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Cool Edit User`s Manual

1. Some applications of biofeedback produced twilight states In D Shapiro et al Eds Biofeedback and Self Control 1972 Chicago Aldine Atherton Budzynski T H 1976 Biofeedback and the twilight states of consciousness In G E Schwartz and D Shapiro Eds Consciousness and Self Regulation Vol 1 New York Plenum Press Budzynski T H 1977 Tuning in on the twilight zone Psychology Today August Budzynski T H 1979 Brain lateralization and biofeedback In B Shapin amp T Coly Eds Brain Mind and Parapsychology New York Parapsychology Foundation 70 Budzynski T H 1981 Brain lateralization and rescripting Somatics 3 1 10 Budzynski T H 1986 Clinical applications of non drug induced states In B Wolman amp M Ullman Eds Handbook of States of Consciousness New York Van Nostrand Reinhold Budzynski T H 1990 Hemispheric asymmetry and REST In Suefeld P Turner J W Jr amp Fine T H Eds Restricted Environmental Stimulation New York Springer Verlag Cade C M amp Coxhead N 1979 The Awakened Mind Biofeedback and the Development of Higher States of Consciousness New York Delacorte Press Cheek D 1976 Short term hypnotherapy for fragility using exploration of early life attitudes The American Journal of Clinical Hypnosis 18 75 82 Davidson R J Ekman P Saron C D Senulis J A amp Friesen W V 1990 Approach withdrawal and c
2. 0 ccccsceccccccccceessseeccccsscceeusssseccccsseuuuessseecccssseeeuessseeccsssseeuueeseeeccsssseeuuusesecess 16 CLOSE AA A RT 16 NIT 2 noria 16 NEWEST TE SS AR E ETRE 16 NEWINSTANCE ta o da ad dao ato dao ta ado ao E EI 17 TA A TPO PO TION EOE TOT EOE TOE BETO ECD ITT DODO PUD ET EUDNTOET PCDI ET PDT TN ET PUD n ET ECE nET CE TET TENT Ene 17 OPENAS RRR CE ee eee 20 OPEN APPEND Ir I RARA IIIB CREST ERT RAS 20 REOPEN e iodo i 20 SAVE DAE ek ace eo eae ee RARE As FORT Es PEORIA Bs Bee Be Pe ade Bs deo Bide Pe ade Os dee ace ee 20 SAVEA A eseeusihet 20 SAVE SELECTION 3 A a ypc ioe a vd Psa eG Ea SL PIERS 20 GENERAL PURPOSE EDITING ol 22 ADIUST SAMPLE RATE SA 22 BYTE SWAP eae e 2 22 CONVERT aa iio 22 CORY AA sib ce iia kan AA A AA OA N E A E 23 E DA ETENE I RR MT 23 DELETE SELECTION oireen aoee a EEEE EAEE EE EEE EE E OE R Ee 23 EDIL EEL RIGHTS 0518 ps ee A A A E Sa ios 23 PASTE i A es ele ell ll ll A iol ale A A AA 24 PASTES PECIAL oeeie td tt lle edo eo ed o o ll 24 REPEAT TAST COMMAND e ee 24 SELECT ENTIRE WAVE cars TA OI Oa 25 SPECTRAT WA VERME ass 25 DIMA ceca ciate cheated ET cae cee cate cate eae Gece cae Gate cae EE Beatie Baad O 25 UNDO ee ee en ee 25 VIEWING RANGE norco 8S A RESPONSI TOA OATES 26 FUNCTIONS AND SPECIAL FEA TUREG ssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssees 27 WAVEFORM TRANSFORMATION FUNCTIONS ccccsssccccccccccessssseccccssceeesssescccssseeeueesseeccsssseuuuaessee
3. Lower values will create more bubbly effects many short bursts of tones at different frequencies FFT Precision This affects distortions in amplitude The size above is divided by this factor to give Factor the size of a single chunk of audio data that is worked on at one time Values of about 5 work great Higher values do not make much difference in the quality of the noise reduction If you notice a periodic wavering in amplitude then increase this parameter to reduce the unwanted warbling or amplitude variations Number of This parameter sets the number of snapshots of noise that will be used when gathering Samples statistical data The larger this number the more accurate the statistical data will be A value of 64 is plenty high enough for most all applications You will notice that when using very small numbers of statistical samples that there will be very erratic noise reduction results The higher the number of samples taken the more stable the noise reduction will be For example with more snapshots taken a noise reduction level of 100 will most likely cut out more noise but also cut out more original signal too But also with more snapshots a low noise reduction level will cut out noise that is less likely to not disrupt the intended signal Save Profile Once the noise level is set you can save the noise profile in a fft file This file will contain information on sample type fft size and three sets of fft coefficients on
4. Mixing Reverb 41 This is the amount to mix the reverberated signal into the final result A value of 100 is most natural but you may wish to decrease this for a reverb that exists more in the background or increase to simulate being far away from the audio source where only the reverb can be heard in greater strength than the original audio Combine L amp R In general this should be checked for more realistic reverb and faster calculation times When checked the left and right channels in a stereo source are combined before reverb is performed This should especially be checked if you know that both channels are identical otherwise it is just a waste of computer time When Combine L amp R is not checked separate stereo reverb is calculated for each channel individually The original signal will remain in the respective channels but the reverb will carry through to both channels equally With stereo audio where there is different information in the left and right channels this box should not be checked The stereo audio will be dramatically enhanced by the reverb and sound fuller and more rich in most instances Also when this box is not checked calculations take exactly twice as long to compute since separate reverb is being calculated for the left and right channels before being recombined to the final stereo output The Reverb function can require large amounts of RAM while performing longer length reverbs If not enough memory is
5. rename scripts remove unwanted scripts etc There are various types of scripts which depend on when you initiated the recording e Scripts that were recorded with File gt New as the first action and must be played back on a blank empty waveform e Scripts that were recorded while a waveform was open but not highlighted anywhere During playback actions begin at the insertion point in the waveform and may affect any part of the entire wave if present e Scripts that were recorded while a portion of a waveform was highlighted All actions in the script pertain only to the portion that is highlighted leaving the rest of the waveform untouched Scripts that run during all of the above conditions will be displayed but only the ones recorded under the same circumstances will be allowed to run In other words if a script recording started when a portion of a wave was highlighted then you will only be able to run that Script when something is highlighted Scripts are very useful for remembering how you generated a particular sound effect Use the script to reproduce the sound effect without having to save the entire waveform This is especially useful when 56 generating large brainwave theta files which can take monstrous amounts of space By generating the file once with the scripting turned on record you can generate the file again at any time in the future and save all that hard drive space You can also pass along scripts to y
6. the file as Viewing Mode When zoomed in closely to a wave individual samples can appear as dots or as a continuous line Play Record Buffer Size The number of seconds to reserve memory for recording and playback Increasing this will allow more multitasking while audio is being played but it takes more memory If this value is too small there may be too much choppiness in your recordings and playbacks If your recordings are getting all chopped up or you cannot Stop after you ve started recording increase the buffer size or switch to a faster hard drive Use a non compressed hard drive for example Temp Directory This is the location that Cool Edit will use to save all of the temporary files which includes the disk image of the file currently being edited It is best to choose a large fast hard drive for this If you no for certain that the drive is not compressed then do not check the Compressed box otherwise check this box If you have trouble recording high quality audio for more than a minute or even less then make sure the Compressed Drive box is not checked 50 Undo Directory Highlight After Paste Play 16 bit files as 8 bit Enable Undo NT Display Compatibility Smooth 16 bit to 8 bit Conversions Enable Toolbar Help Play from cursor Maximum Display on Load Time Code Display When checked DOS is asked for the number of bytes remaining on the hard drive since this value does not change line
7. 90 highest part of the wave and the lowest part The difference between the high and low pressure parts A low amplitude quiet wave would be one that would vary much less up and down while a louder waveform would vary much up and down Amplitude is generally measured in decibels although the decibel dB itself not an absolute measurement like Fahrenheit is for temperature but instead o 180 is a measurement of ratio If one decibel is the quietest sound someone can hear then the loudest sound one can hear without damaging the ears with prolonged exposure would be about 100 dB Normal speaking would be at ELO Amplitude about 20 dB Ten decibels is an increase in volume of 10 times The decibel scale is not linear but logarithmic E which means that 20 dB is not 20 times louder but instead 100 times louder 10 times louder than a 10 dB increase L Iyd Frequency The frequency of a wave determines the pitch we perceive and is measured in cycles per second or Hertz Hz As seen on the graph the time it takes the wave to complete one cycle is the time it takes to go all the way from the point of lowest pressure on up to highest pressure and then back to lowest pressure where it started A cycle can start anywhere not just at the bottom of the wave The cycle will always end at the same pressure level it began For a male voice you may count about 180 complete cycles in one second of audio which would
8. D A converter Even though the sampled signal has far fewer samples than a continuous time analog signal the D A convert can reproduce the original analog signal perfectly This means that the only loss in going from the analog domain to digital then back to analog again is the loss in higher frequencies those above 1 2 the sampling rate and loss in the dynamic range depending on the quantization level used Of course with lower quality components there will be loss in the A D converter by the converter not perfectly converting the original analog signal to digital Also there can be loss in the pre amplifier of the sound card after the signal has been converted from digital back to analog What this means though is that it is perfectly safe to take any audio signal convert it to digital work with it in the digital domain on the computer using Cool Edit and convert it back to analog play the sound This means we are no longer restricted to the limitations of electronic components in filters special effects boxes etc Quality Issues As alluded to before there are many sacrifices gives and takes that must be considered when going from the analog domain to the digital With enough money you can purchase a high quality sound card that has excellent A D and D A converters and high quality pre amplifiers for getting the signals from the real world into the computer and back out again But no amount of money in the world will make a
9. Edit will convert the waveform type to its own internal format for faster editing The audio data size displayed by Cool may be larger that the original file if the file was in a compressed format The wave can subsequently be saved in any of the supported formats you wish By opening a waveform of one format and saving in another you can convert between any of the available formats Multiple files may be opened at once but all will be converted to the format of the first file opened alphabetically If multiple files are chosen the Cue List will contain range markers for each file Each wave type supported is embodied in a FLT file filter file Cool Edit contains filters for a number of popular formats New formats can be added by following the File Filter Application Programming Interface API These FLT files are just DLLs that have been given the FLT extension The DLL contains all the procedures necessary to read and write in the format they support Auto Play When Auto Play is checked the wave will be played once it is clicked or typed in the File Name box If the ACM driver that is installed as a Windows driver and is not part of Cool Edit does not support the wave format then it will not play Show Info When Show Info is checked the waveform s information will appear at the bottom of the dialog The top line displays the compression format and uncompressed file size The bottom line displays the sample rate bit size number of chan
10. Generate Noise Select Pink Spatial Stereo 500 uSeconds for 15 seconds at an intensity of 3 This is usually the longest portion of the generation of brainwave files Because of this 1t is advised that you save this piece of noise so that in generating future files you can just load in this pre calculated noise as a starting point Choose Edit Copy From now on we will paste the noise in when we need it Make sure the noise is highlighted If it is not select all by double clicking on the waveform until it is highlighted Choose Add in the Cue list and give the entry a Label of 10Hz to 8Hz and a Description of Warm Up Choose Transform Wave to bring up the brainwave dialog box Enter 10 for the Highest Frequency and 8 for the Lowest Frequency and an Intensity of 35 On the graph above click the leftmost dot and drag it to the top of the graph Click the rightmost dot and drag it to the bottom of the graph This will product a frequency encoded at 10Hz at the beginning and glide down to 8Hz by the end Choose OK to generate the encoding This shouldn t take nearly as long as it did to generate the noise Click the mouse at the rightmost portion of the wave just beyond the black waveform display area When you do this the yellow cursor arrows should be all the way to the right of the wave You must always add new pattern blocks at the end of the current waveform Choose Edit Paste to insert another copy of the original noise
11. If a selection was highlighted it will be modulated by the tones based on the normal tones settings Instead of generating new tones the currently highlighted wave data will be ring modulated by multiplying the tone by the data underneath This is great for adding really weird special effects The left channel can be out of phase with the right channel If you wish this choose the amount of phase shift here A value of 180 will be completely out of phase The phase difference can vary over time at the rate specified For example a phase change rate of 2 Hz will cycle the Phase Difference two full cycles per second This is how many seconds of tones you wish to produce You can choose up to 4 overtones and mix them at any proportion Adding overtones 48 Components Lock Initial Final Flip Volume gives truer musical effects such as piano and pipe organ The frequency multiplier associated with the overtone component is fully adjustable A value of 10 for example means that the associated slider will control the amount of 0 x Base Frequency there will be in the final tone These multipliers can vary over time by choosing different initial and final settings for them If checked the overtones base frequency modulation modulation frequency and frequency multipliers are constant they do not vary over time Uncheck this box to dynamically change the proportion of any overtone over time by choosing the initial and f
12. Physiology of the Eye Clinical Applications St Louis Mosby Nemiah J C 1984 The unconscious and psychopathology In S amp Meichenbaum D New York John Wlley amp Sons pp 49 87 Oster G 1973 Auditory beats in the brain Scientific American 229 94 102 Peniston E G amp Kulkowski P J 1989 Alpha Theta brainwave training and B endorphin levels in alcoholics Alcoholism 13 271 279 Richardson A amp McAndres F 1990 The effects of photic stimulation and private self consciousness on the complexity of visual imagination imagery British Journal of Psychology 81 381 394 Rossi E L 1986 The Psychobiology of Mind Body Healing New York W W Norton Rubin F 1968 Ed Current Research in Hypnopaedia London MacDonald Rubin F 1970 Learning and sleep Nature 226 447 Schacter D L 1977 EEG theta waves and psychological phenomena A review and analysis Psychology 5 47 82 Schultz J amp Luthe W 1959 Autogenic Training A Psychophysiological Approach in Psychotherapy New York Grune amp Stratton Sittenfeld P Budzynski T amp Stoyva J 1976 Differential shaping of EEG Theta rhythms Biofeedback and Self Regulation 1 31 45 Stoyva J M 1973 Biofeedback techniques and the conditions for hallucinatory activity In McGulgan F J and Schoonover R Eds The Psychophysiology of Thinking New York Academic Press Svyandoshch A 1968 The assimil
13. a stereo waveform to mono with a Left Mix of 100 and a Right Mix of 100 For an interesting inside your head effect you could convert a mono waveform to stereo with the same Left Mix of 100 and Right Mix of 100 Dither If converting 16 bit audio to 8 bit you have the option to dither the audio which allows you to retain some quieter audio at the expense of some low level noise Without dithering quiet audio will just crackle and pop If dithered the same quiet audio can be heard distinctly behind some hiss m COPY Waves can be copied to the clipboard to be pasted later into Cool Edit or any other application that supports the CF_WAVE clipboard wave format Before copying the portion that is to be copied must first be selected Extra large waves may not have enough free memory to be copied If this happens try breaking up the selected range into smaller portions and copy paste them in multiple steps or save the selection out using Save Selection then use Paste Special and choose From File to paste the audio that was just saved back in Use CTRL C or CTRL Insert to quickly copy the wave m CUT Cut will copy the selected range to the clipboard and remove it from the waveform being edited Once in the clipboard it can be pasted or special pasted to waveforms or pasted to other applications that support the CF_WAVE clipboard format The same limitations apply to Cut as do to Copy Use CTRL X or SHIFT Delete to quickly
14. and Reeves amp Turner 1895 Janet P 1889 L Automatisme Psychologique Paris Alcan Koestler A 1981 The Act of Creation London Pan Books Kooi K A 1971 Fundamentals of Electroencephalography New York Harper Row Kubie L 1943 The use of induced hypnagogic reveries in the recovery of repressed amnesic data Bull Menninger Clinic 7 172 182 Lankton S R amp Lankton C H 1983 The Answer Within A Clinical Framework of Ericksonian Hypnotherapy New York Bruner Mazel Leman K amp Carlson R 1989 Unlocking the Secrets of Your Childhood Memories Nashville Thomas Nelson Lilly J C 1972 Programming and Metaprogramming in the Human Biocomputer New York Julian Lubar J F 1989 Electroencephalographic biofeedback and neurological applications In J V Basmajian Ed Biofeedback Principles and Practice New York Williams amp Wilkins Mavromatis A Hypnagogia The Unique State of Consciousness Between Wakefulness and Sleep New York Routledge amp Kegan Paul 1987 Miller E E 1987 Software for the Mind How to program Your Mind for Optimum Health and Performance Berkeley CA Celestial Arts Moscu K I amp Vranceanu M 1970 Quelques resultats concernant l action differentielle des mots affectogenes et nonaffectogenes pendant le somneil naturel In M Bertini Ed Psicofisiologia del Sonno e del Sogno Milan Editrice Vita e Pensiero Moses R A 1970 Adler s
15. are not getting the effect you desire If Morph is checked the transition from the initial filter settings to the final filter settings will actually morph from one to the other If this is not checked the settings simply change linearly over time which means if you have a spike at 10K for the initial filter and a spike at 1K for the final filter the spike at 10K will gradually decrease and the spike at 1K will gradually increase over time If morphing is on then the spike will ooze from 10K down to 1K passing many of the frequencies in between Really nice effects can be heard by simply choosing the Passive mode and having an initial setting with first half of the filter at 100 and the second half at zero for the initial filter and the right 1 10th or so at 100 with the rest at zero for the final filter This selects high frequencies for the initial configuration and low frequencies for the final configuration To get a nice blending from high to low choose morph to blend the two together by including all the frequency combinations between the two filters To see exactly what is happening as the filtering changes from the initial configuration to the final choose Transition to view the actual settings that will be used over the duration of your selection Various sample Presets are given to illustrate the various types of filters possible You should experiment with drawing filter response graphs yourself and save your favorites into
16. brain will hear the audio traveling around the head in a circle When Smooth Wave is not checked the net delays are the same but are achieved by holding one channel constant at no delay while the other channel is delayed following half a sine wave Then the other channel is delayed while the first is held constant The boundary between holding constant and delaying is discontinuous in that the dD dt difference in delay over time jumps from zero to a positive delay value without hitting any values in between When Smooth Wave is checked the dD dt is 45 always continuous This will also cause less noticeable distortion in either channel when heard independently For special spatial panning effects choose wave frequencies of 1Hz or less A mono source left and right the same will appear to move from left to right and back at period of 1 frequency For example a frequency of 0 1Hz will pan the audio in a full circle over the period of 10 seconds 46 Waveform Generation Functions Cool Edit can generate a variety of audio signals from scratch These signals can be inserted into the current waveform or generated as a waveform in its own right Some very interesting effects can be created by experimenting with the various generation functions The following cover the items available from the Generate menu Ei GENERATE NOISE Generate random noise in a variety of colors Each color has its own characteristics One use for generatin
17. cut the selected wave DELETE SELECTION Once a range is selected it can be removed by choosing this option The deleted portion is not copied to the clipboard It is gone forever unless Undo is active Use the DEL key to quickly delete a selection E EDIT LEFT RIGHT For stereo waveforms it is sometimes handy to be able to work with a single channel Normally both Edit Left and Edit Right are checked meaning both channels are being edited simultaneously To edit only one channel un check the channel you want to preserve so only the other channel is being edited When pasting the audio data is overlapped with what is already there since inserting only on one 22 channel will place the two channels completely out of phase if this is your desired effect use the Delay function Many of the Transform functions will operate on a single channel of a stereo waveform PASTE Paste will insert the wave from the clipboard at the current insertion point replacing any waveform data in the selected range If the format of the waveform data in the clipboard differs from the format it is being pasted into it will be converted accordingly before pasting occurs If no selection is highlighted when Paste is issued the clipboard data is inserted at the insertion point Use CTRL V or SHIFT Insert to quickly paste the waveform that is on the clipboard mm PASTE SPECIAL Waves from the clipboard or from a wave file can be loope
