Steinberg WaveLab 3 Operation Manual

							WAVELAB
Plug-in Processor Reference 33 – 771
The whole Declicking process can be visually monitored in the Input and 
Output displays of the DeClicker window (showing the incoming audio 
and the processed - DeClicked - audio, respectively). This helps you to 
adjust the parameters. Furthermore, if you activate the Audition button, 
only the removed material will be heard (and shown in the Output display).
Make sure that no low-pass filter has been applied to your audio material 
before you edit it with DeClicker. This may affect the detection of clicks.
Parameters
Parameter Description
Audition button When this is activated, only the removed material will be heard. The 
Output display will also show the waveform image of the removed mate-
rial in this mode.
Classic When this is activated, the DeClicker attempts to remove both audible 
clicks and crackle noise. When it’s deactivated, only single clicks will be 
removed while crackles (rapidly repeated clicks) are ignored. Which 
mode to choose depends on the source material. Note also that Classic 
mode requires less CPU power.
Threshold This setting determines the amplitude (level) required for a click to be 
detected. In many cases, DeClicker’s sensitive algorithms identify a lot 
more clicks than you can actually hear. To avoid wasting processing 
power to remove inaudible clicks, raise this parameter to a high value, 
and then lower it until all the artefacts that you actually want removed 
are detected. The lower the setting, the more clicks will be detected but 
also the higher the risk of audible artefacts. If in doubt, activate Audition 
mode and check that the removed material doesn’t contain any actual 
musical or rhythmical information, etc.
DePlop This setting controls a special highpass filter which works on signals 
below 150 Hz. It cuts away the “plop noise” which sometimes appears 
after eliminating a click. The slider adjusts the filter frequency (off - 150 
Hz).
Note: This function is best applied to older recordings, which often use 
a narrow frequency range. Be careful when applying this function to 
modern recordings, as you may risk removing parts of the useful signal! 
Quality This determines the quality of the click removal and audio restoration, 
with “4” being the best quality setting. Please note that selecting higher 
quality settings also means that more processing power is consumed.
Also, note that in some situations it might be more productive to use a 
lower Quality value. One example of this is when two clicks follow each 
other in quick succession or when you tackle a click in a low level part 
that is followed by a loud part. 
						

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33 – 772 Plug-in Processor Reference
Tips and Tricks
• By combining Vintage Mode and extreme Threshold and DePlop settings, you 
can create an interesting effect which “softens” material with particularly sharp at-
tacks, e.g. percussion or brass.
• If you have material with digital distortion (clipping), try applying DeClicker. While 
it can’t do miracles, it can at least make some improvement to the overall “hard-
ness” introduced by the distortion.
DeNoiser
The DeNoiser plug-in lets you suppress noise without affecting the ge-
neral sound quality. Or, in tech talk, the DeNoiser removes broad band 
noise from arbitrary audio material without leaving any “spectral finger 
print”. The algorithm that this plug-in is based on has the ability to track 
and adjust itself to variations in background noise. This means the noise 
can be diminished without side effects, preserving the spatial impression, 
and without letting the result become “colorless”. Many years of research 
were invested in developing the methods used.
Typical applications for the DeNoiser include cleaning or remastering re-
cordings from old tape or vinyl, or noisy live recordings.
How DeNoiser works
DeNoiser is based on spectral subtraction. Each section of the frequency 
spectrum that has an amplitude below the estimated noise floor, is re-
duced in intensity by use of a spectral expander. The result is a noise re-
duction that does not affect the phase of the signal. 
Mode Which Mode to select depends on the source material. Standard mode 
is suitable for a wide variety of source material - try this option first. Vin-
tage mode is suitable for restoring “antique” recordings (with limited 
high frequency content), while Modern mode is best suited for contem-
porary recordings with a wide frequency range (putting greater empha-
sis on distinguishing clicks from other strong impulses in the audio 
material).
Bypass This will bypass the effect, allowing you to compare the DeClicked and 
unprocessed material. Parameter Description 
						

