Steinberg WaveLab 3 Operation Manual
Have a look at the manual Steinberg WaveLab 3 Operation Manual online for free. It’s possible to download the document as PDF or print. UserManuals.tech offer 523 Steinberg manuals and user’s guides for free. Share the user manual or guide on Facebook, Twitter or Google+.
WAVELAB Off-line processing 9 – 211 • Open the Audio Properties dialog from the Edit menu and make the desired set- tings (see “Editing audio properties” on page 127). • Open the Audio File Format dialog by selecting “Save as” on the File menu and clicking the Properties button in the lower section of the dialog (see “Saving in another format (Save as…)” on page 117). Sample rate conversion is always applied to the entire file. Any selection you have made is not used in any way for this operation. Effect Morphing Effect Morphing can gradually mix two audio ranges that have different ef- fects/processing applied to them. This allows you to smoothly “morph” from one effect to another, or from an unprocessed audio segment to a processed audio segment. Basic operation Effect Morphing always involves two audio ranges. Normally, this is in fact two versions of the same audio range, of which one is processed and the other unprocessed. You set it up as follows: 1.Start by making a selection range over the time you wish the effect mor- phing to take place. 2.Now process this range using any Master Section effect(s) (see “Render- ing” on page 239), or use some other off-line processing. You cannot use processing/effects that alter the length of the selection, e.g. time stretching.
WAVELAB 9 – 212 Off-line processing 3.Open the Effect Morphing dialog from the Edit menu. The dialog consists of a waveform display (that shows the current selection) with an envelope curve (currently a straight line) in the middle. By adding points to the envelope, you can create a curve that is used for the morphing process, see “Setting the Envelope” on page 214. 4.Make sure that “Unprocessed selection” is selected in the dialog. The current processed selection can now be mixed with an unprocessed version of the same selection. This is done by utilizing WaveLab’s Undo memory. •The last Undo memory is read by WaveLab and this is used as the “sec- ond” audio range involved in the morphing process. •The vertical ruler to the left shows as a percentage ratio between the two audio segments (processed/unprocessed), ranging from 0:100 (100% processed) to 100:0 (100% unprocessed). As an example, let’s say you would like to start with the selection 100% processed, and then gradually fade in the unprocessed range so that when the selection ends the audio will be 100% unprocessed.
WAVELAB Off-line processing 9 – 213 This can be done by positioning the two envelope points like in the picture below. •If you now click “Apply”, the processing will create a perfectly linear tran- sition between the processed and unprocessed audio. It will start out 100% processed, gradually fading in the unprocessed audio (simultaneously fading out the processed audio at the same time) so that at the middle of the selection the ratio between the processed/unprocessed audio will be 50:50, and at the end it will be 100% unprocessed! This transition is determined by the curve, which in this case was a simple linear curve from maximum to minimum values. You can create more com- plex curves by adding points which is described below. In fact, you can use Effect Morphing as “effect automation” across the range of a whole file if you like. By deciding where you wish the effect to be applied, you can draw a corresponding curve where you also have full control over the effect/dry balance and the fade-in and fade-out length! Mix current selection with clipboard Morphing can also take place between two differently processed audio segments. In this case you would proceed as follows: 1.Process the selection. 2.Use [Ctrl]+[C] to copy the result onto the clipboard. 3.Undo the processing. 4.Process the selection again, this time with a different effect. 5.Open the Effect Morphing dialog and make sure that “Clipboard” is se- lected in the “Mix current selection with” section. 6.Apply the desired morphing curve. Now the curve will enable you to morph between two different processing methods!
WAVELAB 9 – 214 Off-line processing • The clipboard could also be a copy from another wave file, but the clipboard size and the selection size must match. Setting the Envelope By adding points to the envelope curve you can create an envelope curve that governs how the two audio ranges are mixed over the time line. 1.Double click on the envelope curve to add a point. A point will be added where you click. 2.If you click on the point it will be selected (red color) and by click-drag- ging you can move it in any direction. The curve changes accordingly in the waveform display. •When you point the mouse in the display (or move a point), the current position and level change is shown continuously in the field above the dis- play. 3.You can keep adding as many points as you like to the curve. You cannot move a point past a another point in the horizontal direction. 4.You can select several points using [Shift] and move them together. By clicking on the envelope curve itself (not on a point) you can move the whole curve up or down. Envelope functions in the dialog The functions are selectable in three ways (the same options in all cases): • From the Functions menu. • By clicking the icons above the display. • By right-clicking in the display. The following options are available in the dialog: Option Description Deselect all points This will deselect all selected points. Delete selected points Deletes all selected points. Reset selected points Resets all selected points. Reset whole envelope This removes all added points. Flip vertical This will flip the current envelope vertically (in the level axis). Flip horizontal This will flip the current envelope horizontally (in the time axis). Smooth envelope This allows you to create spline curves, for smoother transitions.