18. disable the Undo function during the batch run Unless the batch was written expecting the Undo function to be enabled this is a completely save thing to do and it speeds up processing because undo information does not continually need to be saved If a source file is unreadable or in a RAW type format without any header information then the batch needs to know what file format to assume for the data This ensures that the batch will run continuously without interruption by dialogs asking for input data formats on head less data WAVE DEVICE SELECTION If you have multiple sound cards or multiple output devices such as a sound card and the PC speaker choose the input and output devices you wish to use by selecting Select Wave Device from the Options menu Different devices may have differing capabilities which will be shown in the Capabilities display as each device is chosen If your system is equipped with MIDI devices you may also choose the MIDI IN and MIDI OUT sources Currently MIDI IN is not used for anything and MIDI OUT is only used in the Music function for previewing songs These settings are remembered in the cool edit section of your WIN INL which means if you install a new sound driver or card Cool will not access it until you choose it from this dialog first It is possible for two separate instances of Cool to be playing at the same time if each one has a different waveform output device selected 59 Question
19. encoded and the intensity Carrier waves must have some correlation between the left and right channels no matter how slight So mono total correlation inverse total negative correlation and spatial natural recordings that have some of the same sounds coming in both channels will work great The best sounds to use as carriers are sounds that are spread across the entire frequency range or at least most of the lower frequency range Good examples are ocean waterfall most any recordings from nature and noise generated by this program Experiment with mono both left and right channels the same inverted like mono but the left channel is the inverse of the right obtained by using the Channel Mixer and spatial stereo spatially encoded sounds in nature recorded with microphones about 9 inches apart to simulate separation between the ears But don t let this stop you from digitizing your favorite music and using it as a carrier or converting your favorite to a mono or inverted wave To generate a carrier wave you can do three things Record a sample Once recorded use the Channel Mixer to create a mono or inversed wave The channel mixer will also allow you to put in just the amount of correlation you desire for example a 20 mixture of both channels leaving the rest untouched Or just leave it the way it was recorded You may find changes in effectiveness of the brainwave files depending on how you use the Channel Mixer Ke
20. generating some yourself Notice that in the Spectral View the entire screen is filled with colors with random splotches all over Noise can be colored by filtering it which reduces the occurrence of some frequencies or increases the occurrence of others Filtering Filtering is one of the most popular uses for digital signal processors or programs that modify sound data Simply put a filter just adjusts the volumes of specific frequencies or adjusts the phases of specific frequencies Many of the functions in Cool Edit are based on the Filter The Filter function itself allows one to choose exactly which frequencies should be boosted or cut The Noise Reduction function dynamically cuts frequencies by differing amounts depending on how much of that particular frequency is present It analyzes the frequencies present in the unwanted portion and attempts to cut out these and only these frequencies while leaving all the rest untouched The Quick Filter function boosts or cuts a large range of frequencies that range from generally low frequencies to generally high frequencies Any of these filtering functions can be tested by generating white noise which contains equal amounts of all frequencies filtering it and then viewing it in the Spectral View Just filter half the waveform and compare the difference between the unfiltered data and filtered data to see exactly which frequencies have been boosted or cut The FFT The Fast Fourier Transfo
21. in space somewhere With higher intensities the noise becomes more erratic and sounds harsher and louder This is the number of seconds of noise to generate If long periods of noise are desired it is faster to generate a short period of noise about 10 to 20 seconds Delete excess noise at the beginning and ending of the noise so that the waves are starting and ending at the midpoint Copy then Loop Paste see Paste Special as many times as needed GENERATE SILENCE Insert any amount of silence This function is most useful in extending the length of the audio signal before performing an echo mu GENERATE TONES Generating tones is a great way to provide a base sound to create spectacular special sound effects Base Frequency The main frequency F that will be used for sound generation Modulate By Modulation Frequency Flavor Modulate over Source Start Phase Difference Phase Change Rate Duration Frequency Enter the variation in frequency you wish to hear For example choosing 100 will oscillate the tone being generated between 50 minus and 50 plus the base frequency This is the rate times per second at which the frequency modulates Entering a value of 10 for example will generate tones that warble at the rate of 10 times per second Choose the type of waveform to use Sine waves sound soft while Triangle and Sawtooth waves are sharper Each flavor has a particular sound unique unto itself
22. of Depression Symptoms Again Alpha and Theta combinations mostly theta Self Hypnosis Choose about 8hz to 10hz while playing any self hypnosis tape or guided meditation Accelerated Learning Choose about 7hz to 9hz while playing any learning tapes like foreign language tapes etc to increase comprehension Also while studying take breaks every half hour and listen to 10 minutes of Alpha 10Hz while reflecting on the material you just learned Subliminal Programming Choose 5hz to 7hz while playing your favorite subliminal tapes or make your own by recording some affirmations and mix pasting Edit Paste Special them from the clipboard at barely audible volumes Improve Intuition or ESP Theta frequencies help in this area 4hz to 7hz Reaching Higher States of Consciousness Theta again with daily half hour minimum sessions Give at least a month for results Quick Refresher on long days Low Alpha 8hz to 10hz for about 15 minutes works well Sort of induces a cat nap Increased Immune System Relaxing to Alpha and Theta combinations daily Learning how to relax and relaxing more often can lower blood pressure and increase the body s natural defenses Using Alpha Synchronization 8Hz to 12Hz expect similar increases in the neuro chemical levels of Norepinephrin 11 Serotonin 21 and Beta Endorphins 25 DISCLAIMER By using this program you agree that the author will not be responsible for any damage as a resu
23. of the quieter signals untouched Limiter 20 1 E Odb 15dB All audio is limited to the range 15dB to 20dB Use this to make all audio about the same volume regardless of original input volume Noise Gate 20dB All audio quieter than 20dB begins to get clipped to zero volume Before silencing a 10dB buffer range is used to ease the transitions into and out of silence So all audio quieter than 30dB is clipped to absolute silence Use these noise gates to replace noise between spoken words with absolute silence Noise Gate 30dB All audio quieter than 30dB begins to get clipped to silence and all audio quieter than 40dB is clipped to absolute silence Compressors are used for the compression of the dynamic range of an audio signal It is generally an amplifier with two gain levels the gain is unity for input signal levels below a certain threshold and less than unity for signals with levels above the threshold Compressors can be used to eliminate the variations in the peaks of an electric bass output signal by clamping them to a constant level thus providing an even solid bass line To maintain the original character of the instrument it is necessary to use a compressor with a long A R time compared to the natural decay rate of the electric bass Compressors can also be useful to compensate for the wide variations in the signal level produced by a singer who moves frequently changing the distance from the microphone Limiters ar
24. offset to zero If the wave is not centered audible clicking may be heard in really quiet situations Since centering takes out all frequencies below about 16Hz it is completely safe to do without any ill side effects Ll NORMALIZE Normalize will amplify the highlighted selection so 1t is the desired percentage of maximum Optionally a DC Bias can be set Setting a DC Bias to zero will ensure that the waveform is centered on the zero voltage line Use this normalize function if you are recording a script in which you want to normalize a waveform to a specific percentage of maximum QUICK FILTER The 8 band quick filter allows one to customize to suit most filtering needs The equalizer works pretty much the same as a standard audio equalizer does Except that the bands are not the same as you would expect The highest frequency band will increase or decrease the high end but it will also increase frequencies all the way down to the lowest as well but it will increase the high frequencies more than the low ones The effect is close to an equalizer but not quite Basically this is a handy function for changing the tone of your sample such as noise to make it more pleasing to the ears Equalizer Bars Adjusting these increases or decreases the frequency component specified beneath the bar Volume Bars The final volume after equalizing may be adjusted to suit your needs Checking the Lock Vol checkbox will lock the left and right scrol
25. so One nice trick to do is to keep the listener at around 4 5 Hz for a while then about once every 2 minutes go up to 8Hz and back over a 20 second span This will alert the listener slightly and make them aware for a few seconds of what they are thinking This is great for getting creative insights and the like It acts as a sort of window to the subconscious allowing one to remember what is going on It s kind of like remembering dreams you do it better if you are awaken in the middle of one Another effective method of producing relaxation files is to overlap them That is have portions that are one frequency and slightly spatially located to one side overlapped with a slightly differing frequency spatially located slightly to the other side This gives the listener the chance to decide which frequency to be at and gives them more freedom over the experience For example a session could go from 8Hz to 4Hz over 10 minutes overlapped with 7Hz to 5Hz over the same 10 minutes For nice super relaxing effects generate panning waves frequencies of 0 05 to 0 2 over your session after encoding the initial brainwave patterns For example if you are generating a brainwave file out of 20 second pieces after generating the main brainwave frequency over the 20 second period generate a panning wave of 0 05 or 0 1 which means a period of 20 or 10 seconds with an intensity of about 50 or so This will make the sound appear to shift left and right to th
26. some people Others start recalling their favorite memories as a child even some they thought they had forgotten forever par par After a session of 15 minutes or more you may feel quite refreshed light airy clear headed etc Some claim that doing this for 30 minutes a day can result in subtle but great changes in your life ESP experiences increase and you may be able to reach new levels of awareness in your everyday life References on Brainwave Synchronization Adams H B 1965 A case utilizing sensory deprivation procedures In L P Ullman amp L Krasner Eds Case Studies in Behavior Modification New York Holt Rinehart amp Winston Adrian E D amp Yamagiwa K 1935 The origin of the Berger Rhythm Brain 58 323 351 Atwater F H 1988 The Monroe Institute s Hemisync process A Theoretical Perspective Faber Va Monroe Institute Bandler R 1985 Using Your Brain For a Change Moab UT Real People Press Barber T X 1957 Experiments in hypnosis Scientific American 196 54 61 Bremer F 1958a Physiology of the corpus callosum Proceedings of the Association of Research on Nervous Disorders 36 424 448 Bermer F 1958b Cerebral and cerebellar potentials Physiological Review 38 357 388 Brackopp G W 1984 Review of research on Multi Modal sensory stimulation with clinical implications and research proposals Unpublished manuscript see Hutchison 1986 Budzynski T 1973
27. target sample rate is different the conversion will not try to pre filter or post filter the samples which will cause some non linear distortion If the wave is just converted between number of channels or sample size though it is the same as using the Convert Sample Type with default parameters After choosing the filename choose the new sample type The waveform will be converted as it is being opened OPEN APPEND This works just like Open except that the file is appended to the end of the file currently being worked on If the file being opened is in a differing file format the quick and dirty method of file conversion is used to convert the sample to the same format RE OPEN This will reload the previously loaded waveform replacing any changes that were made to the waveform being edited Be aware you will lose any changes you have made since the last time the wave was saved There is no prompting to save modifications since it is assumed you wanted to re open the waveform and disregard any of your changes Lal SAVE Choosing Save from the File menu will save the current waveform back to disk overwriting the original without confirmation The file format will be the same as the original format of the file For example if an ADPCM compressed file is loaded and modified then Save will save it back in ADPCM compressed format The disk icon in the toolbar can be set to save immediately or to bring up the Save As box depending o
28. that we had copied originally Create the following pattern blocks as before following the steps 5 to 8 except with the following values for the cue list and waveform transformation Label Description Hi Freq Lo Freq Intensity Graph should go from left highest to right lowest 8 Hz Alpha 8 8 37 8 to 6Hz Glide Down 8 6 38 6Hz High Theta 6 6 40 6 to 5Hz Deeper Theta 6 5 45 5Hz Theta 5 5 50 Graph should look like an upside down V for Spike 5 8 5 Spike 8 5 50 Graph should go from left lowest to right highest for Awake 5 to 12Hz Awake 12 5 40 Once all the blocks are generated and in the cue list Add the pieces to the play list by selecting the wave portion in the cue list and clicking Add in the play list Select the pieces listed below in the order given After doing so select each item in the play list and change the Loops for each so the final play list looks like this 10 to 8Hz 8Hz 8 to 6Hz 6Hz 6 to 5Hz 8 5Hz 5 8 5 2 5Hz 69 1 5 8 5 12 5Hz 1 5 8 5 12 5Hz 1 5 8 5 12 5Hz 1 5 to 12Hz When you choose Play from the play list the sequence will be played in the order given looping the number of times specified This list gives a 21 minute theta session with bursts into alpha at four points 11 If you wish to save this piece and have enough hard drive space you can do it now The wave is complete Enjoy How to use brainwave synchronization files Once you have creat
29. the cue list Items will be displayed in temporal order with the earliest cue position at the top of the list Remove Remove the selected cue position from the list Label Short text label describing the selection Description A textual description of the wave data if necessary Also can be used as a comment Goto Goto the selected cue position or highlight the selected range Double clicking a cue item acts as if Goto were pressed for that item Merge Merge will create a cue range that spans the two cue items selected whether they are ranges or markers themselves To select more than one cue item in the list hold down on the CTRL key when selecting or click and drag over more than one cue item The name used for the new merged item will be the same as the earliest item chosen in time the highest item in the list The information typed into the Name and Description fields for the second item being merged will be lost Markers The cue list can be used anytime to mark your current selection so you can return to it later If you would like Cool Edit to remember your highlighted selection or just your current cursor point click Add in the cue list and quickly type a name for your selection In the future if you want to return the cursor to that point or re highlight that selection double click the name or choose the name and click Goto One great use for markers is to highlight a wave from the zero crossings e Go to the start of wav
30. the dynamic range so all audio is at roughly the same 27 level or create a noise gate where all audio below a certain level is clipped to zero This is all accomplished by use of a transfer function that is drawn using the graph The graph depicts input level along the x axis left and right and the new output level along the y axis up and down A line from lower left to upper right default leaves the signal unchanged since every input value goes to the exact matching output value Other weird transfer functions can be drawn as well for example boosting all input that has a level of around 20dB and leaving everything else unchanged Or drawing an inverse line a line from upper left to lower right will dramatically boost low amplitudes while dramatically suppressing high amplitudes that is all quiet sounds will become loud and all loud sounds will become quiet Attack Release Samples Group Joint Channels Invert The attack time determines the time it takes for the new output signal to reach the proper output volume For example if there is suddenly a quiet portion that drops 30dB it will take this much time before the output actually drops to its corresponding volume level If the sum of Attack and Release times is too short less than about 20 ms total audible effects can be heard such as a vibrating sound at a frequency of 1000 lt time gt So if the Attack and Release times are each set to 5 ms making 10 ms t
31. the waveform that has no important signal in it and only has background noise then press Set Noise Level The statistical information about the background noise is then gathered and you are set to remove all noise of this type from your waveform 2 Once the statistical data is gathered highlight the section you want to remove the noise from and choose the level of reduction you desire A level of zero will remove the least amount of noise and nearly no signal loss will occur Typically the noise will be reduced about 3dB at this level A level of 100 will remove the maximum amount of noise lowering the noise level by about 20dB If the signal you are trying to keep gets too distorted at this level use lower values until a balance is reached between noise reduction and allowable signal distortion Values any higher than 100 will guarantee loss of the signal that you want to retain Distortion effects may manifest themselves a hollow or underwater burbly sounding signal dull sounding impacts rolly high end or a computerish mechanical sound These effects if heard at all will fall off if the noise reduction level is reduced The amount and type distortion depends on the type of noise that is being filtered Besides reducing the noise level the type of noise that is present after reduction is entirely different than the type of noise beforehand For example if you are trying to get rid some tape hiss from a waveform
32. to put a name with your audio artwork Examples are Thunderstorm At Night Forest Stream The Genre of the original work With audio let s try things like musical classifications etc Examples are Cartoon Voice New Age Instrument In the future sounds may be searched for by key words Please separate key words by a semicolon followed by a space For Example Violin Hayden Johann Strauss Where was the sound digitized from A tape deck CD or maybe directly from a microphone Maybe describe the board used here too like Sound Blaster Pro or MediaVision For Example DDD CD to MediaVision Pro 16 Where did the sound come from originally Examples Live Band Flute Moog Voice Store the name s of the engineer s who worked on the file or edited the file Please separate names by a semicolon and a space When a new person edits the file they can add their name to the list For example John Cravitz Fred Millstone 52 Digitizer Who is the technician that did the actual digitizing They should put their name right here Comments This is for making any comments you wish Feel free to include any special effects or enhancements you made to any preexisting waves so that the editing history can be tracked Spec says you should not hit lt Enter gt but let the typing wrap around on its own End each sentence with a period For Example It took me 12 hours to get this recording right Ted added echoing effects using Cool Edit Su
33. up press the Stop button then try reducing the play record buffer size in the Settings menu Also be aware that the initial recording time left that is displayed when recording can be slightly off since the amount of space audio data takes up on a compressed drive varies with the type of audio being recorded Cool will try and estimate the time left every few seconds so if you see a jump in time left either a favorable jump or a not so favorable decrease it is because Cool is trying the best it can to estimate the remaining time For more accuracy in using any transformation use 16 bit samples while working with waves If your board only supports 8 bit samples you can have them converted on the fly at playback time by choosing the convert 16 to 8 bit mode in Settings To convert an 8 bit sample to 16 bit open the waveform copy the entire wave then say New and choose 16 bit and paste the waveform Alternatively you can open an 8 bit file as 16 bit by using File Open As All temporary files begin with the tilde symbol The main Cool Edit temporary file containing the currently active waveform begins with COL Undo information is saved in a file starting with NDO Some other functions create files starting with CTE and CTM All temporary files have the TMP filename extension The rest of the filename is chosen at random when the file is created If there are no copies of Cool Edit running none of these files should be present If y
34. want to convert the current waveform to a new sample type without affecting how it currently sounds use Convert Sample Type function instead since this operation only modifies how Cool Edit interprets the data Adjusting the various parameters comes in very handy when loading in waveforms of unknown type RAW You can play with the various settings until the wave sounds right BYTE SWAP You can change how Cool Edit interprets the actual waveform data by swapping high and low order bytes in 16 bit mode or by adjusting the signed unsigned interpretation of bytes in 8 bit mode Swapping the byte ordering comes in very handy when loading in waveforms of unknown type raw PCM You can try swapping the bytes if the waveform does not sound correct after loading an unknown format CONVERT SAMPLE TYPE Convert the currently loaded waveform to a new sample type Unlike Adjust Sample Rate this will do all the necessary conversions so the sample sounds the same at the new sample type When converting to a new sample type various other options may be available so that you may customize the conversion process First choose the new Sample Rate number of Channels and Resolution you would like to convert the loaded waveform to Then you may choose some of the following options Low Quality When converting to a new sample rate choosing Low Quality will do the quickest conversion with no pre or post filtering This quick conversion may cause side e
