Steinberg WaveLab 7 Operation Manual

							4.6 Offline processing 47
WaveLab contains a powerful array of offline processing tools including the following:
Change Level
Level envelope
Normalize Level
Silence Generator
Loop Tone Uniformizer
Pitch correction
Time stretching
Loop Tweaker
Effect morphing
Loudness distribution
Loudness normalizer
Pan Normalizer
Pitch bend
Pitch quantize
Related topics
Presets
Rendering
4.6.1 Change Level
This dialog allows you to apply a gain to change the level of an Audio File.
You can also use "Find current peak level" to obtain a report on the peak level of the current
audio selection (or the peak level in the whole file, if "Process whole file if there is no selection"
is selected in the preferences). This can be useful if you wish to calculate how much you can
increase the overall gain of a file without introducing clipping (exceeding 0dB), for example.
To change the level, enter the desired gain and click Apply.
You can access this dialog by choosing Process>Change level... in the Audio File
Workspace.
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
Audio File editing
Value editing
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4.6.2 Level envelope
This dialog allows you to create a volume envelope which can be applied to a selected range
or a whole Audio File. This could be useful if you need to even-out loud and quiet parts, for
example.
You can edit the envelope by:
ˆ Double clicking on the line to add a point: double click on a point to remove it.
ˆ Selecting multiple points (using [Shift]click) allows you to move the selection as a
group.
You can also use the controls to delete or reset points in the envelope. Use the envelope
smoothing button to toggle the envelope points between a straight (polygonal) line or a
curved path.
Click Apply to apply the envelope to the audio selection or file.
You can access this dialog in the Audio File Workspace via Process>Level envelope... .
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
Audio File editing
Adjusting Envelopes
4.6.3 Normalize Level
This dialog allows you to change the peak level of your Audio File.
Enter the desired peak level (in dB) that you wish the audio selection to have. You can also
use "Find current peak level" to obtain a report on the peak level of the current audio selection
(or the peak level in the whole file, if "Process whole file if there is no selection" is selected
in the preferences). You can choose to apply the same gain to both stereo channels (Stereo
Link) or mix down to a mono file (Mix to Mono) with the assurance that no clipping will occur
when both channels are mixed together.
To normalize the selected audio, enter the desired peak level and click Apply.
You can access this dialog by choosing Process>Level Normalizer... in the Audio File
Workspace.
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 >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
Audio File editing
Value editing
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4.6.4 Silence Generator
This dialog allows you to generate "silence", either by replacing an audio selection, or by
specifying a duration.
You can also specify a cross fade at each end of the silent region, for a smoother transition.
Radio buttons determine where the silent period is placed in the audio.
In WaveLab you can also specify a file to be inserted instead of "true" silence. This can be
useful for example, if you wish to keep the ambience, or background noise of a particular
environment in a recording.
You can access this dialog in the Audio File Workspace via Edit>Silence (advanced)... .
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
Silence
4.6.5 Loop Tone Uniformizer
This dialog allows you to create sounds that will loop, from audio that is seemingly "un-
loopable". These are normally sounds that constantly decay in level or continuously change
in timbre. The Loop Tone Uniformizer applies processing to the sound that evens out changes
in level and timbral characteristics in order for a sound to loop properly. For example, this
could be useful for creating looped samples for a softsynth or hardware sampler.
To use the Loop Tone Uniformizer you need to have a loop defined using a pair of loop markers
. The original length of the loop is not changed.
Uniformizers
This tab allows you to specify the method/s used to even out the sound you wish to loop.
Choose between "Slice mixing" and/or "Chorus smoothing". For a full explanation of how
each of these methods operate use the "What's this?" help function.
For slice mixing, you may need to experiment to see how many slices are needed. Generally
the more slices you use, the more natural the sound will be (up to a certain point).
Pre Cross fade
The Loop Tone Uniformizer also includes the option to cross fade the end of the loop with
the start of the newly processed section so that transition into the newly looped section is
smoother during playback. Use the envelope drag points or value sliders to adjust the cross
fade.
A note about Post Cross fading
If you have used the Loop Tone Uniformizer within a region of an Audio File, the transition
from the end of the loop into the original file in many cases won't be very natural. This can
be fixed as follows:
1. Close the Loop Tone Uniformizer and open the Loop Tweaker.
2. Click on the Cross fade tab and deactivate the Cross fade option (the check box).
3. Click on the Post Cross fade tab and make sure Cross fade is activated.
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4. Set up the post cross fade parameters and click Apply.
It can also be a useful tip to lock the loop markers after you use this command on a selection
within an Audio File. Once the loop is processed in place, moving the loop markers will upset
playback of the loop.
You can access this dialog in the Audio File Workspace via Process>Loop Tone Uni-
formizer... .
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
Adjusting Envelopes
4.6.6 Pitch correction
This dialog allows you to detect and change the pitch of a sound without affecting its length.
ˆ Amount of Shift - use these controls to find out the current pitch of the audio and if
desired, calculate the required shift to match a specific pitch.
ˆ Method - use these controls to adjust the method and quality you wish to use when
processing the pitch change. You can also choose how the length of the sound is
affected by the operation. By default this process will not change the length of the
sound.
This tool could be 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.
You can access this dialog from the Audio File Workspace via Process>Pitch Correc-
tion... .
Pitch correction is also available as a batch processing plug-in in the Batch Processor
Workspace. In addition, Pitch correction for a Clip is available from the Focused Clip window
(via Edit >Pitch shift... ).
Note that for Batch processing and Clip processes, the envelope option is not available.
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
4.6.7 Time stretching
This dialog allows you to change the duration of an audio selection (usually without changing
its pitch).
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You can view exact time information on the original audio selection you wish to stretch and
choose the amount you wish to "stretch" it in seconds, beats per minute or as a percentage.
You can also choose which method WaveLab uses to stretch the audio and the quality/speed
of the processing.
If you select "Use modulation envelope" you can vary the time stretch over time using an
envelope editor that becomes available. When choosing a method, it is useful to experiment
with the different algorithms available to find which one suits your source material the best.
Use "What's this?" to find out more information on each method and determine which one
will produce the best time stretch without introducing unwanted artifacts.
This function is useful if you want to speed up or slow down a recording to match other
material, such as matching the tempo of two drum beats, or fitting an audio track to a section
of video, for example.
Time stretching is also available as a batch processing plug-in in the Batch Processor
Workspace. In addition, Time stretching for a Clip is available from the Focused Clip window.
Note that for batch processing and Clip processing, the modulation envelope option is not
available. You can access this dialog from the Audio File Workspace by choosing Process
> Time stretching... .
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
4.6.8 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
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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
Adjusting Envelopes
Zero crossing
4.6.9 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... .
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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
4.6.10 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%.
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
4.6.11 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.
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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
4.6.12 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
4.6.13 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.
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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
4.6.14 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
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
4.6.15 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
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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
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.
WaveLab 7