WAVELAB Off-line processing 9 – 215 Support for reNOVAtor™ If this audio restoration plugin is installed on your system, you can select it from the Tools menu. This menu option is enabled if a wave window is open and an audio selec- tion is active (it can be both channels or a single channel). Selecting “reNOVAtor…” from the menu opens this plug-in and the active audio range is edited. The plug-in window is non-modal, hence you can work in WaveLab without closing the plug-in. Go to http://www.algorithmix.com/en/renovator.htm for more info.
WAVELAB 10 – 218 Master Section Introduction The Master Section is the heart of WaveLab’s “Real-time Engine” and the final block in the signal path, before the audio is sent to the audio hard- ware (or to an audio file on disk). This is where you adjust master levels, add effect processors and dither. The settings and processors in the Master Section are taken into account in the following cases: • When playing back an audio file in a Wave window. • When playing back an Audio Montage. Note that the Master Section effects are global for all clips and tracks in a Montage, as op- posed to the individual clip or track effects. • When using the Render function with any of the above. The Render function writes the outputs of the Master Section to a file on disk, allowing you to apply Master Section processing to a Wave or mix down a Montage to an audio file. In case of a multichannel Montage, several files can be created, one for each channel in the selected configuration. See “Rendering” on page 239. • When using the Audio Input plug-in. See “Audio Input” on page 251. About the Master Section in multichannel mode If you are working in a Montage in multichannel mode, the Master Section looks and works slightly differently. See “Multichannel configurations in the Master Section” on page 524. However, the basic procedures are the same as described on the following pages. About the “Use Master Section” option If you don’t need the Master Section at all, you can turn it off completely by deactivating the Use Master Section setting on the Options menu. This will save processor power, but makes the following sections of the pro- gram unavailable: • The Master Section window, including processors and dithering. • The Audio input and External Gear plug-ins. • Several functions of the Monitor window. • The Batch Processor. • Audio CD Burning from the Audio Montage.
WAVELAB Master Section 10 – 219 The Master Section window To open the Master Section window, you can either select it from the Specialized Windows submenu on the View menu, click the Master Sec- tion button on the Window controller bar or press [Ctrl]-[F9]. • When you open the Master Section, active effect processor panels will also appear (if they haven’t been hidden). To close the Master Section, select it from the menu again (or click the Master Section button again). The Effects pane allows you to add and manage effect processors. See “The Effects pane” on page 225. The Master Level pane. This is where you adjust the final output level. See “The Master level pane” on page 222. The Dithering pane lets you add dithering when mixing down to a lower bit resolu- tion. See “The Dithering pane” on page 231.Indicates that the level faders are active (any set- ting other than 0.00), or that the Mono button is activated. There are eight slots for in- serting effect processors. Effects can be turned on or off with the On buttons, and reordered by dragging the slots. Options for the internal dith- ering algorithm. Level faders. Indicates that an effect is activated. Here you can insert a post- master fader effect, such as Apogee UV22HR or other dithering plug-ins, replacing the internal dithering. Click this to render the output to a file. Activate this for mono output. Indicates that dithering is on.
WAVELAB 10 – 220 Master Section Showing and hiding panes You can independently hide the three Master Section panes in any com- bination: • Clicking on the Hide button for a pane will “fold” it, leaving only the pane title bar visible. This is useful for saving screen space, if you e.g. don’t need to see the Dithering settings. Note that the red indicator for the pane will still be visible when the pane is hidden, allowing you to see at a glance whether effects, master volume or dithering are used or not. • To show a hidden pane, click its Hide button again. • Right-clicking (or [Ctrl]-clicking) a Hide button will hide the other two panes and bring the clicked pane to view (if hidden). • Double clicking a Hide button will hide or show that pane and the pane(s) b elow it.