35. your sound card You may be trying to record at a rate not supported by your hardware Some older boards can play at higher rates than they can record You may also be trying to record in 16 bit mode for an 8 bit card When COOL is started the playback abilities are displayed in the audio format box but this does not necessarily mean you can record at the same rates Q I get an error message when I try to play a wave How come A Your board probably does not support the audio data sample rate or sample size Try checking Play 16 bit files as 8 bit in the Settings box This will convert any 16 bit audio data to 8 bit as the file is played 60 Q I just installed a 16 bit audio card but my 16 bit sound files still sound awful Should I take my card back A No Your card is probably fine Check to see that the Play 16 bit files as 8 bit box is not checked in the Settings dialog If it is checked your files are being converted to 8 bit before being played Also be sure you are using the right DMA settings The lower DMA channels can only support 8 bit audio Please check your sound board manuals for this information Q Why does it take forever to do things like Filter and to use Spectral View A These functions use the Fast Fourier Transform FFT to convert the waveform from temporal data to frequency data The FFT does zillions of floating point operations to accomplish this If you do not have a coprocessor this includes 486SX u
36. 16 bit sample have a higher dynamic range than 96 dB or a wave sampled at 22 050Hz able to contain frequencies above 11 025Hz The current sound cards though are about matched in quality between their analog components and digital specifications That is the components can handle frequencies up to 24 KHz and have a signal to noise S N ratios approaching 96dB which matches the digital specifications of a 48 KHz sample rate and 16 bit word size Some high quality amplifiers on the market can amplify signals upwards of 30 KHz and also have S N ratios of around 110 dB perhaps more Even though the digital portion may be trivial sampling at 60 KHz and using a 20 bit word size a sound card of this caliber may be larger than your PC If the components in the sound card can not handle these higher specifications then the extra space required by the PC to store larger samples 20 bits instead of 16 bits and more samples per second 60 000 as opposed to 48 000 would just be wasted Noise In general noise is the opposite of pure tones or sine waves Instead of sound at exactly one frequency noise consists of random collections of all frequencies At any instant in time any number of frequencies may be present at any volume at any phase The effect is that of the static you hear when tuning between FM radio stations or the sound of your TV when it is not tuned to any broadcast See the Generate Noise function for examples of types of noise and try
37. Cool E dit User s Manual ON I con de SAN i TIO SAUNA i M Syntrillium P O Box 60274 e Phoenix AZ 85082 0274 e USA 1 602 941 4327 e fax 1 602 941 8170 syntrill aol com http www syntrillium com Cool Edit Release versions 1 53 and 95 Cool Edit is a digital sound editor for Windows You might think of it as a paint program for audio just as a paint program enables you to create images with colors brush strokes and a variety of special effects Cool Edit enables you to paint with sound tones pieces of songs and voices and miscellaneous noises sine waves and sawtooth waves pink noise white noise and brown noise even silence Cool Edit also gives you a wide variety of special effects to touch up your sounds reverberation noise reduction echo and delay flanging filtering and many others Cool Edit is both flexible and powerful It works with dozens of audio file formats supports files up to 1 gigabyte in size enables you to customize any function to achieve just the effect you want and then to store your settings as a preset and offers scripting and batch processing features so that you can automate your sound processing routines This manual describes all the features and procedures you need to make the most of Cool Edit Once you ve started working with it you ll understand why thousands of musicians multimedia authors and artists scientists telephony pro
38. Data This format is simply the dump of the PCM waveform data without any header information None of the waveform Info box information will be saved Since there is no header you will be asked to select the waveform sample rate resolution and number of channels when loading By reading audio data in as PCM practically any audio file format may be read in Once read in you can use the Adjust Sample Rate and Byte Swap functions to modify how the file is interpreted until you have something that sounds like real data The waveform will sound bad in different ways depending on which parameters are incorrect Once the wave is loaded and sounds almost all the way fine you may hear clicks at the start end or sometimes throughout The clicks are various header data being interpreted as a wave Just cut these out and Voila You have read in a wave in an unknown format 18 MPG MPEG Layer 2 The MPEG Motion Picture Experts Group format layer 2 is available upon request This format will allow the saving of CD quality 16 bit 44 1khz stereo audio in 1 4 the space with no noticeable loss in quality Higher ratios like 10 1 are attainable with very little loss in fidelity OPEN AS This works just like Open except that the sample format can be specified first If the sample format selected is different than the native format of the wave being opened then it will be converted using the quick and dirty conversion method This means that if the
39. I I A E Is I I A AN 55 CGN Gi Da BY Ky NA mE SN E EE E NE E E A E E E E A E E a E 55 PEAY LIST a EEE EE EEE E A Ae 57 SERIAS ARRETE EEE EEE AEAEE EEEE EE EEE TEE ET EEE TEE COES 57 BATCH PROCESSING roir iria AAI 59 WAVE DEVICE SELECTION ai a ob oh eh E E a E E E E eauniaed oad 60 QUESTIONS AND ANSWERS ssssssssssssssssssssssssssssssssosssosssssosssossessessossssssssssssosssssssssssssssssssssssee 61 BRAINWAVE SYNCHRONIZATION FUNDAMENTALS scssssssssssssssssssssssssssssssssssssssseees 65 ABOUT CARRIER WAVES csscssscccccccccessssseccccsscceeussssececcssseuuusssesecessseuuuesseseccssseeueueesesccsssseuuuneeeeeess 66 ENCODING BRAINWAVE INFORMATION cccccccccccsssssssccccsscceesssseecccssseeeusssseecccssseueuusseeeccsssseeuuaeseecess 67 AUTHORING BRAINWAVE FILES cccsssssccccccccssccssseccccsceesecssssecssssseueucssssecssssesuecusssessssseuseeusessesess 68 SAMPLE THELA BeBe ter e E Sart Dida A rios creada de 69 How To USE BRAINWAVE SYNCHRONIZATION FILES 0 cccsseesccccccccceeessseccccsseeeeusessesccesseeeeuseeeeseess 71 REFERENCES 5 502555050503 50050 250005555 5 be sg Bae a IIR 71 TECHNICAL INFORMATION eeeeeecccccccccccccccccccccccecccccccccccccccccccccccccccccccceccccccccccccccccccccccccccceeee 74 TECHNICAL NOTES uta 74 ABOUT THE AUTHOR iia is lis las las li ibid 75 Features Overview e Multiple instances copies of Cool Edit can be loaded copied to and pasted from in any mixture of wave formats e C
40. If not checked the note is created by directly stretching or compressing the original sample resulting in higher pitches being shorter than lower pitches Exact Tune Choose Exact Tune to tune your sample so that when played at A above middle C the frequency of your sample is at 440Hz If this is not checked your sample s original frequency will be played at A above middle C Chords The triplets of numbers to the right is the chord selection box You can choose to make a chord out of 2 3 or 4 notes then choose the chord from the list Finally pick up a chord object the 3 notes on top of each other and drop it on a note above The note you drop it on will be the starting note of the chord and the other notes will automatically appear above it in the right ratios Clearing If you want to clear a sharp flat or chord from a note use the faded looking quarter Chords Sharps note object and drop it on the note you wish to bring back to normal or Flats Saving Your If you make a cool song you want to keep give it a name in the Song Title box In the Songs future you can choose your song from the list of song titles that you created The actual song data is saved in the file SONGS INI in your Windows directory 37 Listen If you have MIDI play capabilities you can listen to a preview of your song before actually creating it Play begins at the leftmost note visible on the staff which means play begins at the position you are sc
41. above the waveform depicts which portion of the entire waveform is being viewed in the workspace below e Sliding the green bar when present left or right scrolls various parts of the waveform below into view accordingly e Clicking to the left or right of the green bar will scroll the audio to the left or right one screenful when zoomed e Double Clicking on the View Indicator will bring up the Viewing Range dialog to allow direct entry of starting and ending samples for the portion of the wave to view The Yellow Arrows indicate the point of insertion Clicking anywhere in the workspace will move the point of insertion to the mouse The Red Arrows when present represent the Cue List entries for cue markers The Blue Brackets when present above and below the waveform represent the Cue List entries for a range Choose Zoom In to expand the selected portion to the full window Zoom Out will give a larger view of the waveform while Full View will display the entire waveform in the workspace Playing and recording is controlled by the lower row of buttons e The Play button will play the portion of the wave that is currently being viewed or the portion that is highlighted e The Pause button will temporarily pause the playback or recording of audio The button turns into a Continue button when audio is paused If recording the red record bar turns yellow to indicate a paused state e The Record button will start recording at the curre
42. ampling In the computer it is impossible to work with an infinite amount of data which is what would be required if a continuous wave were to be represented inside the machine so at every possible instant in time we would have the value of the waveform at that instant For this reason it is necessary to sample the data Sampling consists of breaking up the waveform at constant intervals and representing all values in that interval by a single value By dividing the waveform up like this one second of audio can now be represented by a finite number of values The sample rate is the number of divisions taken per one second of audio As you can see by the graph the sampled waveform horizontal dashes contains much less information about the shape of the wave than the original continuous wave itself The highest frequency that can be represented by this method is exactly one half the sample rate So if a sample rate of 22 050 slices per second was used the highest frequency that can be represented would be a tone of 11 025 Hz This frequency is known as the Nyquist frequency The higher the sample rate the higher the frequencies are that can be represented by sampling The human ear can hear frequencies up to about 20 000 Hz or 20 KHz so to represent all sounds that humans can hear a sample rate of at least 40 000 Hz must be used which would yield 40 000 values for the computer for each second of audio This is why CD playe
43. an also all be in different formats if desired After each file has had the script run on it it will be saved to the Destination Directory You can choose the Output File Format that all the waves will be saved as as well as enter the appropriate options for the file format if the format supports options File names can be modified slightly before being saved The filename extension will change to that of the file format being saved automatically e g AIF If another filename extension is desired or some modification to the filename portion is desired the filename template can be modified Use the question 58 mar to signify that a character does not change and a to denote the entire original file name or entire original file extension Here are some examples of how filenames will be saved given the original file name and the filename template Original Filename Template Saved As zippy aif wav zippy wav toads pcm q voc qtoads voc funny out b bunny out biglong wav wav bigl wav bart wav x wav bartx wav Choosing Overwrite existing files will always perform the script on the file in question and save it to the destination even if a file of the same name already exists at the destination If this box is unchecked and the destination filename already exists the batch will not even attempt to run the script on the file in question but skip it instead In most cases you can check the Disable Undo option to
44. ange has been evenly divided into equal spaced steps With only 256 levels the sound quality is comparable to that of AM radio With the 65 536 levels possible with 16 bit audio the quality is comparable to that of compact discs which can have much louder louds and much softer softs So where the 13 sample rate divisions in time determines the highest frequency sound that can be represented the quantization level divisions in amplitude determines the highest dynamic range that can be represented If the divisions in amplitude are not evenly spaced but there are more divisions with lower values and fewer with higher values softer sounds can be represented with fewer volume levels at the expense of less precision at higher volume levels The A law and u law file formats do just this they save only 256 unique volume levels but have more levels at the lower volumes The result is the dynamic range equivalent to having 4096 volume levels comparable to a high quality cassette but with some distortion like distortion heard on broadcast FM radio but a little worse Sound Reproduction The hardware in your sound card has a special chip for converting the analog continuous time signal to digital discrete or sampled signal called an A D converter It also has the reciprocal chip which converts the digital signal from the computer to an analog signal that can be piped to a pair of headphones or to your stereo system which is called a
45. annel will cause the right channel to go quieter as well if compressing The invert button will change the graph to one that will function as the exact opposite For example if a transfer function with a compressor characteristic is being displayed pressing Invert will change the graph to one with the corresponding expander characteristic For a graph to be invertable it must have points in the two corners 100 100 and 0 0 and it must be always increasing in output i e you cannot go down in output volume as you go from left to right All segments must be sloping upwards from left to right 28 Presets 2 1 Compressor lt 20dB Leaves signals above 20dB untouched and compresses those below 20dB at a ratio of 2 1 Use this to make quiet passages more audible 3 1 Compressor lt 10dB Leaves signals above 10dB untouched and compresses those below 10dB at a ratio of 3 1 Use this to more drastically make quiet passages louder 3 1 Compressor gt 30dB Leaves signals below 30dB untouched and compresses those above 30dB Use this to quiet loud peaks in a signal 3 1 Expander lt 10dB Leaves signals above 10dB untouched and expands those below 10dB at a ratio of 3 1 Use this to make quiet sounds much quieter Expanders work well as hiss reducers in speech passages 4 1 Compressor gt 20dB Leaves signals below 20dB untouched and compresses those above 20dB Use this also to quiet loud peaks in a signal but leave more
46. approximately twice as long to draw but the resolution will be more precise The number of data points displayed is equal to 1 2 of two to the value given In other words a value of 7 will display 64 points along the y axis a value of 8 will display 128 9 for 256 10 for 512 and so on On most displays a value of 10 is as high as you will ever need to go Extra information can be included in your WAV files using the RIFF LIST INFO and DISP type 1 formats This information should depending on future wave editors stay with your sound through its lifetime Other wave editors should preserve all of the fields you see here but experience has shown that some editors only keep partial information Be sure to put proper information in its place Display Title Icon Original Artist Name Genre Key Words Digitization Source Original Medium Engineers This should describe the sound or text 1f there are words in the wave This field should be as short as possible since it will be displayed in OLE objects and the like Any DIB or BMP file can be inserted but preferable a 32 X 32 16 color would be best The Media browser uses this size to display a picture representing the sound Other OLE compatible applications can use the above display title and or the bitmap to represent your waveform The one who created the sound initially Examples are Beatles Pat Sajak Fred Flinstone The title of the wave This is your chance
47. arly with time on compressed drives This is the location that Cool Edit will use to save all the Undo files Up to 3 undo files will be present per instance of Cool Edit being run to accommodate the three level undo This directory can be different that that of the Temp Directory It makes no difference whether the drive use for Undo is compressed or not but a non compressed drive will still be faster After doing any Paste operation this includes Paste Special you can have the inserted selection automatically highlighted or just have the cursor at the end of the pasted selection Not highlighting after pasting makes it easier to do multiple pastes one after the other If your sound board is only capable of 8 bit audio you can still create and edit 16 bit audio files When you choose Play the audio data will be converted to 8 bit before being sent to the sound board If this is checked the undo function is enabled and running After making a change you can choose Edit gt Undo to back up one step You may want to disable the undo feature if you know you are not going to undo something For example if you are running a function on a 5 minute file you may not want to wait while the undo information is saved Up to 3 levels of undo are saved If this is checked then the program locks while the green waveform is being drawn With Windows NT other apps are not paused when this is going on and the extra code needed to multitask w
48. ase Transpose When the number of desired keys up or down are chosen the numerical values for transposing musically are entered into the stretch sliders For example to make your sound as if it were the next key higher if played on a keyboard and black keys included choose 1 for 1 sharp The b values will flatten or lower your sound Interval Overlap When preserving pitch or tempo the waveform must be elongated or truncated smoothly and preserve as much of the original information without adding noticeable distortion This is one of two methods that can be used to achieve this The amount of distortion introduced is not dependent on the type of sample e g music or speech When stretching or compressing the appropriate chunk from the original wave is output to the transformed wave and overlapped with the previously transformed chunk Interval Rate This determines the size of a chunk of audio data Interval rates will become an audible hollow sound when large rates above 50Hz are used If the rate is too low echoing will be very noticeable when raising pitch or slowing down tempo or chopped syllables will be noticeable when lowering pitch or speeding up tempo Values of 20Hz to 40Hz usually produce good results Overlapping This determines how much of the previous chunk is overlapped with the current chunk The overlapping can produce a chorus effect To reduce the chorus effect lower the overlapping percentage When the overlap
49. ation and memorization of speech during natural sleep In F Rubin Ed Current Research in Hypnopaedia London MacDonald 71 Swedenborg E Rational Psychology Philadelphia Swedenborg Scientific Association 1950 Tomarken A J Davidson R J amp Henriques J B 1990 Resting frontal brain asymmetry predicts affective responses to films Journal of Personality and Social Psychology 59 791 801 Townsend R E 1973 A device for generation and presentation of modulated light stimuli Electroencephalography and Clinical Neurophysiology 34 97 99 Tucker D M 1981 Lateral brain function emotion and conceptualization Psychological Bulletin 89 19 46 Van der Tweel L H amp Verduyn Lunel H F E 1965 Human visual responses to sinusoidally modulated light Electroencephalography and Clinical Neurology 18 587 598 Van Dusen W 1975 The Presence of Other Worlds London Wildwood House Walter V J amp Walter W G 1949 The central effects of rhythmic sensory stimulation Electroencephalography and Clinical Neurophysiology 1 57 86 Wickramasekera I E 1988 Clinical Behavioral Medicine Some Concepts and Procedures New York Plenum Press 72 Technical Notes If you are using a compressed or double spaced hard drive there are some special considerations Recording high data rate waves such as 44 1K Stereo 16 bit may severely slow down your system If your system appears to lock
50. audio Always place the microphone s sufficiently far from the source If the microphone and source are too close together you will just hear the source and no echoes since it is analogous to placing your ear right next to the sound source where you hear the sound only which is very loud and nothing else 32 Room Size Intensity Echoes Damping Factors Source Signal Placement Microphone Placement The length width and height of the room can be entered in units of feet sorry no metrics this time There are approximately 0 3 meters per foot for those who need to convert When entering source and microphone locations they must lie between zero and the room s width for the Distance from Left parameter and zero and length for the Distance from Back parameter Room sizes can be as large as memory will allow The volume of the echoes is determined by the volume of the first direct audio The direct sound that reaches the microphone from the source will be at the same amplitude as the original audio being echoed Thus in a room of any size if all 6 dampening factors are set to zero there will be no change when echoing Every echo adds to the amplitude of the finished audio so the intensity should be set to less than 100 In fact the more echoes there are the lower this value should be set to prevent clipping In general about 1 less for every echo down to a reasonable limit of about 5 for 100 echoes or more