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Plug-in Processor Reference 33 – 773
The figure below shows the signal flow:
The solid line represents the actual audio signal, while the dotted lines represent control 
signals
The signal is continuously analyzed by the first module in the chain, to es-
timate the noise floor at any given time. This is sufficient when the noise 
level is constant or modulates slowly. When the noise level varies rapidly, 
the Ambience and Transient analyses help adjust the response of the 
noise reduction unit, allowing transient-rich material to maintain its liveli-
ness and natural ambience.
• When you process audio in DeNoiser, the plug-in will need a short time 
(less than a second) to analyze the material and set its internal parameters.
Since you would not want to include this short “startup sequence” in the final result, you 
should make it a habit to first play back a short section of the audio, thereby letting De-
Noiser “learn” the noisefloor, and then stop and start over again from the beginning. The 
plug-in then remembers the settings internally.
The Noisefloor Display
The display to the left in the DeNoiser window is crucial when making set-
tings. It contains the following three elements:
• The dark green spectral graph.
This shows the spectrum of the audio currently being played back. The horizontal axis 
shows the frequency (linear scale). The low frequencies are visible on the left side, the high 
ones on the right side. The vertical axis shows the signal amplitudes, thus the level (dis-
played as a logarithmic dB scale).
• The yellow line.
This is a spectral estimation of the noise floor. The average of this value is shown numeri-
cally below the display.
Noise 
Reduction
Noise Floor  Ambient 
AnalysisTransient 
Analysis
Input Output
Level
Noise Reduction
Ambience 
						

							WAVELAB
33 – 774 Plug-in Processor Reference
• The light green line.
This is simply a graphic representation of the Offset parameter.
The light green Offset line should be adjusted so that it appears as close 
above the yellow noise floor graph as possible. The dark green spectrum 
plot is there to help you fine-tune the Offset setting, so that only the noise 
is removed, not parts of the signal (ideally, the light green line should be 
between the yellow line and the spectrum plot).
Parameters
Parameter Description
Freeze If you activate this button, you “freeze” the noise floor detection pro-
cess. The yellow noise floor graph in the display will hold its current 
value (as will the numeric noise floor value display below) until you de-
activate Freeze. This allows you to take a closer look at the readings.
Reduction Governs the amount of noise reduction. The display below this fader 
shows the amount of dB by which the noise level is being reduced. The 
final result also depends on the Ambience parameter, and on the auto-
matic Ambience and Transient analysis of the original material, as de-
scribed above.
Ambience This parameter is used to specify a balance between the noise suppres-
sion and the amount of natural ambience, which is essential for a natural 
result. With a low Ambience setting, the sound can become somewhat 
lifeless and sterile. A high setting, on the other hand, preserves more of 
the ambient character of the sound, but the noise suppression is less 
effective.
Offset This parameter serves as a threshold, governing the overall level at 
which the noise reduction is performed. For optimal noise reduction 
with a minimum of sound coloration, this parameter should be set to a 
value slightly above the noise floor level. To help you do this, the offset 
value is shown as a light green line in the noisefloor display, while the 
noise floor is shown as a yellow line.
A/B/Store These are described below this table. 
Classic When this is activated, a less CPU-intensive version of the DeNoiser al-
gorithm is used. Use Classic mode if you are short on processing 
power. However, for optimum noise suppression, we recommend that 
you deactivate Classic mode.
Bypass When this is activated, the signal passes through the plug-in but you 
don’t hear the results of the processing. Use this to compare the sound 
with and without processing. Note: the analysis is always performed, re-
gardless of the Bypass switch. This allows you to monitor the noise 
floor, spectrum and level in the spectrum display. 
						

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Plug-in Processor Reference 33 – 775
Using the A/B setups
With the A/B buttons you can make instantaneous switches between two 
different DeNoiser setups, allowing you to quickly try out and compare 
different configurations. You can also use this feature for separate set-
tings for two different sections of an audio recording. Proceed as follows:
1.Make the settings you want for setup A.
2.Click on [Store] and then on the [A] button.
3.Make the settings you want for setup B.
4.Click on [Store] and then on the [B] button.
Now the two setups are stored, and you can switch between them simply by clicking [A] or 
[B].
Ducker
This is a special VST plug-in that can only be used as a Montage clip ef-
fect. 
It uses the “Route to Upper Track” feature which can be found on the 
Track menu. The Ducker is a plug-in that can control (modulate) the vol-
ume of clips placed on a track with the signal of one or more clips placed 
on the next adjacent track below it. Let's say you have a clip containing 
music, and you want to add a voice-over to that clip. First place the music 
clip on track 1 and assign the ducker plug-in to this clip. Then place the 
voice-over clip(s) on track 2. On the Track menu (for track 2), select the 
“Route to Master Section and Upper Track” item. Now the signal of track 
2 will be sent to the Master Section as usual, but also to the Ducker plug-
in on track 1. The clip volume on track 1 will now be automatically lowered 
by the Ducker whenever there is a signal (in this example the voice-overs) 
on track 2, and raised again when the signal stops. Note that it is possible 
to use mono or stereo tracks for both the modulating and the upper track.
Parameter Description
Threshold This sets the loudness threshold that will trigger 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 This sets the amount of level reduction that is applied to the clip on the 
upper track.
Fall Time This sets the time it takes for the level to change from 0dB to the set 
damping level. 
						

