasant clicks and pops. To solve this issue, you can activate the Ultra-Safe Mode in the Import Audio CD dialog options. When this option is activated, you can specify how many times each CD track is read with the same result, before it is saved to disk.
Podcasts Podcasting is a method of distributing multimedia files over the internet, for example, for playback on mobile devices and personal computers. A Podcast can be downloaded automatically, using software that is capable of reading RSS feeds. RSS (Really Simple Syndication) is a standard for distributing news and other information via the internet. An RSS news feed sends short messages on a certain topic from a specific web site.
Podcasts Podcast Workspace lower pane shows an item list of the basic feed and all episodes that are included in the Podcast. Episodes Menu In the Episodes menu, you can create, delete, and move individual Podcast episodes. New Adds a new untitled episode without any information present. Duplicate selected Adds a new episode, copying all the information from the existing episode to the new one. Delete selected Deletes the selected episode.
Podcasts Podcast Workspace Publish Menu In the Publish menu, you can define where your Podcast is going to be uploaded via FTP. Update all items on FTP Uploads/updates the XML Podcast file on the FTP server. It also uploads all media files of the item, but only if they are not yet available on the FTP server. This is the most common function to upload and update your Podcast. Update selected item on FTP Uploads/updates the XML Podcast file on the FTP server.
Podcasts Podcast Workspace Main Tab On the Main tab, you can assign parameters to your Podcast. The available parameters change, depending on whether you select a feed or an episode. Field labels in bold letters mark fields that are mandatory to fill. Title Sets the title of the feed, for example, the topic of your Podcast. Description Gives space for a further description of the feed content. Internet link (URL) The main link of the feed that the user sees.
Podcasts Podcast Workspace Extra Tab In the Extra tab, you can assign parameters to your Podcast. The available parameters change, depending on whether you select a feed or an episode.
Podcasts Global Podcast Options • Author • Owner name • Picture • New URL of Feed • Hide in iTunes • Explicit material The following parameters are available when an episode is selected: • Subtitle • Summary • Keywords (separate them with a comma) • Author • Duration • Hide in iTunes • Explicit material Global Podcast Options You can set some additional options that are valid for all Podcast windows. In the Podcast workspace, select Options > Options.
Podcasts Creating a Podcast Creating a Podcast There are several ways to create a new Podcast feed or episode. • To create a new podcast, in the Podcast workspace, select File > New. • To create a new podcast from the selected audio file, in the Audio Files workspace, select File > Export > Create Podcast from active file. • To add an audio file to an existing podcast, in the Audio Files workspace, select File > Special > Add to Podcast.
Podcasts Publishing a Podcast Publishing a Podcast You can upload a Podcast from within WaveLab Elements directly to your FTP server. PREREQUISITE Set up your FTP settings within WaveLab Elements. PROCEDURE 1. 2. In the Podcast workspace, select the Publish menu, and select one of the following options: • Update all items on FTP • Update selected item on FTP • Upload/Replace all items on FTP • Upload/Replace selected items on FTP Check if the FTP settings are correct, and click OK.
Podcasts FTP Site Dialog User name The login name to your FTP server. Password The password to the login. Use Passive Mode Keep this activated and only change this if you experience problems with the FTP connection. Feed file name (with path) The Podcast file name that is displayed on your FTP server (extension .xml), including the relative path. File name and path are part of the final public internet address of the Podcast, so you may want to avoid long names.
Podcasts Checking the Podcast 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, in the Podcast workspace, select Publish > View XML source document. • To open your default internet browser and receive the Podcast that you have just published from the internet, in the Podcast workspace, select Publish > View published Podcast.
Customizing Customizing means making settings so that the program behaves and looks the way that you want it to. Customizing the Wave Window and the Montage Window You can style the wave/montage window to your liking, by adjusting colors of waveforms, background, cursor lines, etc., and changing the look of the ruler and other window details. This helps you find your way through the audio file or audio montage. Customizing can be done in the following ways: • By changing the default style.
