Steinberg WaveLab 7 Operation Manual

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Adjusting Envelopes
5.1.8 Loop Tweaker
This dialog allows you to refine a region of audio to loop seamlessly.
The Loop Tweaker can just be used to "tweak" an existing loop selection so that it loops
perfectly or you can also use it to create a loop from material which does not naturally repeat.
To use the Loop Tweaker you must first have a loop defined using a pair of loop markers
.
The Loop Tweaker consists of the following tabs:
Loop points adjustment
This is a visualization of the beginning and end of the waveform between the loop markers.
You use this dialog to manually refine a loop selection by dragging on the waveform left/right
or using the automatic search buttons to find the nearest "good" loop point. The aim is to
align the waveforms so they meet in the middle at a
zero-crossing point with the waveforms
matching as closely as possible, being "in phase". When you adjust your loop start and end
points within the dialog the start and end loop markers in the main waveform window will
adjust accordingly. Note that this movement may or may not be visible depending on the
amount you move the markers and the zoom factor you have selected.
It is helpful to have the transport looped during playback so you can hear the difference when
you adjust the loop markers within the dialog. Use the Display options to adjust how the Loop
Tweaker waveform is visualized. You can also use the temporary memory buttons to capture
a number of different loop "candidates" and audition them one by one. Note that if you are
not using a cross fade or post cross fade you do not need to click Apply when just tweaking
loop points. You can also leave this dialog window open and manually adjust the position of
the markers in the main waveform windows if you need to make large adjustments.
Cross fade
This tab allows you to apply a cross fade at the end of a loop by mixing a copy of the beginning
of the loop with it. This can be useful to smooth the transition between the end of a loop and
its beginning - especially when using material that doesn't naturally loop. Use the envelope
drag points or value sliders to adjust the cross fade envelope. Click Apply to process the
cross fade.
Post cross fade
This tab allows you to cross fade the loop back into the audio after the end of the loop. This
is done by mixing a copy of the loop back into the audio. Use the envelope drag points or
value sliders to adjust the cross fade envelope. Click Apply to process the post cross fade.
Using the "Copy" button you can insert multiple copies of the loop into the active Audio File,
creating a smooth audio sequence, since copies will loop without an audible transition.
You can access this dialog by choosing Process>Loop Tweaker... .
For an explanation of each parameter and interface feature, click on , or the 'What's this?'
question mark icon. For more information see
Getting Help
Related topics
Markers
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Adjusting Envelopes
Zero crossing
5.1.9 Effect morphing
This dialog within the Audio File Workspace allows you to gradually mix two audio ranges
that have different effects/processing applied to them.
Effect morphing allows you to smoothly "morph" or blend from one effect to another, or from
an unprocessed audio segment to a processed audio segment. Effect Morphing always
involves two audio ranges. Normally, these are two versions of the same audio range, of
which one is unprocessed and the other processed.
Effect morphing works by using WaveLab's Undo buffer to mix a copy of the processed audio
with the unprocessed version. You can also use any other bit of audio from the application's
clipboard that has the same length as the one you wish to morph with.
To set up a basic effect morph, proceed as follows:
1. Start by making a selection range over the time you wish the effect morphing to take
place.
2. Now process this range using any Master Section effect(s), or use some other off-line
processing. You cannot use processing/effects that alter the length of the selection,
e.g. time stretching.
3. Open the Effect Morphing dialog by choosing Edit>Effect Morphing... .
4. Adjust your envelope points over time between 0% and 100%. This will determine the
level and direction of the morph. For example, starting at 100% and ending at 0% will
fade out the effect you just applied.
5. Choose "Unprocessed selection" for this example. As mentioned previously you can
also use any audio of the same duration from the clipboard.
6. Click Apply to apply the Effect morphing.
You can access this dialog in the Audio File Workspace via Edit>Effect morphing... .