							WAVELAB
33 – 776 Plug-in Processor Reference
Externalizer
The Externalizer is a plug-in designed for headphone monitoring. It im-
proves the sound and stereo localization by simulating the effect of two vir-
tual speakers in an ideal listening position. A common problem when 
listening to music through headphones is the phenomenon known as “in-
head localization”. This means that each sound source appears to be lo-
cated inside your head, on an imaginary line between the ears. Naturally, 
this is no place where a sound source would ever be situated, and the re-
sult is therefore perceived as unnatural. However - headphone monitoring 
doesn’t have to be this way! Anyone who has listened to binaural record-
ings, those made with a “dummy head” and two microphones, will confirm 
this, and will probably remember the transparent and natural sound impres-
sion for a very long time. Steinberg Externalizer provides this experience 
with any audio material, by recreating the effect of two virtual speakers in 
an ideal listening position. This will transform any recording into something 
that is a pleasure, rather than a pain, to listen to on headphones. 
Since the Externalizer window only has one control, it is very simple to 
use:
Listen to a stereo recording in your headphones and use the fader to ad-
just the sound to your liking. When you raise the fader, you will gradually 
move the virtual speakers apart and away from your head, as indicated in 
the display.
Hold Time When the modulating signal falls below the set threshold, this setting 
determines how long the level will stay reduced before it starts rising to 
normal level again.
Rise Time Controls how long it takes for the reduced level to rise to normal level 
when the modulating signal falls below the set threshold (after the Hold 
time). 
Mix Mode If this is activated, the Ducker will output a mix of the two tracks. This is 
only useful if the “Route to Upper Track only” mode has been selected 
for the modulating track. Then this feature can be used for processing 
several clips through the same plug-in chain, if more plug-ins have been 
assigned after the Ducker on the upper track. Note that the mixed out-
put is controlled by the upper track. If this is not playing a clip, both of 
the tracks will be silent. Parameter Description 
						

							WAVELAB
Plug-in Processor Reference 33 – 777
MultiBand Compressor
This is a high-quality multi-band compressor, especially suited for profes-
sional mastering. It will split the signal into up to five frequency bands, and 
process each band with its own freely adjustable compressor character-
istic. 
The MultiBand Compressor window is divided into two main sections: the 
Frequency Band editor and the Characteristic display. You can specify 
the level, bandwidth and compressor characteristics for each band by us-
ing the various controls.
The Frequency Band editor
The Frequency Band editor is where you set the width of the frequency 
bands as well as their level before compression. The horizontal value scale 
below the Frequency band display indicates the frequency with the maxi-
mum value corresponding to half the current sample rate. The vertical 
value scale indicates the level setting (in dB) of each frequency band.
•You can drag the diamond-shaped handles at the bottom to adjust the 
frequency range occupied by each band.
To add a new band (up to the maximum of five bands), drag the leftmost or rightmost fre-
quency handle towards the middle of the display. Similarly, to remove the lowest or highest 
frequency band, drag its upper or lower frequency handle, respectively, to the very edge of 
the display.
If you hold down the [Shift] key and click on a frequency handle, all bands will be set to the 
same bandwidth (in octaves). The exact bandwidth depends on the number of bands cur-
rently used.
•By dragging the diamond-shaped handles on top of each frequency band 
you can cut or boost the input gain by +/- 12dB before compression.
To reset a Level handle to 0 dB, hold down the [Shift] key on your computer keyboard and 
click on the handle.
For both types of handles, you can hold down [Ctrl] and drag to change 
the values in smaller steps. 
						

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33 – 778 Plug-in Processor Reference
The Characteristic display
By adding breakpoints and drawing curves you set the compressor cha-
racteristic. Before you start using the Characteristic display, you have to 
select the frequency band you want to process. This is done in the Fre-
quency Band editor by clicking in the area inside the frequency band. 
A selected band is highlighted for editing both in the Frequency Band edi-
tor and the Characteristic display. If you select another frequency band, the 
previously edited characteristic is still shown in the Characteristic display, 
but it is no longer highlighted, and is editable only when you select it again.
To edit the compression curve for the selected frequency band, you add 
and adjust breakpoints in the Characteristic display.
• Clicking anywhere on the line will add a breakpoint.
• To remove a breakpoint, hold down [Shift] and click on it.
• The first breakpoint at which the line deviates from the straight diagonal will be 
the threshold point. 
• Creating a curve in the area below the diagonal input/output line will cause com-
pression. Compression decreases the output level in relation to the input level.
• Creating a curve in the area above the diagonal input/output line will cause ex-
pansion. Expansion increases the output level in relation to the input level.
Additional parameters
Parameter Description
Solo switch This switch is located above the Frequency bands editor window. You 
can use it to separately monitor each of the frequency bands. This func-
tion is useful both when editing bandwidth settings and compressor 
characteristics. To select another band while solo is active, click some-
where in the (dark) area of the frequency band that you wish to monitor.
Compressor Type Classic mode works like a standard compressor with fixed attack and 
release parameters. Complex mode features a new compression ap-
proach with a program adaptive circuit. The program adaptive compres-
sion automatically optimizes parameters according to the audio material.
Output The Output dial controls the total output level that the MultiCompressor 
passes on to WaveLab. The range available is +/- 12 dB. If the Soft 
Clip function (see below) is active, the Output dial instead controls the 
amount of soft clipping. 
Soft Clip The Soft Clip function is positioned at the very last stage of the internal 
signal path, right after the Output dial. When active, it will ensure that 
the total output to WaveLab never exceeds 0 dB. It works by clipping 
the signal gently, generating harmonics which add a warm, tube-like 
characteristic to the signal. 
						