51. available the reverb will not be performed and you should choose a shorter reverb length Cool Edit contains a few presets to get you started But for best results experiment with the different parameters and you ll find just the reverb you are looking for The Large Occupied Hall gives a very nice live theater atmosphere The Concert Hall Light setting gives a nice professional performance reverb enhancing a non reverberated vocal singing track quite nicely Presets Concert Hall Light This gives a light reverb which will make a mono vocal track converted to stereo sound very natural as if singing in a concert hall Large Empty Hall This sort of sounds like the gymnasium with many distinct echoes and high frequencies bouncing around Large Occupied Hall Same delay as the empty hall but the feeling is as if the room is carpeted and filled with listeners due to absorbing more high frequencies Last Row Seats This is a special effect where you hear mainly a lot of reverb Medium Auditorium Simulates a medium sized auditorium 500 seats Medium Empty Room Simulates an empty room in your house or the basement Shower Very realistic Shower effect makes vocals sound better as if the singer sang in the shower Warm Room Sounds like a room in your house KKI REVERSE This function simply reverses the selected audio One fun thing to try is to record yourself saying a short phrase then to reverse it Listen to how the p
52. bject This Describes the content of the file Feel free to include a description of the instruments used where someone can find the song recorded etc Line returns are OK and are created by pressing Ctrl J Sometimes copyright information is placed here as well For Example The shakuhachi of Japan lt Enter gt lt Enter gt The shakuhachi was developed in the 15th century from a Chinese end blown flute called the chiba Source Supplier The name of the person or organization who supplied the original source material Let s use this field for the names of record companies or whoever supplied you with the source Examples MCA Records Ann Wilson if recorded live Copyright Any copyright information for this file should go here Example c 1992 G Willikers Corporation All rights reserved Software Package The software used to digitize and edit this file Cool Edit will place its name in this field unless marked not to Creation Date The date that the subject matter was created The date should be in the format yyyy mm dd using 0 as a place holder in single digit values For example if the date the original recording was made was July 30 1988 then it would be written as 1988 06 30 Cool Edit will fill this field with the current date if it is empty and not marked to skip this operation Fill fields If checked the Software Package and Creation Date fields are filled automatically automatically by Cool Edit If you are saving WAV
53. by highlighting a section of the wave or the whole thing and choosing Transform Wave or click the wave icon With the wave transformation you have complete control over the brainwave frequency being encoded the strength of the signal and the positioning of the signal left or right Over the selection highlighted the intensity and position remain constant but the frequency can be varied using the graphical input control See the section on Authoring Brainwave Files to learn what settings to use for the Wave function and how to build effective files Once the entire file has been waved to your satisfaction you can save the file if you wish and play it using the Play button An interesting side effect is that different sounds are heard if you listen to one channel listen to both channels with one ear or listen to each channel with each ear Cued Brainwave File Generation 66 These files contain many short snippets of brainwave encodings at different frequencies Each snippet is cued using the Cue List and a Play List is generated by adding entries from the Cue List and looping them if necessary To listen to a cued brainwave file you must use the Play button in the Play List dialog box First you must figure out how you want to divide up the brainwave program your 20 30 minute masterpiece into components For example you may want to have patterns of 5Hz 7Hz and 9Hz at different points in the program In this case you will need at l
54. cess 27 AMPLTEY 0 oi A oc E AI EN ER EN ER ER ER I IR I IR I IR I I SE 27 CHANNETMIXER sein E A E A a AE ESSERE oe 28 COMPRESSOR ba ci 28 DETAR TR 3 DISTORTION 4022 BO i ec ee orale oot habe ida ec coals aaa et a Neu tic ee Cease Raat 3 ECHO RA A RR oR kee aR Ree eR hee 3 SDE CHO CHAMBER orres e A oo Secs SIS eS SS Se aS SE ER 32 ENVELOPE ieee A E cael esas tie ean ba baat el el eda a aa i 35 PTET ER cemrenin beet yet cececacecaateucueveskt a eves eur tetas 35 FLANGE O tore si tetseava anes e on sateibnvatess eee ee ea ee Eae eaeoe EES eieaa 36 INVERT E EEO AAA aia 37 IS E FAET ENA E EE AAE AEA E EE E 38 NOISE REDUCTION ETE E A A A A E A A bu IE at Hance ao sec ees 39 NORMALIZE 35 0 ee eee ee eee 4 OUICK FILTER A AAA 41 REVERB 3 a a aL soy 42 REVERSE cocci cP cetece lt tt lt et a ed lo o lol il 43 SILENCE a COE Ce mas p o de nee beni deceo aD ces AET 43 S TRENCH IRA TARTA TRE at O OO st cee eae OOO OEE 44 WAVE OOOO nn cael Sasa basa eae E EE EE ta duneeuReeuencateceseeuReseensatecuseevtesdoescene 45 WAVEFORM GENERATION FUNCTIONS ccccccccccccessssscccccssceeeesssescccssseeeusesseecccsseeeeusecseeccessseueueesesecess 48 IATA ZII O A 48 GENERATE SILENCE 00 ES A AS AA RE RRS 49 GENERATE TONTO ar da ei OR OE OE IE EE OE IAA 49 OPTIONS 0 00 ii 51 ELOOP PLAY TOGGLE Soano IEEE ENEN EN IONNS 51 MONITORS OURCE lt lt al 51 SETTINGS e a Ri inenioag 51 DRA RO RR RRA 53 TERE OUENG VA NALY SIS marnan 54 CTD A VIER occa a Os i Oe
55. ch Processing next Pause at At each dialog the script will stop to allow you to modify the values to the function Pressing Dialogs Cancel at this point will stop the script pressing OK will continue it Alert when When the script is finished a dialog box will signal the completion of the script if this complete option is checked Execute When running a script that was recorded when a waveform was loaded but there was relative no highlight it can be run by playing back all the operations relative to the beginning of to cursor the file or to the beginning of the cursor For example the Sound Effects scripts require you open a waveform it can be blank first Checking this option will insert the effect at the cursor otherwise the effect will be inserted at the start of the file Important Note Other buttons and functions are not disabled while the script is running Therefore do not use the other functions until the script has stopped playing or you have Canceled out of the script by pressing Cancel at one of the dialog boxes FXNS2 SCP Sample Collection Description These are five sample functions Cross Fading is useful if you are going to loop the sample The last portion of the sample is overlapped with the first portion and the amount of overlap is different for each Cross Fade script Full cross fading fades the last half of the sample with the first half Soft cross fading fades the last 5 with the first 5 and hard cross fad
56. change sample type interpretation Double Click on time windows to change time format Double Click on title bar to Maximize Restore Rest mouse over toolbar button to get explanation of button s function 11 A Short Course in Digital Signal Processing Signals or Waves Waves in the context of Cool Edit are sound waves A sound wave can be written as the how the air pressure on your ear changes over time When you hear a loud sound the pressure on your eardrum is greater and it vibrates harder Soft sounds affect the eardrum very little and thus are noticed as Highest Pressure softer sounds So a wave is a convenient representation of how the sound level varies over a time interval The illustration is a sine wave of a constant pitch It shows the sound pressure oscillating from low pressure to high pressure and back In natural systems this motion follows the path of a sine wave when graphed The wave here is of a a constant frequency and constant amplitude Choose any time along the Time axis going from left to right draw a vertical line up and down and there will be exactly one spot where the wave crosses this vertical line This is because a Lowest Pressure wave can have only one value at any instant in time For example there can not simultaneously be two different pressure levels on the eardrum at once If two sounds are heard at the same time the pressure levels from both of them are simply added and a single resultant pressu
57. chosen Faster Absorption times simulate rooms that are occupied and have furniture and carpeting like night clubs or theaters Slower times especially over 1000ms simulate more empty rooms like gymnasiums and empty auditoriums where higher frequency reflections can be heard Perception Timbre This is another parameter to help give subtle qualities to the environment making it sound more realistic It can be thought of as changing the width of the room and adjusting other room irregularities With lower values the reverb is smoother without as many distinct echoes Higher values cause more variation in the reverb amplitudes and add more spaciousness to the reverb by creating distinct reflections over time In general higher values up to 60 can be used for simulating large rooms and lower values down to 0 for small rooms But these are only suggestions Interesting canyon effects can be created by setting this value to 100 and using a total reverb length of 2000 or more Mixing Original Signal This is the amount to mix the original signal into the final result If you are trying to achieve some special effects with reverb you may want to reduce the volume of the original signal Or if the reverb is So great that audio begins to clip reduce both the original signal and the reverb mixing strength In general the more reverb you add the lower the original signal volume should be In most cases a value of 90 or so should be fine
58. cripts which have a binaural beat pattern two differing tones in each ear overlaid with the corresponding Waved pink noise Choose Loop Play and listen to the audio as long as you like Each Tone script stimulates a different brainwave frequency from Delta to Theta to Alpha and an Earth tone of 7 83Hz The Music scripts have Waved music overlaid with the pink noise for a relaxing effect The Creativity Theta Session is similar to the sample theta session described with the Wave function and lasts 1 2 hour The session starts at Alpha goes down to Theta and stays there with a few bursts into Alpha and back How To Use Open a new blank waveform of any Stereo sample setting you wish We suggest using at minimum 22K 16 bit stereo but the synchronization effects will still work at lower sample rates and 8 bit Once you have a blank waveform to work with run one of the scripts BATCH PROCESSING A single script can be run repeatedly over a group of source files The script must have been recorded in a Works on Current Wave mode that is before the script was recorded there must have been an open waveform perhaps blank and no highlighted selection The Batch Run button will only be selectable if a script of this type is selected from the Scripts list Any number of Source Files can be chosen as long as they are in the same directory sorry about the limitation Press the Browse button to choose these wave files The wave files c
59. culate them all and perform the echoing Since the echo function works in two stages calculating echoes and performing echoes don t be alarmed if the progress meter doesn t show any progress for the first few seconds for high numbers of echoes One great use for this function is to convert Mono audio to Stereo with all the right ambiance Choosing a left microphone that is one to two feet away from the right microphone will simulate the ears of a listener and will give the effect of being there when listened to with stereo headphones Be sure to copy the mono audio into a stereo format before performing the echo so you can choose two separate microphone locations A spatial stereo expansion effect can be created by placing the two microphone locations far apart further apart in the settings than you will be playing them through speakers in real life For example if your stereo speakers are 6 feet apart try placing the left and right microphones 20 or 30 feet apart in the settings To give more control over the environment dampening factors can be applied to any of the 4 walls floor and ceiling If a wall has a dampening factor of 1 0 it is totally reflective like cement If a wall has a very low dampening factor like 0 05 it will absorb most of the sound like carpeting or sound proofing panels You can also lower the dampening factor of some of the walls to simulate the fact that other objects in the room are absorbing some of the
60. cy plots because so much more information can be displayed at once At a resolution of 10 bits spectral lines are clearly visible and individual notes distinguishable Lower frequencies are displayed near the bottom of the display while higher frequencies are displayed near the middle on to the top The vertical display is linear White lines on the left and right divide the display into 1 2 1 4 1 8 and so on To top of the display represents frequencies at just below the Nyquist frequency or 1 2 the sample rate So if a bright spot appears near the top of the display for a signal sampled at 22K the frequency being represented is near 11K A bright spot at 1 4th of the way up would be 1 4th of 11K or about 2 75K The vertical resolution of the spectral plot can be adjusted in the Settings section by adjusting the Spectrum Analyzer Resolution values from 5 very course to 12 very fine The finer the resolution the longer it will take to display a frequency plot All editing can be done while viewing in spectral mode instead of waveform amplitude plot mode but on most machines drawing could take a while because of the enormous amount of calculations needed to compute the graph It is best used on slower machines as an analysis tool only Choose Waveform View to return to original waveform view mode TRIM Trim is the exact inverse of delete which means everything is deleted except the portion that is selected Only the selected port
61. d or mixed with the current waveform They are inserted overlapped or modulated starting at the current insertion point Paste Special is a very powerful paste function and can be used in a variety of situations Volume Use the volume slides to paste an amplified version of the clipboard wave into the current waveform By adjusting the volume slides single channels may be pasted Lock left Right When checked the volume slide bars are locked so both left and right volumes can be adjusted at the same time Overlap When overlap is checked the clipboard wave does not replace the currently highlighted selection but is mixed at the specified volume with the current wave If the clipboard wave is longer than the amount selected the wave continues being pasted beyond the selection Modulate When modulate is checked the clipboard wave is modulated with the current wave This is like overlapping except that the values of the source wave and clipboard wave are multiplied by each other sample by sample instead of added To quickly modulate by a sine wave use the Generate Tones function which has a Modulate by Source option Loop Paste When checked the clipboard wave is pasted the number of times entered For effects this gives a great Max Headroom stuttering effect From Clipboard When chosen the audio data to be pasted is the data currently on the clipboard If the format of the waveform data in the clipboard differs from the f
62. data formats but only mu law A law and linear PCM data are supported The most common use for the AU file format is for compressing 16 bit data to 8 bit mu law data See the WAV CCITT format for more information on mu law and A law SMP SampleVision format The SampleVision format only supports mono 16 bit audio If your data is in a different format you will be asked if you want to convert it before saving This format supports loop points which can be edited using the Cue List The Label of the cue must be in the format Loop n m where n is the loop number from 1 to 8 and m is the mode being O no looping 1 forward loop 2 forward back loop The Play List is used to enter the number of times to loop the cue range Add the cue range to the Play List then enter the number of times to loop VOX Dialogic ADPCM This is yet another 4 bit ADPCM file format It has been optimized for low sample rate voice and will only save 8000Hz Mono 16 bit audio This format has no header thus any file format with the extension VOX will be assumed to be in this format SAM 8 bit Raw signed format This format is similar to 8 bit AIFF except that there is no header written When saving 16 bit files in this format they are automatically converted to 8 bit before being written out In order to read 8 bit signed raw data the filename must have the extension SAM This format is handy for reading and writing MOD compatible waveforms PCM Raw PCM
63. e compressors with a compression ratio of 10 1 or greater because their output levels are essentially clamped to the threshold level A limiter can be used to clamp all audio to a prescribed output level or just all audio above a certain threshold Expanders are used to expand the dynamic range of an audio signal opposite of the compressor It can also be considered an amplifier with two gain levels the gain is unity for input signal levels above a certain threshold and less than unity for signals with levels below the threshold The expander is used to expand the dynamic range of an audio signal by boosting the high level signals and attenuating the low level signals Noise Gates are a special type of expander that can be used to reduce noise below a threshold level It attenuates heavily signals with levels below the threshold It is used to totally cut off the signal level during a musical pause so as not to pass the background noise present It can also be used to silence the pauses in speech 29 DELAY Delay either channel up to 100 milliseconds or more with the option to mix in the original signal with the delayed signal Great for effects such as spatially locating a previously mono wave source to the left or to the right so that the sound will appear to emanate from that direction when listened to with stereo headphones Delays of longer than 50 ms may be entered for creating a single echo Delay The actual amount of time to delay
64. e for the lowest amount of noise found one for the highest amount and one for the power average Load Profile Loads any previously saved noise profile You can load any fft file that Cool Edit has saved Eventually the spectrum analyzer and Filter functions will support fft files A noise profile is only compatible if it is being used on a sample of the same type when the profile was saved In other words a 44K stereo 8 bit sample is not compatible with a 22K mono 16 bit profile Also since noise profiles are so specific to the recording environment of waveform in question even if the sample types are compatible a profile for one type of noise will not work on another type Even if the audio samples were recorded with the same microphone if the recording environment is different the type of background noise could be different Special Notes Noise reduction works best on 16 bit samples although it will work perfectly on 8 bit samples Because of the nature of 8 bit audio it is impossible to get the noise level to less than about 45dB if even that Noise at 45dB is very audible as owners of 8 bit sound cards can attest Converting to 16 bit first then reducing the noise will produce a sample with much less noise than can be done in 8 bit alone 39 The noise reduction works best if the original signal is centered To center a signal highlight it and choose Center Wave from the Amplify function Centering the wave adjusts the DC
65. e listener over a 20 or 10 second period Now overlapping a 24 second piece panned at 0 125 8 second period at 5Hz with a 0 167 6 second period at 6Hz will combine the practices of multiple frequencies with panning for an extremely super natural effect Once you get started creating a few files and see what the different frequency ranges do you will become familiar with the different effects and how to generate just the effects you want High Gamma frequencies of 200Hz or more seem to help in relaxation and do something no doubt This is an area you can experiment with When generating frequencies above 40Hz or so it is best to keep the intensity very low like 7 or 8 The higher the frequency the lower the intensity has to be otherwise the encoding will overwrite itself and the signal will be lost Sample Theta File Step by Step 1 Create a new blank file with File New Choose a Stereo file either 8 or 16 bit and a 11025 22050 or 44100 sampling rate The final file size will be one of the following sizes listed below depending on your choice 11025 22050 44100 8 bit 2 6M 5 2M 10 5M 16 bit 5 2M 10 5M 21 2M 68 10 You must make sure you have enough memory for a file of this size plus an additional meg for working space If you plan on saving the file when you are done you must have at least twice this amount of hard drive space available since a temporary file is used instead of memory while working on the wave Choose
66. e portion you wish to highlight and zoom in as far as needed to position the cursor exactly on the zero crossing point e Add that position to the cue list e Now zoom out go to the end of the wave portion and once again zoom in to find the ending zero crossing e Add this new position to the cue list e Select both start and end points in the cue list hold down on the CTRL key to select more than one and press Merge e Voila Double clicking on this new range selects the range with the endpoints that were just merged You can choose Zoom In now to see your entire selected wave portion if you like Assigning Cue Ranges To Keys If you wish to assign any cue range you have added to a key on the keyboard give the cue range a label of the form KEY N where N is any key on the keyboard capital letters only When you go back to editing the waveform pressing the key will play the cue range you selected You can assign any portion of the waveform to any key on the keyboard this way The cue list is saved in the WAV file format in the cue chunk Additional information about the cue position like label description and length of sample are placed in the adtl list in the labl note and Itxt chunks 55 P PLAY LIST The play list is a listing of cue ranges that can be played in any order and looped a specified number of times The play list is used in conjunction with the cue list Maximum size of a play list is 64 ent
67. e slightly awake and aware of his surroundings for that brief moment The effect is like all of the sudden changing gears and you stop thinking about whatever it was you were thinking about and become aware that you were thinking about it but aren t any more This is the intensity of the brainwave encoding Higher intensities work well with lower brainwave frequencies Beta waves should have intensities below 25 or so while Delta waves work better with intensities above 60 You may choose to have your brain think the synchronization frequencies are coming from the left or right This may affect the left or right hemispheres more intensely but that s only a guess Mixing a file that has been waved to the left with one that has been waved to the right in the same frequency range within 2 Hz has interesting effects If the selection being waved is musical checking this will calculate the wave patterns in such a way as to eliminate clicks and pops If the source is noisy waterfall ocean nature recordings etc do NOT check this If you do it will actually add interference Since noise is based on randomness the clicks and pops are inaudible When checked the actual audio appearing at the left and right channels is smoothed out but the spatial encoding is identical The left and right channels will delay and un delay following a smooth curve such that the delay difference between the left and right channels follows a sine wave and the