For an explanation of each parameter and interface feature, click on , or the 'What's this?'
question mark icon. For more information see
Getting Help
5.1.10 Loudness distribution
This dialog allows you to measure the most frequent loudness values found in an Audio File
(this is not the same as average loudness). The graphic peaks found by the analysis represent
these values.
The tool gives an answer to the question: "How often does a given loudness (vertical scale,
in dB) appear in the whole file?". The percentage figure is relative to other peaks. Some
simple examples:
ˆ 1. If, for instance, you have a sine of 0 dB / 2 second followed by a sine of -6 dB /
2 seconds. This means the global audio material has as much 0 dB material as - 6dB
material: you will see 2 peaks (0 / -6 dB), each at 100%.
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ˆ 2. If, for instance, uou have a sine of 0 dB / 1 second followed by a sine of -6 dB / 3
seconds. This means there are 3 times more -6 dB material than 0 dB material. You
will see a peak of about 33% at 0 dB, and another peak of 100% at -6 dB.
This analysis is useful for learning about how the loudness of your music is distributed.
You can access this dialog in the Wave File Workspace via Analysis>Loudness distri-
bution... .
For an explanation of each parameter and interface feature, click on , or the 'What's this?'
question mark icon. For more information see
Getting Help
Related topics
Loudness
5.1.11 Loudness normalizer
This dialog allows you to adjust the loudness of a file. Because it relates to loudness as
opposed to maximum peak level, this tool works quite differently from the Level Normalizer. A
typical application is to specify a loudness, for example -12dB, and the Loudness Normalizer
processes the audio to match this level of loudness.
Like Gain Change, increasing the loudness to a certain value can introduce clipping. To avoid
this occurring, a peak limiter (the Peak Master plug-in) can be used as part of the process.
The Loudness Normalizer raises the loudness and limits peaks in the signal at the same time
(if needed), to achieve the target loudness.
In the case of stereo files, both channels are processed independently. This process happens
over several stages; analysis precedes the final rendering. The Loudness Normalizer dialog
gives access to useful statistics about the file and the
Loudness distribution tool, and you
can choose to remove any DC offset in the file.
You can access this dialog from the Audio File Workspace via Process>Loudness nor-
malizer... .
This function is also available as a batch processing plug-in. You can access it from Batch
Processing Workspace >Plug-ins window >Multipass Plug-ins >Loudness Nor-
malizer .
For an explanation of each parameter and interface feature, click on , or the 'What's this?'
question mark icon. For more information see
Getting Help
Related topics
Loudness
DC Offset
Loudness distribution
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5.1.12 Pan Normalizer
This dialog allows you to ensure that both channels of a stereo file have the same level or
loudness. Since loudnesss is more important than peak volume in the perception of sound,
this is a powerful tool to get the best possible stereo balance.
This process uses two passes to first analyze the audio and then render any level changes
required.
You must have a stereo selection in a stereo file to apply this process.
You can access this dialog from the Audio File Workspace via Process>Pan Normalizer... .
This function is also available as a batch processing plug-in. You can access it from the Batch
Processor Workspace via Plug-ins window>Multipass Plug-ins >Pan Normalizer .
For an explanation of each parameter and interface feature, click on , or the 'What's this?'
question mark icon. For more information see
Getting Help
Related topics
5.1.13 Pitch bend
This dialog allows you to change the pitch of a sound over time. Note that changing the pitch
using Pitch bend will affect its duration unless length preservation is activated.
Using an envelope you can 'draw' the curve you wish the pitch to follow. The pitch offset is
displayed along the vertical ruler of the envelope and the range the envelope effects can be
adjusted using the spin control. Positive pitch values produce sounds with a higher pitch and
of shorter length, negative values produce sounds with a lower pitch and of longer length.
If length preservation is activated, you can choose the algorithm that is used to perform the
pitch bend operation. Depending on the type of audio material you are processing, choose
the appropriate mode. For more information on the different modes, use the "What's This?"
tool. You can also adjust the quality used when processing the pitch bend. The quality setting
and the selected mode will affect the processing time for this effect.