Customizing Customizing the Wave Window and the Montage Window 3. Specify a color using the color picker or the RGB fields. 4. Click OK. Assigning Custom Colors According to Conditions You can have different color schemes automatically applied to different clips, according to their names or properties of their audio files. IMPORTANT If you redefine colors, be careful not to choose colors that cause some elements to disappear. For example, when having black marker lines on a black background.
Customizing Customizing the Wave Window and the Montage Window • To copy all color settings of a custom color setting, drag the name of a custom color setting onto another custom color name, and click OK. Audio Montage Colors Dialog In this dialog, you can specify custom colors to clips and parts of a clip in the montage window. In the Audio Montage workspace, select Options > Colors. Parts list Shows parts that can be colorized. Click a part to edit the color.
Customizing Customizing the Wave Window and the Montage Window Red/Green/Blue Lets you specify the red, green, and blue components of the RGB color spectrum. Copy color Copies the current color to the clipboard. Paste Pastes the color from the clipboard. This style is used if these conditions apply Lets you define conditions under which a certain color style is applied. File extension is any of If this option is activated, the color style is applied to clips referencing a file with the specified extension.
Customizing Customizing the Wave Window and the Montage Window Clip colors The following clip types are available: Crossfade region Allows you to set the background color for overlapping clip sections. Default The default colors, used for clips for which you have not selected any specific color. Locked The colors used for all fully locked clips. Muted The colors used for all muted clips. Custom These options correspond to the items on the color submenus.
Customizing Customizing the Wave Window and the Montage Window Channel separator (stereo clip) The line dividing the two sides in a stereo clip. Clip name The name label of the clip. Focused clip name The name label of the focused clip. Focused clip name background The name label background of the focused clip. Miscellaneous Background top/bottom The background colors of the track view for area without a clip. Background (selected range) top/bottom The background colors in selected ranges.
Customizing Customizing the Wave Window and the Montage Window Audio Files Colors Dialog This tab in the Audio file editing preferences dialog allows you to specify custom colors to parts of the wave window. In the Audio Files workspace, select Options > Audio file editing preferences, and select the Style tab. Styles list Lets you select the default style and conditional styles. Parts list Shows parts that can be colorized. Click a part to edit the color.
Customizing Customizing the Wave Window and the Montage Window Color picker Lets you select the color for the selected part. Click the surrounding circle to select the hue. Click in the triangle to adjust the saturation and lightness. Red/Green/Blue Lets you specify the red, green, and blue components of the RGB color spectrum. Copy color Copies the current color to the clipboard. Paste Pastes the color from the clipboard.
Customizing Customizing the Wave Window and the Montage Window Left/Right channel Waveform The waveform color. Waveform (selected) The waveform color of the selected part of the waveform. Waveform outline The outline color of the waveform. Waveform outline (selected) The outline color of the selected part of the waveform. Background top The color of the background top. Background top (selected) The color of the selected part of the background top. Background bottom The color of the background bottom.
Customizing About Customizing Shortcuts End of file indicator The color of the end of the file indicator. Time ruler style The color of the time ruler and its style. Time ruler font The color of the font on the time ruler and the font size. Level ruler style The color of the level ruler, its style, and transparency. Level ruler font The color of the font on the level ruler and the font size.
Customizing About Customizing Shortcuts • You can define one key shortcut per command. Each shortcut can be a sequence of up to four keystrokes. • To reset some or all types of shortcuts to their factory defaults use the Reset button. Defining Key Sequences You can define key sequences for a keyboard. PREREQUISITE On Mac, commands for the main menus must be of a single key command. When using multiple key stroke commands, make sure that the key commands do not interfere with each other.
Customizing About Customizing Shortcuts Customizing Menus and Command Bars You can individually decide whether to hide or show command bar icons. This way you can customize command bars by removing unwanted commands. PROCEDURE 1. In any workspace, select Options > Customize commands, or select Customize commands when available in tool windows or other places in WaveLab Elements. 2. To show a certain command in the command bar, activate the checkbox in the Bar column for corresponding command. 3.