68. e song titles of those you listen to the most m Stop Stops CD playing Play will resume at the start of the CD Pause Pauses the CD Play will resume at the same location This button will turn into a Play button when pressed so that play can be resumed by pressing it bal Play Starts the CD either at the beginning of the disk or at the paused location This button will turn into a Pause button when pressed so that play can be paused by pressing it Scan Back Rewinds the CD 10 seconds Scan Forward Forwards the CD 10 seconds Mark Mark the location currently being played Goto Mark Go to the location that was marked earlier all Ps la Le Eject Spit out the CD if that is possible on your player This will also Insert it 9 o Es CUE LIST A cue list is a list of time offsets into the wave file A cue can be either a point specifying a cursor position or a range specifying a selection You can easily jump to a cue position in a wave by double 54 clicking on the position in the list or selecting the cue position and pressing Goto Cue ranges can later be arranged in a play list to be played back in any order with a specific number of loops if desired A maximum of 96 cues may be entered At any time even while Playing a file the cues may be added to the cue list Use F8 as a shortcut to add the cursor location or highlighted range to the cue list Add Add the currently highlighted selection or cursor position to
69. east three pieces for your creation The actual file will just be 10 seconds of carrier wave at 5Hz followed by 10 seconds at 7hz followed by 10 seconds at 9Hz All the pieces are placed in the cue list by highlighting the piece and choosing Add It is best to add the piece to the cue list once it is created or pasted at the end of the current waveform To create the final program the pieces are added to the Play List in the order you wish to listen to them Each piece can be looped if needed So a 20 minute program can be generated from 3 10 second pieces by adding the cues to the play list and looping First you need to create 10 to 20 seconds of carrier wave and save in a special file in case you need the carrier wave again later Highlight the wave and Edit Copy When you need another copy of the initial carrier wave you need only to Paste it Add the first carrier wave snippet to the Cue List by pressing the Add button in the Cue List dialog Give the cue for this snippet a name that reflects the waveform transformation you will be using for example 6Hz to 5Hz drop Use the Wave function to encode the proper patterns into the carrier wave Look at the section on Authoring Brainwave Files to learn what settings to choose Click past the end of the wave file make sure the rightmost part of the file is in view and choose Paste to insert another copy of the carrier wave Once you do this you can add the newly inserted selection
70. ed your brainwave file 15 minute files on up work best Loop Play them for a longer listening time Sessions of 15 minutes or more work best It is best to listen to the sessions lying down in a quiet place where you will not be disturbed If there is no place like this near your PC it may be a good idea to record the session on tape and listen to it where you can be comfortable and relaxed When you re fully comfortable start the session close your eyes and let the magical sounds from Cool Edit do the work Remember this only works if you listen to the sounds with stereo headphones You may notice helicopter or washing type noises moving around in your head These sounds are actually created inside your head and are not coming directly out of either channel from the sound board It is this noise that is doing the work of helping your brainwaves get synchronized to the patterns you have chosen When you have mixed two different but similar in frequency ranges brainwave files together you may notice a jet airplane noise moving slowly from left to right in the background Some people don t hear these artifacts at all while others hear them extremely well Another side effect is that of a wandering mind When you use frequencies under 8hz you may find yourself thinking of the strangest things You may find that you are not thinking of anything in particular and your thoughts become very interesting The feeling is also warm and happy for
71. ep in mind that this function only operates on stereo waves so when mono is mentioned it means that the exact same signal is present on both channels the left channel and right channel are the same Generate Tones You may use the Generate Tones function to find a pleasing relaxing tone for the background but we find noise sounds more relaxing The way tones work the best is if the left channel s tone frequency is 5 6 Hz different from the right channel s tone This creates a beat pattern equal to the frequency difference which the brain responds to somewhat this is the property that many theta inducers rely on To do this generate one tone with left volume at 40 and right volume at zero Then generate the second tone with the left and right volumes reversed Finally Paste Special with overlap one tone on top of the other Use low frequency tones like 50Hz to 120Hz for best results These tones by themselves will help coerce the mind into the state associated with the difference between the frequencies For example for a theta state of 6Hz use a 70Hz and a 76Hz tone Combining this tones sample with an existing brainwave file by overlap pasting at a quiet volume 20 is even more effective 65 Generate Noise Use the Generate Noise function pink and brown work best in any of the modes mono inverse or spatial stereo independent channels noise will not work as a carrier for brainwave frequencies at all since there is no c
72. er the delay is at zero the waves will cancel out to silence A mixture of both normal and inverted flanging with the delayed signal summed and a future signal subtracted out So this option will mix not only a delayed signal but a future one as well If checked the transition from initial delay to final delay and back will follow a sine curve Otherwise the transition is linear and delays from the initial setting to the final setting at a constant rate With sinusoidal checked the signal is at the initial and final delays more often than it is at delay in between The flange presets are pretty self explanatory You basically have to try them out to hear the exact effects By trying different combinations of Invert Special EFX and Sinusoidal you should be able to create just the effect you want These three options give a lot of control over the flanging effect so experiment with them all When you find ones you like you can add your favorites to the list of presets For mono waveforms the wave is inverted that is crests become valleys and valleys become crests For stereo waveforms this button becomes the Channel Mixer button 36 HE MUSIC Now you can put your clippings to music or just harmonize a wave using a particular chord To choose a clipping for your sample select the range you wish to use as a quarter note If no range is selected the clipboard data will be used Note that the clipboard data will be filled wit
73. erebral asymmetry Emotional expression and brain physiology Journal of Personality and Social Psychology 58 330 341 Deikman A 1969 De automatization and the mystic experience In C T Tart Ed Altered States of Consciousness New York John Wiley amp Sons Deikman A 1971 Bimodal consciousness Archives of General Psychiatry 25 481 489 Donker D N J Nijo L Storm Van Leeuwen W amp Wienke G 1978 Interhemispheric relationships of responses to sine wave modulated light in normal subjects and patients Electroencephalography and Clinical Neurophysiology 44 479 489 Evans F J Gustafson L A O Connell D N Orne M T amp Shor R E 1966 Response during sleep with intervening waking amnesia Science 152 666 667 Evans F J Gustafson L A O Connell D N Orne M T amp Shor R E 1970 Verbally induced behavioral response during sleep Journal of Nervous and Mental Disease 1 1 26 Evans C amp Richardson P H 1988 Improved recovery and reduced postoperative stay after therapeutic suggestions during gneeral anaesthetic Lancet 2 491 Felipe A 1965 Attitude change during interrupted sleep Unpublished doctoral dissertation Yale University Foster D S 1990 EEG and subjective correlates of alpha frequency binaural beats stimulation combined with alpha biofeedback Ann Arbor MI UMI Order No 9025506 Foulkes D amp Vogel G 1964 Mental activit
74. esets f INVERT 100 a cute wavering like a bad tape player sound is heard Portions of both signals need to be present for there to be canceling out and reinforcing of wave patterns between the two signals Flanging will start with the delayed signal this many milliseconds behind the original Flanging will end with the delayed signal this many milliseconds behind the original If the delays are the same the effect disappears since the delayed signal will not change The right channel can be at a separate delay than the left channel A phasing of 180 will put the right channel at the initial delay value when the left channel is at the final delay value and vice versa The Frequency Period and Cycles settings are all interrelated and refer to the rate at which the delay cycles between the initial delay and the final delay The flanging will cycle frequency times per second or period seconds per complete cycle or a total of cycles complete cycles over the entire selection Various effects can be heard by using different settings For example if 0 5 cycles is chosen the selection will start with the initial delay and end with the final delay If a frequency of 4 is chosen the flanging will cycle from the initial delay to the final delay and back again 4 times per second Invert the delayed signal when flanging which causes the waves to cancel out periodically instead of reinforcing If the mixing is at 50 50 then whenev
75. ething really weird that I didn t expect and I think it s not working right What s a person to do A A person should send mail to Syntrilltum Software explaining the bug they ve found and we will respond by either finding a fix in the program or explaining why the program does that Q Cool seems to hang when I have multiple copies all drawing their screens at the same time or if I resize Cool Edit while it is in the middle of redrawing A When NT Compatibility is not checked in the Options Settings dialog Cool Edit may freeze up if multiple copies are open and two or more copies are updating their waveform display area at the same time This does not happen if you are only working on a single copy at a time but can happen if for example one copy of Cool Edit just finishes a calculation and is updating its waveform display and another copy just finishes loading a new waveform and is now displaying its waveform data at the same time Again if you are working simultaneously on many instances of the program where more than one copy is in the process of calculating and or loading at the same time uncheck the NT Compatibility box in Options Settings This will force Cool Edit to redraw the entire waveform before allowing other processes to run Doing this will also disallow the ability to play a waveform before it is finished being displayed Also do not re size Cool Edit while it is in the middle of updating the screen after a re sizing thi
76. everb use the Echo function first to get the size of the room sound then use Reverb to make it sound more natural This function is ideal for converting Mono audio to sound as if it is Stereo Converting a Mono sample to stereo where both the left and right channels are identical should be used as the source then by adding some reverb even as little as 300ms will open up the sound so it is perceived of as being in true stereo Total Reverb Length This is the total length of the reverberation The signal will trail off and finally cut out at about 96dB after this amount of time Values below 400 produce a small room environment Values between 400 and 800 simulate medium sized rooms and values above 800 simulate concert halls up to giant amphitheaters at delays around 3000 ms Attack Time The amount of time it takes for the reverb to gain full strength is known as the attack time For smaller reverb lengths the attack time should be smaller In general a value of about 10 the total reverb length works well But interesting effects can be gained by using longer attack times with shorter reverb lengths for very subtle reverb Or very short attack times can be coupled with long reverb lengths for other special effects High Frequency Absorption Time In natural environments higher frequencies are attenuated more than lower frequencies Using this parameter the exact time it takes for the highest frequencies to be completely cut out can be
77. fessionals and audio enthusiasts around the world have chosen Cool Edit as the ultimate sound editor But first a few words Cool Edit is marketed as ShareWare and registered copies should only be used on one machine at any one time that is it s not nice to give out registration numbers to all your friends but it is OK to put it on more than one machine if only one person will be using it on those multiple machines at a time Demonstration unregistered copies can be given out to friends posted on bulletin boards and internet ftp telnet sites and the like If Cool Edit is distributed in any ShareWare collection on CD disk or other medium then Syntrillium should be notified Cool Edit is copyright c 1992 1996 by David Johnston and Syntrillium Software Corporation This software is distributed as is and Syntrillium Software Corporation the Company makes no warranty of any kind expressed or implied including any warranties of fitness for a particular purpose In no event will the Company be liable for any incidental or consequential damages arising from the use of or inability to use this program We hope you find Cool Edit a joy to use Please see the section on Configurations if you have any problems running the program This may be the first application you have used that takes full advantage of your PC lots of hard disk space for temporary storage lots of floating point math for many of the waveform editing functions lo
78. ffects such as ring or aliasing in the higher frequencies High Quality Choose this when you want to cleanly convert to a new sample rate Proper filtering is done so as not to introduce any aliasing or ringing Use this option if you are willing to wait a bit longer for a quality sample Emphasis When converting to a lower sample rate there is a noticeable loss in high frequencies To compensate for this you can choose a high end emphasis of 2dB or so Frequencies from 1 4 up to 1 2 the converted sample rate will be boosted Choosing a Low Quality conversion will sound as if it is keeping some of the higher frequencies but it also induces extra artifacts which vary depending on the ratio of original and converted sample rates and the type of audio being converted Choosing a OdB emphasis will do no extra emphasis on the high end 21 Left Mix If converting to Stereo you may choose the amplitude at which the original signal will Right Mix appear in the new stereo sample This way you can place the Mono signal on the left channel only the right channel only or any volume level on each channel you wish If converting to Mono these percentages control the amount of signal from the Left and Right channels respectively to mix into the final mono signal The most common mixing method is to use 50 of both left and right channels when converting to Mono and 100 for both values when converting to Stereo To do a vocal cut you could convert
79. files that should not have any extra information embedded in them then check this field to prevent Cool Edit from adding these fields Some older software may not follow the WAV file specification properly and as such may not be able to play files if extra information is attached to them Ed FREQUENCY ANALYSIS The Frequency Analysis window displays the current spectral content centered about the cursor Moving the mouse point over the analysis display will reveal the frequency and amplitude amount of the frequency in question of the signal at the cursor As long as this window is open it will automatically update if the cursor position changes If a selection is highlighted the frequency plot represents the center of the highlight instead of the cursor To view variations easier the Normalize option is provided If checked the most intense frequency is plotted at the top of the display with all others relative to it If viewing in spectral mode the frequency analysis window displays a close up view of the vertical slice at the cursor The bright spots on the spectral view plot will show up as high points on the frequency analysis graph 53 The fundamental frequency is also displayed below the frequency plot Cool Edit tries its best to find the fundamental by analyzing the locations of all the peaks on the graph Some times depending on how pure the signal is the value could be off To make sure test a few points along the note you a
80. for direct entry of the Time and Amplitude for that point amp FILTER Nearly any type of filter can be created by drawing the desired frequency response curve in the graph For more precision double click on a graph node to directly enter its coordinates The actual frequency response will follow as closely as possible to that drawn The window function used will affect the actual frequency response of the filter The filter can be though of as an FIR filter with up to 8 192 individually adjustable parameters You may filter out undesired frequencies or just keep certain desired frequencies by using the Passive mode Use the Logarithmic mode to boost or dampen frequency components When the Lock is not set you can choose both an Initial and a Final filter Filtering will gradually go from the initial state to the final depending on the Transition settings Graph Values to the right of the display are given in dB or percentage depending on logarithmic or passive mode The values set the upper and lower limits of the graph They are independent of the shape of the graph which means that loading a preset will not change these two values The Precision Factor determines how accurate you want the filtering over time A low factor means the filter settings will change roughly or in chunks from the initial to the final settings With higher factors the filter s transitions are much smoother In any case the higher the precision factor the
81. ft and right channels are locked to the same value Effects such as panning from left to right can be achieved by choosing separate values for the left and right channels Adjust the waveform so it is centered on the center line 0 If samples are recorded with a DC Bias they will appear to be above or below the center line They must be centered before doing other waveform transformations and choosing this will center the wave properly To skew the entire selected waveform above the center line enter the percentage to move the waveform up in the adjustment box For example 50 will move the entire waveform up half way and a 50 will move it down half way If checked fading is accomplished by exponentially adjusting the volume Otherwise fading is done in a linear fashion Logarithmic fading adjusts the volume of the sample from the initial amplification value at the beginning of the sample to the final amplification value at the end in constant increments or decrements in decibel volume Linear fading does the same except the increments are constant in percent volume When checked initial and final amplification values are viewed as decibel increases or decreases from current volume If not checked amplification values are viewed as the percent of original amplification Thus a value of 200 is equivalent to about 6 decibels or twice as loud A 20 decibel increase is the same as a 10 times increase in volume Pressing the Normal
82. g noise is to create a waterfall like sound which is ideal for use as a carrier wave for brainwave synchronization files see the Wave function Itis also great for making weird effects by Flanging and Filtering with filter morph Color Noise can be a variety of colors which describe its spectral composition Brown Brown noise has a spectral frequency of 1 f 2 Which means in English that there is much more low end low frequency components to the noise which results in thunder and waterfall like sounds Brown noise is called that because when viewed the wave follows a Brownian motion curve That is the next sample in the waveform is equal to the previous sample plus a small random amount This gives the appearance of a mountain range when graphed The wave pattern is very predictable Pink Pink noise has a spectral frequency of 1 f and is found mostly in nature Itis the most natural sounding of the noises By equalizing rainfall waterfalls wind rushing river and other natural sounds can be generated Pink noise is exactly between brown and white noise which is why some people used to call it tan noise but pink was more appealing Itis neither random nor predictable It has a fractal like nature when viewed When zoomed in the pattern looks identical to when zoomed out except at a lower amplitude White White noise has a spectral frequency of 1 In other words equal proportions of all frequencies are present Because the huma
83. give the speaker s voice a pitch of 180Hz A female singing voice may attain 600Hz The key A below middle C on the piano is about 440Hz Each time a frequency doubles it is said to raise an octave So if 440Hz is A below middle C then 220Hz is A the next octave lower and 110Hz is still A yet another octave lower The high pitched ringing you may hear emanating from television sets is around 17 000 Hz The human ear can perceive frequencies up to about 20 000Hz 12 Phase As a wave cycles through at its particular frequency it can be thought of as passing through all the degrees of a circle from zero to 360 degrees Each part of the cycle can be referred to by its phase with zero degrees being the midline value as the pressure level is increasing or as the wave is on its up swing Then 90 degrees would be the peak and 270 degrees the valley At 180 degrees the wave is back at the midline but this time on the down swing At any instant in time a sine wave can have only one phase value Phase is the one component that human ears can not discern very easily For example a bell rang at exactly 12 00pm we would not be able to notice at exactly one second past 12 00pm whether the phase of the sound we are hearing is at 0 degrees or 90 degrees or anywhere If the bell rang at 3 milliseconds past 12 00pm the phase at exactly one second past 12 00pm would certainly be different depending on the pitch of the bell but we still would no
84. h your sample automatically once music is generated thus selecting music a second time with nothing highlighted will automatically use your last sample Note This is by no means a complete full featured MIDI studio Cool Edit provides the most basic functionality to build quick little tunes easily and on the fly To build a song simply drag the notes and rests you desire to the music bar above To sharpen or flatten a note drag the sharp or flat b symbol on top of the note you wish to transpose You can move notes up or down after they have been placed or pick them up to insert in a new position To remove a note pick it up and drop it off away from the bar Use the scroll bar to work on individual portions of the song at a time You can scroll to write a piece as long as 256 notes Tempo The tempo is given in quarter notes beats per minute Your sample s length is the length of a quarter note If your note is longer than the period determined by the tempo then the notes will overlap Key You may choose to have your music interpreted in any of the standard key signatures The key of C is the standard white keys Constant If chosen all notes will be the same length as the original sample regardless of pitch The Duration Operation that does this takes longer to calculate but high pitched notes will be the same length as lower pitched notes The Interval Overlap method is used with an overlap of 80 and an interval of 30 Hz