This function could be used for creating the classic 'tape stop' effect, or for blending the
tempo/pitch of one track into another, for example.
You can access this dialog from the Audio File Workspace via Process>Pitch bend... .
For an explanation of each parameter and interface feature, click on , or the 'What's this?'
question mark icon. For more information see
Getting Help
Related topics
Adjusting Envelopes
5.1.14 Pitch quantize
This dialog allows you to correct the pitch of an Audio File.
The musical notes in the audio selection are quantized to the nearest semitone. Pitch quan-
tize works best on recordings that have a single fundamental frequency, such as voice or
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single instruments. It can be useful for 're-tuning' the pitch of an imperfect recorded vocal
performance, for example.
The dialog allows you to choose the reference frequency (normally 440 Hz) and the time
taken for the pitch correction to reach the nearest semitone. An explanation of when and
how to adjust the Slur time is given using the 'What's this?' tooltips.
You can also choose to preserve the
formants of the original material. Choosing this option
can sometimes help to produce a more realistic result when correcting the pitch of vocals or
acoustic instrument sounds.
You can access this dialog from the Audio File Workspace via Process>Pitch quantiz-
ing... .
For an explanation of each parameter and interface feature, click on , or the 'What's this?'
question mark icon. For more information see
Getting Help
Related topics
Adjusting Envelopes
Formant
5.1.15 Presets
WaveLab's powerful preset system allows you to create your own presets to store commonly
used settings. They are available every time you open WaveLab. Presets can be saved for
many parameters such as plug-in settings, Audio File Formats or File Attributes, for example.
You can access the Presets pop-up menu wherever you see one of these icons:
or .
Presets are saved as local files on your hard drive, allowing you to conveniently back-up or
copy them for use on another computer.They are also useful when used in conjunction with
batch conversions and Scripting .
Working with Presets
When working with Presets you save/edit and load them from their own pop-up menu. De-
pending on the context, the available functions sometimes vary but generally you can:
ˆ Save/Save As... - creates a new Preset file by saving the currently selected settings
to your hard disk.
ˆ Explore presets... - opens the folder where any existing Presets are stored. This
allows you to delete, duplicate and organize your settings into sub-folders using the
flexibility of the operating system's file browser.
ˆ Restore factory settings - restores the current settings to the factory default.
ˆ Preset list - select a Preset from the list of those currently available.
ˆ Store/restore temporary presets - when available, use the temporary slots provided
to save your settings for the duration of the session. This is useful if you want to quickly
test and compare different settings. Select the option "Store temporarily" and from the
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submenu select the number under which you want to save (#1 - #5). To quickly load the
saved settings again, select the corresponding number from the "Restore" submenu.
ˆ Define shortcut for the current setting - when available, this allows you to assign a
shortcut to the current preset using either a key shortcut, keyword or via a MIDI trigger.
For example, if you have a preset to normalize audio at -0.1 dB and you assign it a
key shortcut then everytime you execute the shortcut, the preset is applied to the audio
selection, without the need to open the dialog.
VST-2 Presets
VST plug-ins have their own preset handling. When you click the preset button for this type
of effect the following options are available:
ˆ Load/Save Bank - this allows you to load and save complete sets of presets. The file
format is compatible with Cubase.
ˆ Load/Save Default Bank - this loads the default bank of presets, or saves the current
set of presets as the default bank.
ˆ Load/Save Effect - this loads or saves one preset at a time. The file format is again
compatible with Cubase.
ˆ Edit name of current program - allows you to define or edit the name for the currently
selected preset.
ˆ Preset list - select a Preset from the list of those currently available.
VST-3 plugins have a simplified list of options.
About Preset files
Each preset is stored as an individual file inside WaveLab's main presets folder. This makes
it easy to back them up or copy them to another computer. You can change the location of
this main Presets folder via Global Preferences>Setting location . You have the choice
of the following locations:
ˆ a standardized location that can be accessed by all users of the computer. That is, all
users will share the same settings.