Customizing About Customizing Shortcuts Customize Commands Dialog This dialog allows you to customize your own shortcuts for WaveLab Elements. It shows a list of already assigned shortcuts for WaveLab Elements commands and menu options. In any workspace, select Options > Customize commands, or select Customize commands when available in tool windows or other places in WaveLab Elements. Search by Allows you to select the part of the commands list in which the search is performed.
Customizing Plug-ins Organization Definition of Shortcuts Dialog This dialog allows you to define your own customized shortcuts for a particular function. These custom shortcuts can speed up your workflow in WaveLab Elements. In the Customize commands dialog, select a command, and click Edit shortcut. Key sequence 1st key stroke Lets you select the first key of an optional sequence of up to 4 keys. Set the focus in the key stroke field, then press the key combination.
Customizing Plug-ins Organization This is because 32-bit plug-ins cannot be used in WaveLab Elements 64 bit and reciprocally. Deactivating Plug-ins You can deactivate plug-ins. This is useful if you have plug-ins installed that you do not want to use in WaveLab Elements. Many of the DirectX plug-ins, for example, do not apply to audio and are of no relevance to WaveLab Elements. By disabling these, you make it easier to find the plug-ins that you want to use in WaveLab Elements. PROCEDURE 1.
Customizing Plug-ins Organization 3. In the plug-ins list, navigate to the plug-in that you want to add to the favorites, or use the search field. 4. Specify whether to add or remove a plug-in from the favorites, by activating/deactivating the checkbox in for the corresponding plug-in in the Favorites column. RESULT NOTE If the Favorites menu is empty, it does not appear in plug-in selection menus.
Customizing Plug-ins Organization • 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, audio montage clip, or batch processors.
Customizing Plug-ins Organization Replacing Missing Plug-ins When opening 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 the settings to be persistent for the future, activate Save the replacements as default. 3. Click OK.
Customizing Plug-ins Organization General Tab Search standard VST plug-in shared folders If this option is activated, WaveLab Elements searches VST plug-ins in the default VST plug-in folders. Information about the searched folders Clicking on the info icon opens a window in which you can see in which folders WaveLab Elements searched for plug-ins when it was launched. When you cannot find a plug-in in WaveLab Elements, this helps you to determine whether you have specified the correct folder, for example.
Customizing Plug-ins Organization However, if you use many plug-ins, too much memory could be used after a certain 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 with relative movement, and Linear. Organize Tab Plug-ins list Displays the hierarchy of the plug-ins in WaveLab Elements.
Customizing Plug-ins Organization Compress hierarchy Merges all items into a single submenu if a submenu and all its submenus contain less than a certain number of plug-ins (Threshold). Compress hierarchy - Threshold Represents the minimum number of items that are needed to compress the hierarchy. Create submenus based on prefixes Creates a submenu that is labelled as the prefix, when several items in a submenu start with the same prefix.
Configuring the Software You can configure WaveLab Elements according to your needs. About Global Preferences Global preferences are preferences that apply throughout WaveLab Elements. Before starting to work with WaveLab Elements, edit these preferences to set up WaveLab Elements according to your needs. Global Preferences Dialog This dialog allows you to view and change options that are common throughout WaveLab Elements. In any workspace, select Options (WaveLab menu on Mac) > Global preferences.
Configuring the Software About Global Preferences 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. 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. Setting location - Independent for each user Lets each user on this computer make their own preferences settings.
Configuring the Software About Global Preferences Synchronization settings - Synchronize at every launch If this option is activated, the settings are synchronized whenever WaveLab Elements is launched. Synchronization settings - Synchronize at next launch If this option is activated, the settings are synchronized the next time that WaveLab Elements is launched. Synchronization settings - Preferences handling Determines how to synchronize the preferences, that is, all settings except the presets.
Configuring the Software About Global Preferences Display tab This tab allows you change many aspects of the user interface that apply across the whole application. These options provide useful information and usability functions but can be deactivated to streamline the interface. Style Overall style Changes the overall look of the application. Button size in main command bars Increases the button size in the command bars, but not in the tool windows.