85. he room The audio is simulated as a point source of audio not directional This means the audio will radiate outwards in all directions from the source and not more in one direction than another The distance the source is placed to any of the walls will affect the frequencies that are enhanced In other words source signal placement is crucial to the ambiance effect that is gained with this function With stereo source each channel can be placed independent of each other There can be up to two virtual microphones Each microphone represents a destination audio track The audio placed back into the waveform the result of the echoing is exactly what the microphone would hear if it were in the room at the location specified Stereo signals have two pick up microphones while mono signals have only one since there is only one channel in which to place the result Placing the microphones in a stereo setting one foot apart will simulate the ears and when listened to with stereo headphones will sound as if you were actually in the room if enough echoes are generated The brain will be able to pick out the directions of each echo as well as the fact that the delays of the echoes will give the brain cues as to the size of the room Placing the microphones very far apart and listening with headphones will give a very large aural or Spacy feeling to the audio like it is all around you and inside you 33 Don t place the microphones too close to
86. he waveform at the cursor to better see exactly what frequencies are present e Support for unlimited wave formats by allowing others to write custom file formats that Cool Edit will support See the File Filter API e Cool Scripts will remember everything you did to arrive at a certain waveform or transformation and remember it for the future A Batch feature lets you run a script on a group of files and save them back in any format Customizable Toolbar with a little work possible by modifying the cool ini file Assign keyboard keys to play specific parts of your waveform by using the cue list Ring Modulation or any type of modulation possible via Generate Tones or Paste Special Ultimate distortion effects possible with the Distortion function Generate telephone tones using the DTMF Tone Generator How Cool Edit Works Overall Design Cool Edit currently uses the Single Document Interface SDI design paradigm This means that an instance of the program operates on a single continuous waveform This however in no way means you have to work on only one waveform at a time Multiple copies can be run at once by choosing File New Instance Use multiple copies to temporarily store waveform snippets like having a multiple visual clipboards or to work with more than a single waveform at a time Since each running copy of the program is totally independent of the others you can even play waveforms and work on one copy while the other is bu
87. hrase sounds in reverse and record yourself trying to say the reversed phrase Reverse this back to see how close you came to saying the phrase backwards SILENCE This function simply forces the entire highlighted selection to silence 42 sal STRETCH You can choose the initial stretching percent less than 100 will compress the wave and the final stretching percent By having two separate values for start and end the wave can be stretched linearly from one ratio to another This gives the effect of slowing down and speeding up or raising and lowering pitch You can alternately enter the desired final length only accurate if both initial and final settings are set to the same desired length Preserve Pitch Lower percentages will slow down the tempo while higher ones will increase the tempo The pitch remains the same throughout Preserve Tempo The tempo or speed of play will remain the same The only thing affected will be the pitch Higher percentages will lower the pitch and lower percentages will increase the pitch Try using differing initial and final percentages to raise and lower the pitch without affecting the tempo First the selection is adjusted preserving the pitch then the selection is squeezed or expanded with no preservation Preserve None The tempo will slow while at the same time the pitch will lower if percentages above 100 are used For lower percentages the tempo will speed up and the pitch will incre
88. inal proportions You can also dynamically change the base frequency modulation modulation frequency and frequency multipliers for interesting effects You can choose to adjust the initial or final overtone proportion settings when the overtones vary over time You can also choose different base frequencies modulations and modulation frequencies To create a rising tone for example choose a low initial base frequency and a high final base frequency Other interesting effects can be obtained by having different modulation frequency and modulate by settings Check or uncheck Flip to swap the initial and final settings This is very useful if you wish to generate another tone after the last tone that was just generated Whatever overtone settings the last tone had as the final settings can be used as the initial settings on this tone by clicking Flip All you need to do is click Final and enter new final overtone values This way the tones will flow together smoothly The Volume sliders are used to select how intense the tones will be in each channel Both channels can be controlled independently when generating stereo tones This function supports Presets so you can save your favorite combinations Experiment with all the settings for various wild effects 49 Options Many aspects of the program can be tailored to your specific needs Also many tools are available to make your wave editing a breeze The following cover the items avai
89. increased immune functions Theta 4 7 hz Deep relaxation meditation increased memory and focus Alpha 8 12 hz Light relaxation superlearning positive thinking Beta 13 25 hz Normal state of alertness stress and anxiety Gamma 30 hz onup Hyper awareness High Gamma 200 hz Not sure exactly what these do Immediate Relaxation and Stress Relief Choose between 5hz and 10 hz for different levels of relaxation Meditation Choose between 4hz and 7hz either cycle between a few or stay at a particular frequency for different results Sleep Replacement A 30 minute session at 5Hz replaces about 2 3 hours of sleep allowing one to wake up in the morning more refreshed Try listening 1 2 hour before waking up in the morning or 1 2 hour before going to bed Improved Sleeping Patterns Any of the Alpha and Theta frequencies 8Hz to 4Hz for 30 45 minute sessions at the same time each day Treatment of Insomnia Choose between 4hz and 6hz for starters the first 10 minutes then go into frequencies below 3 5hz for 20 30 minutes settling on about 2 5hz before fading out Improved and Lasting Sense of Well Being Try Theta 4Hz to 7Hz for 45 minutes daily Creative Visualization About 6hz for a while then up to 10hz works well while using visualization techniques Alleviation of Migraines and Headaches Experiment with Alpha and Theta combinations Try and visualize the pain getting smaller and smaller until it disappears Reduction
90. information saved will be the Comments section AIF Apple AIFF format This is Apple s standard wave file format Assuming you got the wave over to the PC you can name the file with the AIF extension and load it using this file filter Macintosh computers should be able to read in AIF files saved in this format if the file type is changed to AIFF on the Macintosh TXT Text file format Data can be saved in a standard text file with each sample value terminated by a line return and stereo samples separated by a tab as left_sample lt tab gt right_sample lt cr gt lt lf gt The sample value can be in either normalized between 1 0 and 1 0 or original 32767 to 32768 form An optional header can be written which just gives the sample type of the original audio If normalizing the header is required 17 To see what the exact format is simply save a short snippet of audio as Text and view it with Notepad This format is handy for importing and exporting data between Cool Edit and numerical analysis programs spreadsheets etc The header is formatted as KEYWORD value with the keywords being SAMPLES BITSPERSAMPLE CHANNELS SAMPLERATE and NORMALIZED The values for NORMALIZED are either TRUE or FALSE For example SAMPLES 1582 BITSPERSAMPLE 16 CHANNELS 2 SAMPLERATE 22050 NORMALIZED FALSE 164 lt tab gt 1372 492 lt tab gt 876 AU Next Sun CCITT mu Law A Law and PCM format The Next Sun format supports many
91. ing fades the first 0 4 with the last 0 4 Make Piano Keys will take the highlighted sample and stretch and compress them to vary the pitch making 13 copies of the original each at a different pitch Each pitch is assigned to a key on the keyboard through the cue list This turns your keyboard into a simple 57 sample player Reverse Echo is just that the echo function but the echoes go in reverse How To Use These sample functions work on a highlighted selection Open a waveform and highlight the portion you wish to operate on then run the script SNDEFX2 SCP Sample Collection Description Here are some nifty sound effects and a small song very small If you run the Cool Song script you can then go to the Music function and enter a name for the song to save it under This script generates a short note and then uses the Music function to build the song The other four effects are just weird effects using the tones or noise functions with other transformations If you ve watched Dr Who you may recognize the Cool Lasers sound effect How To Use These sound effects work in a currently opened waveform Open a New blank waveform in any sample rate setting you desire for the quality you would like and run a script These sound effects can also be inserted into an existing waveform and will be inserted just as if the Paste command were used MINDSNC2 SCP Sample Collection Description Included are four Tones synchronization s
92. instances does not use very much memory so don t be afraid to open as many copies of Cool Edit as needed Instances of Cool Edit can be worked on while others are in the middle of processing audio since each copy is completely independent of the other Yet copying and pasting can be performed seamlessly between each of the instances When a file is opened a temporary backup is made and all edits are made on the temporary backup copy Changes are only made to the original file if they are explicitly saved back Choosing File Re Open will re copy the original waveform to the temporary working copy at any time kind of like a global level Undo If you are using Cool Edit to just play a waveform and not edit it it is better to use some other wave player program since Cool Edit uses hard drive space to create a backup copy before it can be played The waveform currently being edited is always resident on the hard drive except for during the middle of operations Because of this waveform sizes are limited only to the amount of free space on the temporary drive The maximum size Cool Edit allows is just over 1 gigabyte which should be plenty for most purposes Because the temporary file takes up hard drive space while Cool Edit is open you have less space on the temporary hard drive to save your files Editing a file of more than twice the original free space on the temporary drive will make it impossible to save the waveform on the same drive u
93. ion is kept This is handy to quickly pick out the part of a recording you want to keep If the Undo feature is enabled and you are trimming out a very small portion of a very large waveform there may be a considerable delay while the entire waveform is copied to the undo buffer In cases like these where you know you will just be trimming waveforms turn off the Undo feature in the Settings dialog Use CTRL T to quickly trim the selected portion of the wave Ea UNDO If the Undo function is enabled see the Settings dialog you will be able to back up a maximum of three steps if you make a mistake Undo information is automatically saved in a temporary file called NDOnnnn TMP in the undo temporary directory before anything happens that will change the waveform being edited This could slow down wave operations on very large waves The saving of 24 undo information happens just before the progress meter begins displaying the progress of your action If this is too long of a wait and you have no need for undo then disable this feature during those cases You will be warned if there is not enough disk space to save the Undo information before continuing any wave operation if Undo is enabled VIEWING RANGE Selecting Viewing Range or double clicking on the green black samples portion bar will bring up the viewing range window Enter the leftmost and rightmost samples that you wish to have displayed You can use this function to high
94. is actually contains pieces of the entire audio program that when played in the proper order become the brainwave file The cued file takes less memory and can very quickly be modified at any time by re arranging the audio pieces The average length of a cued file is about 3 4 minutes for a program that can last as long as desired The flat file is a standard wave file which means to create a long program you must have enough space for it The only advantage to using a flat file is if you are waving music since music cannot be split into pieces and rearranged otherwise it would sound discontinuous Creating brainwave files using the flat file method will be discussed first since it is more straightforward Flat Brainwave File Generation Create a file the length you wish to make your relaxation program using the carrier wave s of your choice Either record music or use the pink noise generator and copy and paste or Paste Special to the desired length If you are using a monotonous sound you would be better off using the cued file method Lengths of good relaxation programs vary from 15 to 30 minutes and beyond This means you must have enough hard drive space for the entire file Since the temporary file takes up hard drive space as well the maximum size of file you can create and be able to save will be one that takes up half of the initial free hard drive space Use the Wave function to encode the brainwave patterns into the carrier wave
95. ith other apps does not need to run If you are running Windows NT and this is not checked you may experience various screen redraw problems If checked when 16 bit audio is pasted into an 8 bit waveform or 16 bit audio is Opened As 8 bit the conversion is smoother sounding retaining more of the original signal but is a tad slower When the mouse is over a toolbar button for more than a few hundred milliseconds a small help box appears to describe the button s function Anyway if it is annoying for you you can turn it off here When no selection is highlighted audio can be either played from the current cursor location to the end of the view or always from the left edge of the view to the end of the view This is the maximum number of seconds of audio to display when a file is first loaded When working with large files you may wish to limit the initial display area to 10 or 20 seconds so you don t have to wait for the entire waveform to draw Setting this value to zero means there is no limit on the initial display size Double clicking on the time boxes will change their display format When in Hours Minutes Seconds Frames format you can customize the number of frames per second that will be displayed by entering the number of frames per second here 51 Spectrum Analyzer Resolution T toro This is the number of bits of accuracy to display the spectral analysis when Edit gt Spectral View is chosen Each bit will take
96. ize button will calculate the greatest amplification for the sample that will not result in clipping when set to 100 If the left and right scroll bars are not locked separate left and right values will be computed potentially amplifying one channel more than the other To normalize to less 26 than the maximum range enter the percentage of maximum to normalize to For example choosing 50 will compute values needed to amplify the file no more than 50 of maximum resulting in a 3dB diminution from maximum output If two sounds normalized to 50 are overlapped the resultant wave is guaranteed not to exceed the boundaries and will not clip Presets Center Uses the DC Bias adjustment to center waveform vertically Fade In Linearly fades out wave from full volume to silence f Fade Out Linearly fades in wave from silence to full volume Pan L gt R Fade out left channel while fading in right Pan R gt L Fade out right channel while fading in left Sara HH CHANNEL MIXER With stereo waveforms the channel mixer allows one to have total control over the mixing between the left and right channels The default values will leave the wave unchanged New Left Channel The slide bars give the percentage of each channel left and right that will go into the final wave after mixing Choosing an L of 0 and an R of 100 will make the left channel equal to the right channel New Right Channel These two slide bars do the same as above except
97. k filter lets you choose approximately which frequencies get removed from the echo first A setting of zero will leave the frequency band unchanged You can choose the frequencies that are absorbed as the echo progresses The echoed sample is re filtered through the quick filter on each successive echo Setting all values to zero turns off the equalization since no frequencies are to be absorbed A single frequency slider actually controls the labeled frequency and all others below it it s not a true equalizer but is great for creating effects All the echo presets are pretty much self descriptive Try them out and then create some of your own If you wish to echo the right channel only select an initial echo volume of 100 for the right and 0 for the left e 3D ECHO CHAMBER This function will calculate the actual echoes as if the source audio highlighted selection and microphones destination channels for echoed wave were in a room of any given size and with walls of any given dampening factors The number of echoes to calculate is adjustable up to about 5 000 echoes The more echoes there are to calculate the longer it will take the function to complete 31 Practically any ambiance setting can be created using this function from a small intimate room to a giant hall to anything in between like a parking garage underground pipe or even a cathedral The more echoes you choose to generate the longer it will take to cal
98. ke HP calculators This calculator has dozens of great functions including Hex Binary Decimal Octal n ary base translations trig functions factorial prime number exponents and logs and even biorhythms Wallpaper Maker Create colorful wallpaper tiles that look superb when tiled as Windows wallpaper Never draws the same tile twice See patterns in the tiles that are only visible when viewed as a group of tiles Classic Collection Various Windows and DOS based graphic programs If you re looking for some classic programs that are fun to use and watch these may interest you Use your mouse to control birth 74 and death rates in a Game of Life or place wagers on which species will win out in a different life simulation Steer your way through a warp speed starfield simulation Experiment with Iterated Function Systems to grow plants and trees Weave your way through the Mandelbrot set yes I know there are thousands of Mandelbrot generators out there now Shoot marbles around the screen and experiment with the effects of gravity Generate screen mazes Draw spiro designs watch string art designs or point set fractal art Even includes a character based snow program 75
99. l bars Lock When locked the entire selected range is equalized with the setting shown If unchecked the initial and final equalization settings may be adjusted so the selection can smoothly glide from the initial equalization setting to the final setting over the range selected Initial and Final When Lock is unchecked you may view the Initial or Final quick filter settings The filtering will glide from the initial settings to the final ones over the duration of the highlighted sample Lock Vol When checked the left and right volume sliders will behave as one making the left gain the same as the right Presets Flat Sets all frequency sliders to zero Bass Boost Increases the lowest frequencies Loudness Increases low and high frequencies and tries to leave midrange untouched Old Time Radio Sounds like an old fashioned radio with a boost in the midrange and less bass and high end Treble Boost Increases high frequencies only 40 REVERB Create high quality reverb effects Use this function when you are looking to reproduce the effects of a certain environment everything from your coat closet to a grand amphitheater Unlike echo which generates specific echoes at specific times the reverb function creates a very much spread out random phase trailing of the original audio and no specific echoes can be heard at any particular time The effect is very warm and natural To simulate specific rooms that have echoes and r
100. lable from the Options menu 0 LooP PLAY TOGGLE Audio selections can be played a single time through or played as a continuous loop Choose the Loop Play mode before playing the audio changing the mode while audio is playing has no effect You can also use the Loop mode to test how a signal will sound if looped on a sampling keyboard before the excess is trimmed z MONITOR SOURCE The audio record in channel can be monitored to make it easier to set proper recording levels In stereo mode the top red bar is Left and bottom is Right A peak level indicator will stick on the display for a short period after the peak When finding a good recording level it is best if the red bar never goes completely to the right since this indicates that the audio will be clipped when recorded Try to ensure that the meter stays on average near the middle of the display and no more than about three quarters of the way up for loud transients For most accurate results choose File New and choose a sample rate before monitoring SETTINGS These settings affect the entire application in one way or another and the values are stored in the Cool Edit section of WIN INI Disk Icon Interpretation The Disk icon can be interpreted as e Save Now saves what you are working on under the same filename seen in the title bar without asking if you wish to overwrite the original or e Save As Always brings up the Save As dialog box to enter the title to save
101. light a specific number of samples by double clicking in the wave editing area after selecting the viewing range 25 Waveform Transformation Functions Cool Edit has a great number of functions and many functions serve several purposes Whatever work you intend to do with a waveform you should be able to find a function here to do the job or enough tools to create the desired effect The following cover the items available from the Transform menu AMPLIFY Amplify will increase or decrease the volume of the selected sample The increase or decrease can change linearly or exponentially over the length of the sample The values of the starting volume and ending volume can be entered independently for each channel and vary over time in an steady incremental fashion in either the decibel or percentage scales Initial Amplification Final Amplification Lock Left Right DC Bias Adjust Logarithmic Fades dB Scale Normalize This is the amplification that will affect the beginning of the selection Choose a separate final amplification for fading up down effects An amplification value of 100 will keep the signal unchanged This is the amplification that will affect the ending of the selection Setting both the initial and final amplifications to the same value will amplify the entire selection the same amount Left and Right channels may be amplified at separate values If the Lock is checked then the scroll bars for the le