ˆ a standardized location accessed by the current user (the default). That is, each user
has his/her own private settings.
ˆ any specific location of your choice. This allows you to customize it for your own re-
quirements.
ˆ a location relative to the application. This allows you to use the application from an
USB dongle.
Default locations - By default the main Presets folder is found at:
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ˆ Windows 7 -C:nUsers n[User Name] nAppData nRoaming nSteinberg nWaveLab
7 nPresets
ˆ Windows XP -C:nDocuments and Settings n[User Name] nApplication
Data nSteinberg nWaveLab 7 nPresets
ˆ Mac OS X -root/[User Name]/Library/Prefences/WaveLab 7/Presets/
You can also find this folder by using the "Open active settings folder" link in the preferences
pane. This opens your file browser to wherever the main Presets folder is currently located.
Inside this Presets folder each type of preset file has its own folder. For ex-
ample, all the presets for the Normalizer are stored within C:nUsers n[User
Name] nAppData nRoaming nSteinberg nWaveLab 7 nPresets nNormalizer non Windows
7. When you open the Normalizer dialog and choose a preset via the pop-up menu, the
files in this directory will appear as available presets. The reason each preset type has its
own dedicated folder is so that WaveLab can locate them automatically when you open the
preset pop-up menu.
You can organize your presets into sub-folders so they appear as sub-menus. This can be
useful if you wish to organize a lot of presets into your own categories. You can continue to
nest folders inside one another to build a standard tree structured menu system. Below is
an example of how this looks for a set of window layout presets:
Related topics
Scripting
5.1.16 Rendering
To Render effects into a temporary or final file, you use the Render function (note that the
"Save" function from the File menu does not Render!). The Render function is part of the
Master Section and in other applications is sometimes referred to as "bouncing down" or
"mixing down".
Rendering a file "prints" all audible settings and effects that the audio is being routed through
in the Master section, to the resultant Audio File. This includes any plug-ins, the level of the
faders and any dithering you have set in the Master Section. In WaveLab you normally use
the Render function to:
ˆ Mix down a file in a Wave window to a new Audio File, complete with Master Section
effects, dithering and other settings.
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ˆ Mix down a complete Audio Montage to an Audio File.
ˆ "Apply" all settings in the Master Section to a file in a Wave window.
When you render a file you can choose the format of the new Audio File and whether you
wish to create a new file or render the file in place. When the file is rendering you will
see a progress bar in the status bar.In WaveLab you can also view this Progress bar in the
Background tasks window (a shared tool window that can be set to float independently).This
allows you to monitor the progress of rendering, pause and if necessary cancel the rendering
process.
Rendering tips
When you are new to the rendering process in WaveLab there are a few things to note:
ˆ when rendering a file with the default option "Bypass Master Section on resulting Audio
File" selected in the
Render dialog , the Master Section will be bypassed completely
when the new file has finished rendering. If this option is notselected you will hear the
Master Section effects being played back on top of the newly rendered effects. You can
check if the Master Section has been bypassed by checking the status of the
"Play
through Master Section" button, which is located at the bottom right hand corner of the
status bar.
ˆ the Master Section's "Bypass" switch affects playback only. So even if you can't
hear effects when you are playing back your audio, any applied effects are still rendered.
ˆ the "Effect on/off" switch for each individual plug-in affects both playback and
Rendering.
ˆ if you are working with an Audio File/montage that contains lots of effects and/or tracks
and you experience playback problems, it can be useful to mix down a copy of your
montage/audio file to free up some processing power. You can then continue editing
the resultant file with the effects rendered. Remember to save a copy of your session
before doing this so you can go back and edit any levels or effects if you need to.
For more information about choosing settings when rendering see the
Render Wave window
and Render Montage window . For more information on applying effects see the Master
Section
.