Configuring the Software About Global Preferences Maximum number of items in Recent File Manager Sets the maximum number of files that are listed in the Recent File Manager. Maximum number of items in the Recent Folders menu Sets the maximum number of files that are listed in the Recent Folder menus. Show tips when mouse stays over buttons If this option is activated, tooltips are displayed when you move the mouse cursor over markers or command bar buttons.
Configuring the Software About Global Preferences Formats tab This tab allows you to adjust settings for some of the audio formats and units that WaveLab Elements uses. 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.
Configuring the Software About Global Preferences CD Writing tab This tab allows you to set a number of parameters for CD writing. Use burnproof Fixes possible buffer underrun errors automatically, provided the CD writer supports this technology. Allow disc overflow Allows WaveLab Elements to attempt writing more data (max. 2 minutes) than the official capacity of the disc. Maximum Audio CD size Allows you to specify the maximum length for a CD.
Configuring the Software About Global Preferences Global shortcuts tab This tab allows you edit key sequences for shortcuts that are available across all workspaces. Search by Allows you to select the part of the commands list in which the search is performed. Search field Allows you to search for a command. Use wildcards If this option is activated, you can use the wildcard characters “*” and “?” for searching. “*” substitutes zero or more characters, and “?” substitutes any character.
Configuring the Software Audio File Editing Preferences Dialog Edit shortcut Opens the Definition of shortcuts dialog where you can edit the selected shortcut. RELATED LINKS: “About Customizing Shortcuts” on page 310 “Multi-User Settings” on page 333 Audio File Editing Preferences Dialog This dialog allows you to define settings for editing in the Audio Files workspace. However, these settings also effect other parts of WaveLab Elements.
Configuring the Software Audio File Editing Preferences Dialog Overview: passive range indicator also covering the waveform If this option is activated, the range indicator that is displayed in the time ruler of the overview also covers the waveform area. Unlike the time ruler indicator, it is passive and cannot be modified. Auto zoom for overviews If this option is activated on opening a file, the zoom of the overview is set to display the whole file.
Configuring the Software Settings Management 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. Style Tab This tab allows you to specify custom colors to parts of the wave window. Settings Management You can make some reference settings available to other WaveLab Elements installations.
Configuring the Software Multi-User Settings Multi-User Settings If you use multiple WaveLab Elements stations in your studio, in your school, as 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 stored on the local network, for example.
Configuring the Software Multi-User Settings WaveLab Elements stations, except the master WaveLab Elements station. This avoids having to make the above procedure on each slave station. RESULT All slave WaveLab Elements stations use the settings of the master WaveLab Elements station.
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.
Plug-in Reference Built-in Plug-ins Crystal Resampler This plug-in is a professional sample rate converter providing exceptional transparency and preservation of the frequency content. It is only available in the Master Section. NOTE This plug-in is very CPU consuming, especially in high quality modes. Sample rate (6-384 kHz) Defines the output sample rate while the input sample rate is determined by the sample rate of the active audio file or audio montage.
Plug-in Reference Built-in Plug-ins 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.
Plug-in Reference Built-in Plug-ins Volume Left/Volume Right (-48 dB to 12 dB) Governs how much of the signal is included in the left and/or right channel of the output bus. Stereo Link (OFF or LINKED) When set to LINKED, Volume Right delivers the gain that is set for Volume Left. Mix to Mono (OFF or ON) When set to ON, a mono mix of the stereo channels is delivered to the output bus. Peak Master This is a basic plug-in that minimizes peaks in your audio file, allowing a louder mix without clipping.
Plug-in Reference Built-in Plug-ins 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.
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 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.
Plug-in Reference Steinberg VST 3 Plug-ins Brickwall Limiter This plug-in 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. 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) Only signal levels above the set threshold are processed.
Plug-in Reference Steinberg VST 3 Plug-ins Chorus This plug-in is a single stage chorus effect. It works by doubling whatever is sent into it with a slightly detuned version. Rate The sweep rate can be set with the Rate knob, without sync to tempo. Width Determines the depth of the chorus effect. Higher settings produce a more pronounced effect. 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.
