Steinberg Wavelab Le 8 Manual
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Plug-in Reference Steinberg VST 3 Plug-ins 201 End Use the slider to insert from 0 to 60,000 ms of silence at the end of the file. Stereo Expander This plug-in is a stereo width enhancer that makes a stereo signal sound wider. It gives better results from real stereo material, as opposed to mono channels panned to different positions in the stereo image. Width (0 to 100 %) Higher values result in a greater stereo width. Usually, you set Width to values between 0 % and 20 %. Higher values can be used for special effects. Steinberg VST 3 Plug-ins In WaveLab LE 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 of the Master Section by using the Plug-in settings dialog. • You can exclude VST plug-ins completely from WaveLab LE. • VST plug-ins have their own preset handling. You can save or load effect programs (presets).
Plug-in Reference Steinberg VST 3 Plug-ins 202 AutoPan This plug-in is a simple auto-pan effect. It can use different waveforms to modulate the left-right stereo position (pan), using manual modulation speed settings. Rate Sets the auto-pan speed from 0.1 to 10, by rotating the knob by dragging, or using the mouse wheel. Width Sets the depth of the auto-pan effect, that is, how far out to the left/right speaker the sound should move, from 0 % to 100 %. Waveform Shape selector Allows you to select the modulation waveform. Sine produces a smooth sweep. Triangle creates a ramp, that is, a sweep from one speaker to the other and then a quick jump back. 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.
Plug-in Reference Steinberg VST 3 Plug-ins 203 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. If Chorus is used as a send effect, this should be set to the maximum value as you can control the dry/effect balance with the send. Waveform Shape selector Allows you to select the modulation waveform, altering the character of the chorus sweep. A sine and triangle waveform are available. Delay Affects the frequency range of the modulation sweep by adjusting the initial delay time. Filter Lo/Hi Allow you to roll off low and high frequencies of the effect signal. 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. A Gain Reduction meter shows the amount of gain reduction in dB, Soft knee/Hard knee compression modes, and a program-dependent auto feature for the Release parameter. Threshold (-60 to 0 dB) Determines the level where 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 204 Ratio (1:1 to 8:1) Sets the amount of gain reduction applied to signals over the set threshold. A ratio of 3:1 means that for every 3 dB the input level increases, the output level increases by only 1 dB. Soft Knee button If this button is off, signals above the threshold are compressed instantly according to the set ratio (hard knee). When Soft Knee is activated, the onset of compression is more gradual, producing a less drastic result. Make-up (0 to 24 dB or Auto mode) Compensates for output gain loss, caused by compression. If the Auto button is activated, the knob becomes dark and the output is automatically adjusted for gain loss. Attack (0.1 to 100 ms) Determines how fast Compressor responds to signals above the set threshold. If the attack time is long, more of the early part of the signal (attack) passes through unprocessed. 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. If the Auto button is activated, Compressor automatically finds an optimal release setting that varies depending on the audio material. Analysis (0 to 100) (Pure Peak to Pure RMS) Determines whether the input signal is analyzed according to peak or RMS values or a mixture of both. A value of 0 is pure peak and 100 pure RMS. RMS mode operates using the average power of the audio signal as a basis, whereas Peak mode operates more on peak levels. As a general guideline, RMS mode works better on material with few transients such as vocals, and Peak mode works better for percussive material with a lot of transient peaks. Live button When this button is activated, the look-ahead feature of Compressor is disengaged. Look ahead produces more accurate processing, but adds a certain amount of latency as a trade-off. When Live mode is activated, there is no latency, which might be better for live processing.
Plug-in Reference Steinberg VST 3 Plug-ins 205 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. 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). Filter buttons (LP, BP, and HP) When the Side-Chain button is activated, you can use these buttons to set the filter type to either low-pass, band-pass, or high-pass. Side-Chain button (Below the Center knob.) Activates the side-chain filter. The input signal can then be shaped according to set filter parameters. Internal side-chaining can be useful for tailoring how the Gate operates. 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.