102. loff ratio of zero would result in no echo at all while choosing a ratio of 100 would produce an echo which never gets quieter For that Reverse Echo effect simply reverse the waveform first then echo then reverse again This is the number of milliseconds to place between each echo A delay of 100 milliseconds is equivalent to a 1 10th of a second pause between echoes Choosing very small values of delay produces quite interesting effects while extremely large values above 1000 ms produce Grand Canyon style effects This is the volume at which the echoes will be mixed with the original sample Choosing smaller percentages 30 or so is nice if the effects of the echoing at 100 make the sound incomprehensible If Echo Bounce is chosen try a lower initial echo volume for a single channel for example left of 10 right of 100 to increase the bouncing back n forth effect Choosing Continue Echo will echo the highlighted selection over the rest of the unhighlighted area stopping at the right hand edge of the wave that can be seen in the window If the window is zoomed in the echoing will stop before the end of the file since it will stop at the right hand side of the portion on screen By using this option a single word for example can be highlighted and echoed over other audio without echoing the other audio as well Selecting this option will make the echoes travel back and forth between the left and right channels The echo quic
103. longer it will take to filter your selection but the nicer it may sound The FFT Fast Fourier Transform function takes a large group of samples and filters them all at once The precision factor determines how many samples from the entire group are actually saved in the final product A factor of two means that half the samples are saved back A factor of 10 means that 1 10 of the samples are 34 saved back Since there can be only one filter setting for the entire group of samples you will want smaller groups of samples if the settings are varying widely over short periods of time The Points parameter specifies the size of the FFT to use For cleaner sounding filters use higher values The maximum value currently is 8192 and the value must be a power of two Recommend values are 1024 2048 4096 and 8192 The Windowing Function determines the method used when filtering Different windowing methods give different frequency responses characteristics The Hamming and Blackman windows give great overall results The type of window determines the amount of transition width and ripple cancellation and are in order from smallest width and greatest ripples Triangular to widest width and least ripples Blackman Harris The filters with the least ripples are also those that more precisely follow the drawn graph and have the steepest slopes even though they are wider and pass more frequencies in a band pass operation Try different Windows if you
104. lt direct or indirect of using this program The author makes no claims about the effectiveness of these sounds for any particular purpose The user is encouraged to do his her own research into the area of brainwave synchronization via auditory stimulation WARNING Sounds generated by the wave function may not suitable for epileptics or persons undergoing psychiatric treatment ABOUT CARRIER WAVES A carrier wave is needed to transport the brainwave frequencies Because the carrier wave is not what you hear through the headphones directly you do not need to buy super high end headphones 5Hz 25KHz to reproduce the effects These sounds may be recorded using any stereo cassette recorder and played back on any stereo cassette player without losing effectiveness In other words your headphones do not need to be able to reproduce a 5Hz signal if you are generating a 5Hz theta frequency brainwave file and your tape deck does not need to be able to record frequencies this low either The brain does however respond better to the lower frequencies because of the nature of the synchronization algorithm so the better the headphones you buy the more dramatic the results may be The best headphones are the kind that cover the entire ear so outside noise does not get in Plus these headphones have much higher response to low frequencies The active ingredient so to speak are the frequencies from about 40Hz up to about 2khz depending on the frequency being
105. mono stereo audio where left and right channels are the same sound as if they are coming from the left then the right then the left again at the chosen frequency The Frequency Intensity and Centering can all change dynamically based on the graph The graph represents time along the horizontal Points at the top of the graph correspond to the High Settings while points at the bottom correspond to the Low Settings This allows you to vary the frequency encoded or the intensity at which the brainwave signal is encoded or the perceptual location of the sync signal over time or all three of these at once Frequency Frequency Graph Intensity Centering Musical Source Smooth Wave This is the actual frequency that audio is waved back and forth at that the brain responds and synchronizes to See the section on creating brainwave files for more information on what specific frequencies do Click on the graph to add new control points Drag a control point up or down or off the screen to remove Choose the highest and lowest frequencies that are represented on the graph with the scroll bars You can also choose the highest and lowest Intensities and Centering values Gliding about 4 to 5 Hz over 2 minutes works nicely If large variations are done in short time spans the effects are not as pronounced For example after 5 minutes of Theta waves if 30 seconds of alpha waves are generated and returned to theta the listener will becom
106. n ear is more susceptible to high frequencies it sounds very hissy White noise is generated by choosing random values for each sample Style Noise can be generated in a variety of styles for your listening pleasure Spatial Stereo This is noise generated by using 3 unique noise sources and spatially encoding them to appear as if one is coming from the left the other from the center and the last from the right When listened to with stereo headphones the mind perceives sound coming from all around not just in the center To choose the distance from center of the left and right noise sources you can enter a delay value in microseconds About 900 to 1000 microseconds corresponds to the maximum delay perceivable and a delay of zero is identical to Mono noise left and right channels are the same Independent This type of noise is generated by using 2 unique noise sources one for each channel Channels The left channel s noise is completely independent of the right channel s noise 47 Mono Inverse Other Options Intensity Duration Mono noise is generated by using 1 noise source with the left and right channels set equal to the same noise source Inverse noise is generated by using 1 noise source as well but this time with the left channel s noise exactly inverse of the right channel s noise When listened to with stereo headphones the effect is that of the sound coming from the center of the listener s head instead of out
107. n the setting in the Settings dialog Lal SAVE AS Save As brings up the Save File dialog and allows you to choose the file format you wish to save your waveform as The waveform is saved in the current sample format sample rate bit size and number of channels See Open for a list of file types The name of the current waveform assumes the name of the Saved As file al SAVE SELECTION Saving a wave selection is identical to Save except that only the highlighted selection is saved and not the entire waveform Also the name of the current waveform is not changed to the name of the file being saved 19 20 General Purpose Editing A host of editing commands are available Some have further options giving you complete control over general purpose editing Audio can be copied from and pasted to any number of currently running instances of Cool If the various instances have audio of differing sample rates bit rates or channels then the audio will be quickly converted with low quality sample rate conversion automatically The following cover the items available from the Edit menu ADJUST SAMPLE RATE You can change how Cool Edit interprets the actual waveform data by adjusting the sample rate bit rate and number of channels The actual data is left untouched only the way the data is interpreted changes Be aware that listening to Mono data in Stereo format or listening to 8 bit data in 16 bit format will sound really weird If you
108. nd have been toying with electronic noise makers synthesizers since the 70 s In high school I was even a pseudo member of the band with a home made programmable sequencer that I used to make Pac Man noises for the song Pac Man Fever I also started programming while in high school when the school got a Commadore PET computer Shortly thereafter I bought an Atari 800 summer 1982 and started my programming career I have since programmed on Apple s Commadore 64 s Macintoshes IBM PC s the original on up to today s numerous mainframes and workstations I attended Eastern Montana College for my first two years then moved to the Seattle area and got my BS in Computer Science and Engineering from the University of Washington in 1991 I now work for a large software company and write fun programs on my home PC when I get a chance This is one of them I use my ShareWare donations to help feed my technology habit so expect to see more and more features added to Cool Edit I have tried to include all the wave editing features I have found useful and am welcome to any suggestions for new waveform transformation functions user interface file formats helps if you can provide a description of the new file format you want and features The wave function in this program is quite unique and I hope you check it out It works only with stereo waveforms and is the same function as in the freeware program out called MINDSYNC wave exe or wave87 exe
109. nd card Some problems occur during recording or playback if the Interrupt or DMA settings for your card conflict with some other installed device hard drive network etc Some devices like SCSI hard drives may steal too much of the data bus away from the sound card not allowing it to run at higher data rates So if you have any problems playing or recording especially at higher rates 44 1K and or 16 bit please check all the settings on all your hardware to ensure there are no conflicts Cool Edit plays audio directly from the hard drive so your computer s data bus must be able to handle the traffic coming from the hard drive to memory and from memory to your sound card at the sample rates you wish to use the program at Using Cool Edit Navigating About the Interface The Toolbar represents the commonly used functions as icons along the top of the window A quick help description of the button s purpose will pop up if the mouse remains over the button for about a half second If too annoying this feature can be turned off in the Settings dialog Waveforms are displayed in green e Any portion may be selected by clicking on the waveform with the left button and dragging left or right e Holding the SHIFT key while doing so or using the right mouse button will increase or decrease the size of the currently selected portion e Double Clicking on the waveform will select the entire visible wave The View Indicator the green bar
110. nels and total playing time Following are all the wave formats supported so far 16 WAV Windows PCM waveform All WAV files consist of a RIFF WAVE header waveform data and optionally more RIFF data as can be entered in the waveform Info box under Options The standard Windows PCM waveform data consists of Pulse Code Modulation waveform data which is just the exact amplitude of each sample WAV Microsoft ADPCM waveform Microsoft ADPCM compressed waveform data consists of 4 bit per channel compressed data Each 4 bit sample is expanded to 16 bits or cut down to 8 bits if needed when loaded This compression results in some signal distortion Distortion is more intense in the higher frequencies above 2KHz but minimal in the lower frequencies WAV IMA ADPCM waveform This standard compresses 16 bit waves to 4 bit using a different faster method than Microsoft ADPCM and has different distortion characteristics which may be better or worse depending on the original sample being compressed Distortion is less in the high end compared to Microsoft ADPCM but is spread out evenly throughout the entire frequency range It is better to save 16 bit audio in this format than 8 bit This format allows for 3 bit compression as well at a slightly lower quality Very few sound drivers support the 3 bit ADPCM and we have found none that actually work properly In building this format we followed the specification to the letter withou
111. ng on the audio and recording method Compact disk players have a 16 bit resolution 15 Note Certain combinations of sample rate channels and resolution may not be available on your system To see the maximum capabilities of your system look at the status window when starting the program You can also see the capabilities of your sound board by viewing the Select Waveform Device dialog You can still create load and edit files that cannot be played on your system you just may not be able to play them properly or at all NEW INSTANCE Selecting New Instance will open another Cool Edit window as if you opened another instance from the Program Manager Multiple instances is analogous to multiple waveform edit windows in other programs Open more instances of Cool for any of the following reasons e Use other instances for temporary storage as a second or third clipboard e Mix several waveforms together by opening each source wave in its own window then use Paste Special to mix into a final form e Test complex operations on an audio selection in a second window so as not to modify the original e And any more you come up with Many instances can be open at once using a minimum of extra memory per instance The number of open instances of Cool Edit are only limited by your system memory and limitations of the Windows operating system being used E OPEN Open a new file for editing Various waveform data types are supported Cool
112. nless a compression method is used e g ADPCM Waveforms are played directly off of the hard drive as well For this reason it is important for the temporary hard drive to be as fast as possible To improve hard drive speed remove any type of disk compression you may be using if your working on a slow processor system and desire to record at high sample rates But waveforms of any size can be played Keyboard Shortcuts Delete Delete ALT P Play waveform CTRL C Copy ALT S Stop play CTRL Insert Copy SPACE Play waveform Stop playing waveform toggle CTRL X Cut F2 Repeat last command show dialog if command has one SHIFT Delete Cut F3 Repeat last command now using last used settings CTRL V Paste FS Add the current cursor location or selection to the cue list SHIFT Insert Paste ALT M Monitor Source signal toggle on off CTRL T Trim ALT I Waveform Info ALT Bksp Undo ALT Z Frequency Analysis Window CTRL A Select Entire Wave CTRL S Select the current view Mouse Shortcuts Left Click and Drag on waveform to highlight and select a range of samples 10 Right Click and drag on waveform to extend selection Shift Left Click and drag on waveform also to extend selection Double Click on view indicator green bar to enter viewing range directly in samples Click to the left or right of green bar to scroll view left or right one screen Double Click on Levels Meter black bar to start stop monitoring Double Click on Sample type display to
113. nt insertion point Any waveform data after that will be recorded over e Use the Stop button to end waveform playback or recording The Record Level Meter below the Play Record buttons will display red when a waveform is being recorded and a real time display of the input when Monitor Source is chosen The display turns yellow if recording has been temporarily paused e Double Clicking on the Record Level Meter will start or stop monitoring The Time Display windows show the current Starting and Ending points of the current selection or portion being viewed e Double Clicking on these windows will toggle the display between time in seconds and in samples The Wave Format window displays the format of the wave in Channels Sample Rate and Bits Per Sample e Double Clicking on this window will bring up the Adjust Sample Rate dialog to change the way Cool Edit interprets samples A Play Position Indicator vertical inverse bar shows the current playing position when a wave is played The Cool Edit Paradigm The main purpose of Cool Edit is act as a non real time studio to edit digital waveforms Many of the functions take longer than real time to process thus there is no non destructive playthrough of any of the effects So don t go throwing away your digital effects processors just yet Only one waveform can be edited at a time but you are not limited to the number of copies of Cool Edit that can be running Running multiple
114. o An upward sloping diagonal line from the lower left corner to the upper right corner in the graph represents unity where each sample gets mapped or is replaced with itself thus not changing the audio at all Any deviation from this will distort the samples by replacing them with a different value Try adding a point in the middle of the graph and drag it upwards or downwards to change the graph from a pure diagonal line to induce some distortion Some distortion effects can give the impression of the audio being played on a car stereo too loud on an old fashioned amplifier too loud etc Other effects possible are grunge or metal guitar sounds from a regular acoustic guitar or just totally distorted audio that sounds so bad that well it just sounds really really bad ECHO This function creates a continuous echo with each echo equidistant apart Each successive echo decays in amplitude by the falloff ratio To create the effect of a single echo use the Delay function instead For great special effects each echo can change in tonal quality by slightly equalizing each successive 30 echo Other interesting feedback effects can be created by choosing extremely small Delays 1 ms or so and large Ratio values like 99 Ratio Delay Initial echo volume Continue Echo Echo Bounce Equalizer Bars Presets Each successive echo s volume will be a certain percentage less than the previous one s Choosing a fal
115. onization function available to create sound files that alter your state of mind e Record and Playback waves using any Windows compatible sound board even works with the PC Speaker driver e Spatially locate sound sources to appear as if they are coming from different directions by delaying one channel a few microseconds in stereo waveforms e Most functions have programmable Presets to easily save and retrieve your favorite effects e You can feel free to experiment and easily back up a step if you don t like what you did by using the Undo function e 8 band Quick Filter for quickly adjusting equalization e FFT filtering and Spectral View make it easy to filter and analyze audio with high precision e Compress Expand Limit dynamic range using the Compressor function Can also act as a noise gate to silence audio between spoken words e Noise Reduction possible to reduce any type of noise up to 20dB including broad band noise and that annoying 60 cycle hum e Practically any file format can be loaded successfully into Cool by using the raw PCM file type and then Adjusting the sample rate bit rate and number of channels as well as performing Byte Swaps to get the byte ordering and sign interpretation correct e Skewed waveforms can be centered properly using the DC Bias filter and waves can be normalized faded in faded out or panned by using the Amplify and Normalize functions e Frequency analysis can be continually be performed on t
116. ool Edit can synthesize just about any sound using the noise and tone generation functions along with the various wave transformation functions e Convert between various sample types with variable levels of quality for upsampling and downsampling e Any sample can be used as an instrument and set to music like a dog barking Jingle Bells or Tarzan yelling the national anthem e Waveforms of any size can be edited limited only by hard drive space e Supports PCM Microsoft ADPCM and IMA ADPCM WAV Sound Blaster VOC raw PCM Apple AIFF and ASCII Text data formats MPEG Layer 2 file format available upon request e Add 1960 s sounding special effects using the Flange function e Continuous echo of all or part of a sample with filtering for successive echoes possible with Echo e Simulate the acoustics of any environment with the 3D Echo Chamber and Reverb functions e Speed up or slow down samples without affecting pitch or raise and lower pitch without affecting tempo by using Stretch e Distort your waveforms to give effects such as low quantization blown car speaker fuzzy cheap amplifier and overdriven tube amp e Supports descriptive information and bitmaps when saved in WAV format e Supports a cue list and a play list when saved in WAV format for playing portions of a wave in any order with looping e Built in CD player when the MCI CD Audio driver is loaded and a valid music CD is in the drive e Brainwave synchr
117. ormat it is being pasted into it will be converted accordingly before pasting occurs From File When chosen a file may be chosen with choose file to be pasted This is especially useful when the amount of data you wish to paste is too large for the clipboard Simply save the data you want to mix to a file and paste in that file REPEAT LAST COMMAND Pressing F2 or choosing Repeat Last Command will bring up the settings dialog for the last command issued if a settings dialog exists otherwise the command is carried out instantly To carry the last command out instantly at any time press the F3 key 23 SELECT ENTIRE WAVE This will select the entire waveform from sample zero to the end of the waveform It makes no difference if the view is zoomed in or not Double clicking on the waveform selects only the visible portion of the wave while choosing Select Entire Wave or pressing CTRL A will select the entire waveform independent of the portion being viewed SPECTRAL WAVEFORM VIEW Choosing Spectral View will display waveforms by the by their frequency components This is a handy function for analyzing your audio data to see which frequencies are most prevalent throughout your data The more abundant a frequency is the brighter the color displayed will be Colors range from dark blue next to no frequencies in this range exist to bright yellow frequencies in this range are very strong We prefer this method to other 3D frequen