Plug-in Reference Steinberg VST 3 Plug-ins Compressor This plug-in reduces the dynamic range of the audio, making softer sounds louder or louder sounds softer, or both. Compressor features separate controls for threshold, ratio, attack, hold, release, and make-up gain parameters. It also features a separate display that graphically illustrates the compressor curve shaped according to the Threshold and Ratio parameter settings.
Plug-in Reference Steinberg VST 3 Plug-ins Hold (0 to 5000 ms) Sets the time the applied compression affects the signal after exceeding the threshold. Short hold times are useful for DJ-style ducking, while longer hold times are required for music ducking, for example, when working on a documentary film. Release (10 to 1000 ms or Auto mode) Sets the time after which the gain returns to the original level when the signal drops below the threshold.
Plug-in Reference Steinberg VST 3 Plug-ins Tone Lets you select a frequency range to which to apply the distortion effect. Spatial Changes the distortion characteristics of the left and right channel, thus creating a stereo effect. Output Raises or lowers the signal going out of the effect. Steinberg Gate Gating, or noise gating, silences audio signals below a set threshold. As soon as the signal level exceeds the set threshold, the gate opens to let the signal through.
Plug-in Reference Steinberg VST 3 Plug-ins Center (50 to 20000 Hz) When the Side-Chain button is activated, this sets the center frequency of the filter. Q-Factor (0.01 to 10000) When the Side-Chain button is activated, this sets the resonance of the filter. Monitor button Allows you to monitor the filtered signal. Attack (0.1 to 1000 ms) Sets the time after which the gate opens after being triggered.
Plug-in Reference Steinberg VST 3 Plug-ins features separate meters for the input, output and the amount of limiting (middle meters). Input (-24 to 24 dB) Adjusts the input gain. Output (-24 to 6 dB) Determines the maximum output level. Release (0.1 to 1000 ms or Auto mode) Sets the amount of time it takes for the gain to return to its original level. If the Auto button is activated, Limiter automatically finds an optimal release setting that varies depending on the audio material.
Plug-in Reference Steinberg VST 3 Plug-ins Filter Hi Affects the feedback loop of the effect signal and allows you to roll off high frequencies from 20 kHz down to 1.2 kHz. The button below the knob activates/deactivates the filter. Mix Sets the level balance between the dry signal and the wet signal. If MonoDelay is used as a send effect, set this to the maximum value as you can control the dry/effect balance with the send. RoomWorks SE RoomWorks SE is a lite version of the RoomWorks plug-in.
Plug-in Reference Steinberg VST 3 Plug-ins to decay quicker. Values above 100 % cause low frequencies to decay more slowly than the mid-range frequencies. Mix Determines the blend of dry (unprocessed) signal to wet (processed) signal. When using RoomWorks SE inserted in an FX channel, you most likely want to set this to 100 % or use the wet only button. StereoDelay StereoDelay has two independent delay lines with freely specified delay time settings.
Plug-in Reference Steinberg VST 3 Plug-ins maximum value (100 %) as you can control the dry/effect balance with the send. StereoEnhancer This plug-in expands the stereo width of (stereo) audio material. It cannot be used with mono files. Width Controls the width or depth of the stereo enhancement. Turn clockwise to increase the enhancement. Delay Increases the amount of differences between left and right channels to further increase the stereo effect.
Plug-in Reference Steinberg VST 3 Plug-ins either shelving filters (three types), or as a Peak (band-pass), or Cut (low-pass/high-pass) filter. Band 1 Gain (-20 to +24 dB) Sets the amount of attenuation/boost for the low band. Band 1 Inv button Inverts the gain value of the filter. Use this button to filter out unwanted noise. While looking for the frequency to omit, it sometimes helps to boost it in the first place (set the filter to positive gain).
Plug-in Reference Steinberg VST 3 Plug-ins Band 2 Inv button Inverts the gain value of the filter. See also the description of the Invert button for Band 1. Band 2 Freq (20 to 20000 Hz) Sets the center frequency of the mid 1 band. Band 2 Q-Factor (0.5 to 10) Sets the width of the mid 1 band: the higher this value, the narrower the bandwidth. Band 3 Gain (-20 to +24 dB) Sets the amount of attenuation/boost for the mid 2 band. Band 3 Inv button Inverts the gain value of the filter.