Plug-in Reference Steinberg VST 3 Plug-ins 206 Attack (0.1 to 1000 ms) Sets the time after which the gate opens after being triggered. Deactivate the Live button to make sure that the gate is already open when a signal above the threshold is played back. Gate manages this by looking ahead in the audio material, checking for signals loud enough to pass the gate. Hold (0 to 2000 ms) Determines how long the gate stays open after the signal drops below the threshold. Release (10 to 1000 ms or Auto mode) Sets the time after which the gate closes (after the set hold time). If the Auto button is activated, Gate will find an optimal release setting, depending on the audio material. Analysis (0 to 100) (Pure Peak to Pure RMS) Determines whether the input signal is analyzed according to peak or RMS values, or a mixture of both. A value of 0 is pure Peak and 100 pure RMS. RMS mode operates using the average power of the audio signal as a basis, whereas Peak mode operates more on peak levels. As a general guideline, RMS mode works better on material with few transients such as vocals, and Peak mode better for percussive material, with a lot of transient peaks. Live button When this button is activated, the look-ahead feature of Gate is disengaged. Look ahead produces more accurate processing, but adds a certain amount of latency as a trade-off. When Live mode is activated, there is no latency, which is better for live processing.
Plug-in Reference Steinberg VST 3 Plug-ins 207 Limiter This plug-in is designed to ensure that the output level never exceeds a set output level, to avoid clipping in following devices. Limiter can adjust and optimize the Release parameter automatically according to the audio material, or it can be set manually. Limiter also 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. RoomWorks SE RoomWorks SE is a lite version of the RoomWorks plug-in. This plug-in delivers high quality reverberation, but has fewer parameters and is less CPU demanding than the full version. Pre-Delay Controls how much time passes before the reverb is applied. This allows you to simulate larger spaces by increasing the time it takes for first reflections to reach the listener.
Plug-in Reference Steinberg VST 3 Plug-ins 208 Reverb Time Allows you to set the reverb time in seconds. Diffusion Affects the character of the reverb tail. Higher values lead to more diffusion and a smoother sound, while lower values lead to a clearer sound. Hi Level Affects the decay time of high frequencies. Normal room reverb decays quicker in the high- and low-frequency range than in the mid-range. Lowering the level percentage causes high frequencies to decay quicker. Values above 100 % cause high frequencies to decay more slowly than the mid-range frequencies. Lo Level Affects the decay time of low frequencies. Normal room reverb decays quicker in the high- and low-frequency range than in the mid-range. Lowering the level percentage causes low frequencies 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. Delay 1 & 2 This is where you specify the base note value for the delay time in milliseconds. Feedback 1 & 2 Set the number of repeats for each delay.
Plug-in Reference Steinberg VST 3 Plug-ins 209 Filter Lo 1 & 2 Affect the feedback loop of the effect signal and allow you to roll off low frequencies up to 800 Hz. The buttons below the knobs activate/deactivate the filter. Filter Hi 1 & 2 Affect the feedback loop and allow you to roll off high frequencies from 20 kHz down to 1.2 kHz. The buttons below the knobs activate/deactivate the filter. Pan 1 & 2 Set the stereo position for each delay. Mix 1 & 2 Set the level balance between the dry signal and the wet signal. If StereoDelay is used as a send effect, set these controls to the 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. Color Generates additional differences between the channels to increase the stereo enhancement. Mono button Switches the output to mono, to check for possible unwanted coloring of the sound which sometimes can occur when enhancing the stereo image.
Plug-in Reference Steinberg VST 3 Plug-ins 210 StudioEQ Studio EQ is a high-quality 4-band parametric stereo equalizer with two fully parametric mid-range bands. The low and high bands can act as 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). After you have found it, you can use the Inv button to cancel it out. Band 1 Freq (20 to 2000 Hz) Sets the frequency of the low band. Band 1 Q-Factor (0.5 to 10) Controls the width or resonance of the low band. Band 1 Filter mode For the low band, you can select between three types of shelving filters, a Peak (band-pass), and a Cut (lowpass/high-pass) filter. When Cut mode is selected, the Gain parameter is fixed. • Shelf I adds resonance in the opposite gain direction slightly above the set frequency. • Shelf II adds resonance in the gain direction at the set frequency. • Shelf III is a combination of Shelf I and II.