Related topics
Render Wave window
Render Montage window
Master Section
Audio Plug-ins
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5.2 Analysis
WaveLab provides you with a comprehensive set of tools for analyzing your audio and di-
agnosing any errors. You can view your Audio File in many different ways using the suite of
audio meters, via its frequency spectrum, or even in three dimensions. There are also several
tools to interrogate any sample of your audio and find any errors or anomalies.In WaveLab
you can even compare two Audio Files with the
Audio file compare tool and view audio in a
Spectrum or Loudness view for greater precision when editing. Below you can find links to
some of these tools used in WaveLab. Most of them can be found in the Analysismenu. The
meters can be found in the Metersmenu or via the Workspace>Shared tool windows .
More specialized tools also exist as part of some offline processing dialogs, such as the "Find
current peak level" command in the Change level dialog, or the "Eliminate DC Offset" dialog,
for example.
Related topics
Global analysis
Audio file comparer
3D Frequency Analysis
Loudness distribution
Metering
The Spectrum display
Audio File editing
Offline processing
5.2.1 Global analysis
This dialog allows you to perform advanced analysis on your audio to identify areas with spec-
ified properties. It can be used to find problem areas such as glitches or clipped samples,
or just to check general information such as the pitch of a sound.
How it works When you analyze a section of an Audio File, WaveLab scans it and extracts
information which it displays in the dialog. It also "pin-points" sections of the file that meet
specific characteristics, for example, sections being very loud or almost silent. You can then
browse between these points, set markers or zoom in on them.
Types of analysis On most of the tabs, you will find settings determining exactly how the
analysis will be performed. Each tab focuses on a particular analysis area:
ˆ Peaks- this tab is for finding individual samples with very high decibel values.
ˆ Loudness - this tab is for finding sections that are perceived by the human ear as
louder or weaker in volume. WaveLab uses an accurate method (RMS - Root Mean
Square), to measure a consecutive section of samples and then average their value.
ˆ Pitch- this tab is used for finding the exact average pitch of a section of audio. The
method works best on monophonic material (single notes, without chords or harmonies)
and assumes the analyzed section has a relatively stable pitch. As a general rule try to
analyze the sustain portion of a sound, rather than the attack.
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ˆ Extras- this tab is for informing you about DC offsets and the significant bit resolution
of the file. This can be useful, for example, if you wanted to check whether a 16 bit
file really uses 16 bits (or if it was actually recorded with only 8 bit resolution and then
upscaled to 16 bits).
ˆ Errors- this tab is to help you find glitches and sections where the audio has clipped
(gone beyond 0 dB).For more control over the analysis, use
Error detection and cor-
rection
.Checking and browsing the results Checking the results on the Pitch and
Extra tabs is simple, since only one value is returned for the whole section of analyzed
audio. For all the other tabs, the analysis methods returns a series of exact points ("hot
points") in the file or section of audio. Use the relevant buttons in each tab to select the
"hot points" you wish to look at in more detail. Using the slider you can then browse
or skip between these points, adding markers or focusing the waveform display at that
particular point in the file.
You can access this dialog in the Audio File Workspace via Analysis>Global Analysis... .
For an explanation of each parameter and interface feature, click on , or the 'What's this?'
question mark icon. For more information see
Getting Help
Related topics
Error detection and correction
3D Frequency Analysis
5.2.2 Audio file comparer
This analysis tool allows you to compare two Audio Files for differences between them. It
can create a "delta file" that contains these differences. It can also drop markers at positions
where differences are found.
This can be useful for:
ˆ Judging the effect of using an equalizer by comparing the file before and after. The delta
file will show what was added or removed.
ˆ Check the noise added by a processor.
ˆ Compare two digitally recorded files to check for dropouts.
Note - Make sure that the two documents you want to compare are open.
You can access this dialog via Analysis>File comparator... .
For an explanation of each parameter and interface feature, click on , or the 'What's this?'
question mark icon. For more information see
Getting Help
Related topics
5.2.3 3D Frequency Analysis
This function in WaveLab allows you to view a wave file in both the frequency and time
domains. Although a wave display (time domain) tells you a lot about where one sound
WaveLab 7