Plug-in Reference Steinberg VST 3 Plug-ins Output (-24 to +24 dB) This knob on the top right of the plug-in panel allows you to adjust the overall output level. Auto Gain button When this button is activated, the gain is automatically adjusted, keeping the output level constant regardless of the EQ settings. Spectrum button Shows the spectrum before and after filtering. Reset button Resets the EQ settings. Using Modifier Keys When using the mouse to change the parameter settings, modifier keys can be used.
Plug-in Reference Steinberg VST 3 Plug-ins 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 (-24.0 to 48.0) Determines the compression amount. The higher the input gain setting, the more compression is applied.
Plug-in Reference Steinberg VST 3 Plug-ins Side-chain button (if supported) Activates/deactivates the internal side-chain filter. The input signal can then be shaped according to set filter parameters. Internal side-chaining is useful for tailoring how the compressor operates. Filter section (LP, BP, and HP) When 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 Sets the center frequency of the filter.
Plug-in Reference Steinberg VST 3 Plug-ins Threshold (-60 to 0 dB) Determines the level where Gate is activated. Signal levels above the set threshold trigger the gate to open, and signal levels below the set threshold close the gate. State LED Indicates whether the gate is open (LED lights up in green), closed (LED lights up in red) or something in between (LED lights up in yellow). Side-Chain button Activates the internal side-chain filter.
Plug-in Reference Steinberg VST 3 Plug-ins graphically illustrates the compressor curve shaped according to the Threshold, Ratio, and Make-Up Gain parameter settings. It also features meters for input gain and gain reduction and a program-dependent Auto feature for the Release parameter. Threshold (-60 to 0 dB) Determines the level where the compressor kicks in. Signal levels above the set threshold are affected, but signal levels below are not processed.
Plug-in Reference Steinberg VST 3 Plug-ins Soft Clip button If this button is activated, the limiter acts differently. When the signal level exceeds -6dB, Soft Clip starts limiting (or clipping) the signal softly, at the same time generating harmonics which add 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 the original level when the signal drops below the threshold.
Plug-in Reference 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.
Plug-in Reference Sonnox Restoration Toolkit 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. Fine Adjust button Enables fine tuning of the buzz frequency control.
Plug-in Reference Sonnox Restoration Toolkit 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.
Plug-in Reference Sonnox Restoration Toolkit 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.
Plug-in Reference Sonnox Restoration Toolkit Input Gain Trim Touch Pad (dB) 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.
Plug-in Reference Sonnox Restoration Toolkit 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.
Plug-in Reference Sonnox Restoration Toolkit 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.
Plug-in Reference Sonnox Restoration Toolkit 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.
Plug-in Reference Legacy Plug-ins 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.
Plug-in Reference Dithering Plug-ins 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 be still be 32 bit in size, although only 16 bits of information will have significance.
Index A F P AIFF 101 Analysis 130, 140, 248, 252 Attributes 124, 125, 282 Audio File Format 101, 104, 115 Audio Files 101 Audio Montage 71, 155, 156, 158 Audio selection 23, 107, 114, 227 Fades 146, 147, 183 Favorite files 57 File browser 28 FLAC 101, 110 Focused clip 167, 170 FTP 297, 298 Full screen view 72 B G Backup 59 BWF 124 Group 30, 316 C Help 5 Pan 179, 182 Peak 31, 338 Picture 55, 124 Pitch 134, 152 Playback 77, 81, 93, 95 Plug-in 195, 316 Plug-ins 188, 189, 217, 219, 314, 335, 340, 36
VST 340, 355 VST Audio Connections 8, 9, 10 W Wave window 301 Waveform 129 WMA 101, 111 Workspace 70, 71, 72, 291 Writing Operations 254, 257, 258, 260, 263 Z Zoom 45, 49 370