							WAVELAB
Plug-in Processor Reference 33 – 779
NaturalVerb
NaturalVerb is a high-quality reverb that adds ambience, or room-quality, 
to the sound. In addition to the standard size and decay parameters, Na-
turalVerb also features low- and high-pass filters, plus a gate for gated re-
verb effects.
To change the parameters, either drag the sliders up and down, or click in 
a slider area to set the slider. If you hold down [Shift], you can change the 
parameters with a higher degree of precision. If you hold down [Ctrl] and 
click in a slider area, the slider is reset to its default value.
If you click on the logo a diagram of the signal-chain is shown. The follow-
ing parameters are available:
Parameter Description
Pre-Delay This governs the start time of the first “early reflection”, i.e. how the 
sound is “bounced” off the walls in the simulated room environment. The 
value range is 0-100 milliseconds. The lower the value, the sooner the 
early reflection is heard. 
HPF This is a high-pass filter that only affects the reverb signal into the Natu-
ralVerb, not the original audio signal. A high-pass filter lets high-fre-
quency signals through while cutting off low-frequency signals. The 
slider allows you to set the frequency for the filter, and only sounds 
above the set frequency will be heard.
LPF This is a low-pass filter that only affects the reverb signal into the Natu-
ralVerb, not the original audio signal. A low-pass filter lets low-fre-
quency signals through while cutting off high-frequency signals. The 
slider allows you to set the frequency for the filter, and only sounds be-
low the set frequency will be heard.
Room Size This regulates the size of the simulated room, and thereby the spacious-
ness of the reverb. The value range is 1-30, and the higher the value you 
specify, the bigger the room. 
Decay This lets you specify the length of the reverberation. The value range 
goes from 26 milliseconds to 11.63 seconds.
Damping Damping can be used for attenuating the high frequencies of the reverb, 
thereby creating a softer, warmer sound. The higher the value, the more 
the high frequencies will be attenuated. 
						

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33 – 780 Plug-in Processor Reference
Stereo Mix This parameter is used for balancing the reverb signal between the left 
and right channel inputs to the NaturalVerb. The value range is 0-100%. 
A setting of 0 means that the reverb signals for both channels are com-
pletely independent of each other (default), while a setting of 100 
means that the reverb signals for both channels are equally mixed with 
each other (50/50). In between these, settings from 1-99% mean that 
each channel signal will contain that percentage of the other channel’s 
signal. 
Wet/Dry This regulates the balance between the effect sound (wet) and the orig-
inal, unprocessed audio signal (dry). If the slider is in the middle position 
(default), the output will be balanced equally. With higher values, the 
original signal will be more pronounced, and with lower values, the ef-
fect sound will be more dominant.
Gate button Clicking this button turns the Gate section on and off. Gating cuts off 
signals below a certain set threshold level. That is, the Gate only opens 
to let signals above the set threshold through. Note that the three sliders 
directly above this button (Sensitivity, Threshold and Fade-Out) control 
the Gate effect, and therefore have no functionality when this button is 
in the Off position. Also note that the Gate only affects the reverb, not 
the original audio signal.
Sensitivity This parameter determines how fast the Gate will open to let a trigger 
signal pass. The value range is 1-100 milliseconds. In order for this to 
have any effect, the Gate button must be in the On position.
Threshold This is used for setting the reference signal level (in dB) for the Gate. 
Signal levels above the set threshold open the Gate and pass through, 
but signal levels below the set threshold close the Gate and are cut off. 
In order for this to have any effect, the Gate button must be in the On 
position.
Fade-Out This parameter determines how long it should take for the Gate to close 
again after being triggered to let a signal through. The value range is 0-
200 milliseconds. With higher values, more signal “residue” will be al-
lowed to pass through the Gate before it closes, thereby producing a 
smoother cut-off. In order for this to have any effect, the Gate button 
must be in the On position. Parameter Description