118. orrelation between the left and right channels Using pink noise in spatial stereo and running it through the Quick Filter to get rid off some of the edge if any works the best Inverse works quite well too but the brainwave effect is more pronounced and can be distracting and some sound boards have trouble reproducing sound that is inversed between channels Once you have found a pleasing sound about 10 seconds or so of a monotonous sound tones river waterfall noise you re ready to start If a monotonous sound is used more disk space can be saved because we will use the play list to repeat portions If a music sample were used it is quite noticeable that the same 10 second piece is being played over and over and over again If you re curious you can also spatially locate a mono sound to the left or right Do this if you wish to have the illusion that a particular sound is coming from one side or the other The function works by pasting a mono sound sample into a stereo waveform and using the Digital Delay function Having a quiet ping generated by using the sine wave tone generator with the bell curve envelope play spatially on the left then on the right at about 5 second intervals is very relaxing ENCODING BRAINWAVE INFORMATION There are two types of brainwave files that you can create A flat file and a cued file The flat file takes more memory and plays straight through from beginning to end while the cued file
119. otal then a vibrating sound at 100Hz can be heard Thus a total value of about 30 ms is about the lowest you can go without getting these effects This is the time it takes the end of a previous output level to reach the proper output volume For example where the Attack is the time it takes the start of a pulse to reach the desired output volume the Release is the time it takes for the end of the pulse to reach the desired level This is the number of audio samples to group together into one volume level change A value of 1 is the best so each sample gets its own volume change Larger values will change that many samples together at a time You can use larger values without noticeable changes in quality The only reason for using larger values would be for speed though as larger values calculate much faster You can use larger values for previewing how a compressor is going to sound then Undo and use a value of 1 when the compressor is set just the way you want it In Stereo each channel can compress independently sometimes causing the surrounding background noise to get louder on one channel at a time which may sound strange For example a loud drum beat in the left channel will make the background noise sound louder in the right than in the left If Joint Channels is checked both channels are used to find a single input dB value and both channels are amplified the same amount together For example a loud drum beat on the left ch
120. ou find them you can safely delete them as long as Cool Edit is not running These files can be left behind in extreme circumstances when Cool Edit crashes or Windows unexpectedly quits while Cool Edit is running If you find you cannot load or save WAV format waveforms if you try to load a WAV waveform file and the Choose Sample Rate dialog appears or have any trouble with loading and saving in the proper format then remove all copies of the FLT files on your hard drive and copy over the ones distributed with your current version of Cool Edit into the same directory as COOL EXE If different versions older or newer of the FLT files are mixed with the distributed versions these problems could arise This problem could also result from running a separate program with the same name as the FLT file e g wave flt will not be used if an application called wave exe is running If this is the case simply rename the flt file e g rename wave flt to wav flt If the TEMP environment variable points to an invalid directory some functions may fail Be sure the TEMP environment variable is set to a valid directory with plenty at least 1 meg of hard drive space Alternatively you can add the TEMPOVERRIDE line to the Size section of cool ini found in the Windows directory and set it to your temporary drive and directory 73 About the Author That s me David Johnston I have been working with various sound programs since about 1991 a
121. our friends across email or BBS systems since they take nearly no memory to store When running a script you can either stop at each dialog box or have the script automatically run through completion by using the Stop at Dialogs checkbox Stopping at each dialog box is handy if you wish to tweak the parameters while the script is running You may also choose to be notified when the script is done by checking Alert When Complete A dialog box notifying you of the completion will be displayed when the script is finished After recording a script you may enter a description at the bottom of the dialog to go with the script you just recorded This description will appear when the user of the script highlights the script to run Note the only time you can edit the description is after recording not before and not after it has been added to a script collection file To get around this you can still edit the description at any time by pressing the Edit button to edit the text file directly To record a script enter the name of the script in the space provided and press Record When you are done come back to the Cool Scripts dialog and press Stop Enter a description then press Add to add the script to the currently opened collection Before adding you can open another collection or create a new one by pressing Open New A single script can be run on a batch of files by pressing the Batch Run button For more information see the section on Bat
122. ower data rate i e 8 bits instead of 16 61 or 32K instead of 44K We have tried very hard to ensure that recordings would sound perfect without any data loss If you have problems see if other recording software has the same problems If so you may have a hardware incompatibility between you sound card and your main board video board or other installed boards Q My computer crashed while Cool was running and now I lost a lot of hard drive space What happened A Cool uses temporary files for the editing of waves and the undo buffer Since some of these files may have been open the editing temporary buffer is always open during the crash the files were never closed properly Exit Windows and type CHKDSK f C use whatever drive letter is missing the space If you get Convert lost chains to files or something like that answer yes The missing data will now be in the root directory as CHK files which you can then safely delete Q I keep getting parity error messages and the program keeps crashing What s going on A Some older style PCs do not handle memory properly and Cool just makes the problem worse since itis very CPU intensive The parity error message appears when one of the bits that were saved into DRAM have changed unexpectedly indicating bad memory Most boards have the first 64K of memory on the motherboard so the problem could be either in your memory arrays or on the motherboard Q Cool does som
123. ping is reduced a choppiness to the sound may appear Adjust the overlapping to your taste to strike a balance between choppiness and chorusing Fractional Interval Overlap This second method of preserving pitch or tempo uses a more straightforward algorithm which guarantees the timing to be as close as the interval rate allows This usually causes more of a reverb echo effect with the audio but in cases where stretching is being done at rates lower than 60 percent or higher than 175 percent this method can produce more desirable results 43 Interval Rate The interval rate determines the size of the chunk of audio data in the final stretched wave If there are any artifacts they will be heard at this frequency For example an interval rate of 60Hz will cause a 60Hz distortion artifact Values of 15 down to 7 or so seem to work best The higher the value the more precise the placement of stretched audio over time but also the artifacts are more noticeable as rates go up Overlapping The overlapping determines how much the current chunk overlaps with the previous and next chunks The maximum overlapping allowed can be as great as 1000 in which up to 10 sections of the wave are overlapped together If using either of the Interval Overlap methods you can improve the quality of the stretched audio of mono tonal pure tone samples by choosing an Interval Rate that is evenly divisible into the frequency of the sample Use the Frequency Anal
124. r temporary drive and directory You should have as much free space on the temporary files drive as twice the size of the largest file you will be working with as a rule of thumb 63 Brainwave Synchronization ABOUT BRAINWAVE FILES The wave option works like many meditation tapes and light sound devices on the market which range in price from 200 to 500 There are even boards available with plug in glasses which have blinking lights for your PC in the price range of 495 The files created using the Wave transformation are even more powerful and are definitely more pleasing to the ears Most other devices and tapes have a humming sound or some other tones to induce the right brainwave frequencies This program allows you to use ANY sound to encode the frequencies with The most effective we have found are by using the Noise Generator which creates pleasing waterfall like sounds This function only works on stereo waveforms and the effects work if only if listened to with stereo headphones Listening to sounds that have been waved for periods of 5 minutes or more will produce the desired state of awareness in the listener Sessions of 25 minutes or so work really well After being sync d in for 10 minutes or so changes in patterns can be programmed more quickly and the brain will respond accordingly Major brainwave pattern frequencies and possible uses for brainwave synchronization Delta 1 3 hz Deep sleep lucid dreaming
125. re analyzing to see if the same frequency is found Because a large number of custom colors are used for this display the look of a highlighted selection on 256 color displays may look strange The colors seen when nothing is highlighted though should always range from dark blue little signal through lighter blue purple red orange and finally yellow most signal 0 CD PLAYER If you have the MCI CD Audio driver loaded you can control the CD player with a standard set of control icons You can also name your CD and the individual songs as well for display the next time you use the same CD Tracks List Click on any track number to start playing that track Time Readout Displays the current time in minutes seconds into the current track Title Display Displays the title of the CD The title defaults to the length of the CD You can type in the proper title of the CD here If a track is currently being played if the track number is highlighted in the track list then the title reflects the title of the current song As you are entering song titles you may use the TAB key to jump to the next song to easily enter the titles for the entire CD Titles are saved in the file COOL INL Currently only up to 64K of titles data can be stored the limit for any INI file so be aware that you may not be able to enter in data for every CD you own It may be better if you have tons of CDs to just enter in the title of the CD and only enter in th
126. re is observed and at that instant it is impossible to tell exactly which role each sound played in creating this single value So a waveform is depicted as a line that can vary up and down freely going from left to right but with no backtracking e g a graph of a waveform will never look like a circle or a U on its side Waves in the natural world are continuous which means that no matter how much you zoom in to the waveform or no matter how small of a time interval you look at there are an infinite number of values needed to represent the progression of the waveform during that interval Other types of waves exist besides just sound waves Seismic activity can also be viewed as a wave as in the shock wave during an earthquake The Richter scale graphs the familiar graphs of earthquake activity they show on television after a quake are a prime example There is a single needle that sways back and forth leaving a mark on a slowly turning cylinder As the seismic receptors placed into the Earth pick up vibrations the electrical impulses are sent to the device causing the needle to sway in response to the movement of the earth Cool Edit s normal Waveform View displays waveforms just as described as a plot with the time going from left to right and at each instant in time there is exactly one value for the waveform s instantaneous amplitude or pressure level Amplitude The amplitude of a sine wave is the difference between the
127. ries Add Before Add the currently highlighted selection from the cue list to the play list The selection is inserted before the currently highlighted play list item or at the end if nothing is selected Remove Remove the selected play list item from the list Loops The number of loops to loop the selected cue range in the play list Play Play the cue ranges in the order listed looping selections if necessary Play begins at the currently highlighted item in the play list or the entire list is played if end is selected or there is no selection Autocue Play the currently highlighted item in the play list or the first item if nothing is highlighted looping if necessary and stop on the next item in the play list Thus every time Autocue is pressed the next item in the play list is played The play list is saved in the WAV file format in the plst chunk SCRIPTS A K A MACROS Scripts are similar to Macros Your exact mouse moves and tweaking of parameters is not stored only the final result when you click OK Clicking Cancel in a dialog while recording a script does nothing as if you never brought up the dialog to begin with The Undo action is recorded into a script If you use Undo while recording a script the Undo function must be enabled when that script is being played Multiple scripts can be kept in one script file and identified by name At any time you can edit the script file directly to take out steps
128. rm is an algorithm that Cool Edit uses to perform its filtering functions as well as its Spectral View and Frequency Analysis functions This transform takes data in the time vs amplitude format the Waveform View plot and converts it to time vs frequency the Spectral View plot It can also convert back the other direction For more detailed information on the FFT see any books on Digital Signal Processing 14 Working with Files Cool Edit can work with a variety of file formats All file formats are converted to either 8 or 16 bit PCM audio while being edited and written back in the original format when saved The file being worked on is kept in a temporary file so edits are not made to the original file until saved back The following cover the items available from the File menu CLOSE Close will close the wave currently being edited and show the initial startup information in the status boxes When a waveform is closed the associated temporary file is removed thus freeing up the hard disk space that was previously being used EXIT Choosing Exit or double clicking Cool s close box will prompt to save the current file if it has been modified Upon closing the main temporary file is removed and any audio playing or recording is stopped When the last instance is closed Cool ensures that all temporary files have been removed including all undo buffers Ei NEW When creating a new waveform you must specify the waveform proper
129. rolled to and continues on to the end of the song The music is played through channels 1 and 13 for Extended and Base level compatibility The instrument can be chosen by typing its instrument number to the left You can record music played by the listen preview button Simply hit the record button first then go into the music dialog and press Listen When the song is done hit Cancel and then Stop to stop the recorder Pink What the heck is this button for Well it automatically plays the chosen instrument through the MIDI using pink noise as the source for randomness Maybe once out of 1 million tries it may actually write a cool song Tempo Octave and Key all affect the play of pink music Try opening the Play List first then open the music dialog While listening to a relaxing soundscape from the play list you can listen to relaxing random music at the same time 7 LJ NOISE REDUCTION Background noise and general broad band noise can be dramatically reduced with minimal reduction in signal quality The amount of noise reduction depends upon the type of background noise and the allowable loss in the quality of the signal that is to be kept In general increases in Signal to Noise ratios of 5dB to 20dB can be achieved noise is reduced 21dB and signal 1dB for example Two steps are required to remove noise 1 The noise level must be set so the filter knows what type of noise to remove To do this highlight a section of
130. rs sample at 44 100 Hz to be enough above twice the highest frequency anyone can hear So far we have broken time into discrete intervals What about the actual values or amplitude at each of those intervals The wave above can be thought of as going from values between 100 at the top to 100 at the bottom This would cause the short sequence of 11 samples to be given to the computer as roughly 93 7 51 5 22 1 89 4 97 6 48 0 25 7 92 1 93 9 54 5 and 21 1 The same problem as with having continuous time exists with the values at each interval as well There are an infinite number of possible values the wave can have during each of these intervals For example instead of the first value being 93 7 it could just as easily have been 93 716746352231 These values must also be broken up into intervals which may or may not be evenly spaced so that computers can deal with them This breaking up of continuous values to a specific number of values is known as quantizing An 8 bit sound card for example can have any one of 256 unique values where the continuous range of real numbers has been quantized to 256 steps The reason 8 bit sound has 256 possible values is because 2 to the 8th power 2 x 2 x 2 eight times is 256 The 16 bit sound cards can have any one of 65 536 values for each interval The quantization level directly relates to the dynamic range difference between the softest and loudest sound that can be represented if the r
131. s and Answers Q When repeatedly hitting Play too fast or starting and stopping Monitor Source too quickly my system hangs or crashes A Try increasing the STACKS line in CONFIG SYS to STACKS 12 512 On some configurations if the stacks are set too low there will be problems starting and stopping audio too quickly Q I ve already registered Cool Edit but the features I want to use are still unavailable greyed in the menus and toolbar What s wrong A Probably nothing is wrong You must first select all or a portion of a waveform before you can use features like Reverb Noise Reductions and others Try loading a file and selecting some or all of it with the mouse you should see those features light up in the menus and toolbar once you ve done this Q Ihad saved some presets using a previous version of Cool Edit and now they re gone Where did they go A They are most likely still in your COOL INI file but in creating new versions sometimes it is impossible to keep the parameter orders and such the same for some functions Look in your COOL INI file and find your previous presets and print them out or write them down Perhaps you can re enter them from looking at the data Also you can try to just copy the entries from the previous function section to the new one Sections that are 100 compatible are Channel from 1 33 and the new Channel Mixer section NewFlanger from 1 33 and the new Flanger2 section Entries from the
132. s is impossible to do if NT Compatibility is turned on Currently this may cause a lockup as well We are working on revising the display code to resolve these problems Q Cool Edit doesn t seem to know the format of waves that have headers so Cool Edit should know them Huh A If you find you cannot load or save WAV format waveforms if you try to load a WAV waveform file and the Choose Sample Rate dialog appears or have any trouble with loading and saving in the proper format then remove all copies of the FLT files on your hard drive and copy over the ones distributed with your current version of Cool Edit into the same directory as COOL EXE If different versions older or newer of the FLT files are mixed with the distributed versions these problems could arise This problem could also result from running a separate program with the same name as the FLT file e g wave flt will not be used if an application called wave exe is running If this is the case simply rename the flt file e g rename wave flt to wav flt Q Some functions don t work when I have low memory on the hard drive 62 A If the TEMP environment variable points to an invalid directory some functions may fail Be sure the TEMP environment variable is set to a valid directory with plenty at least 1 meg of hard drive space Alternatively you can add the TEMPOVERRIDE line to the Size section of cool ini found in the Windows directory and set it to you
133. se A slow hard drive may not be fast enough to record to at higher data rates like 44 1K 16 bit stereo Also compressed or stacked hard drives require more processor time and may make recording at higher data rates impossible on slower systems because of the time needed to encode or compress the data You want the hard drive with the greatest amount of free space on it as well since this will limit the size of the file Cool Edit can work with Be aware that if the wave you are currently working on takes up more than half of the available space on the temporary drive then you will not be able to save that wave to that temporary drive in a non compressed format since the saved file will take up more room than the drive has left The temporary files directory can be specified in the Settings dialog Internally this setting is kept in the TEMPOVERRIDE line in the Size section of COOL INI The file COOL INI is located in your Windows directory After the section that reads Size you may enter the line TempOverride D TMP for example Interrupts and DMA Channels Many sound boards use Interrupts and or DMA channels For 16 bit audio you must specify a DMA channel of 5 or greater Consult your sound board user s guide for more information For Cool Edit to run at its fullest these must be set correctly You can still edit waveforms of any sample type even if your board is not capable of playing them and even if you do not own a sou
134. se can be copied straight across Entries from 1 33 s Filter section can be copied straight across to the new Filter2 section but be aware that any filters designed are going to be assumed as if they were done at 44 1 KHz This means a bandpass filter at 5khz done on a 22 KHz wave will now be assumed to be a 10 KHz filter at ALL sample rates The new Amplify2 Stretch2 and Tones2 sections are not compatible with the previous 1 33 s Amplify Stretch and Tones Sorry for the inconvenience Q I had written a script using Cool Edit 1 33 and now it won t run properly Help A Sorry about that In making modifications and everything more generalized some incompatibilities may have arisen When making the conversions we tried to favor keeping Scripts running properly over remembering presets properly You can print out the SCP file containing your invalid scripts and then try to reconstruct 1t by recording a new script and following along what you had done previously Q I cannot load normal wave WAV files Why A Do you have the file WAVE FLT in the same directory as COOL EXE The FLT files are required for any file loading and saving Also no programs can be running at the same time called WAVE If you are running another program whose filename is WAVE EXE or WAVE DLL then rename Cool Edit s WAVE FLT to something different like WV FLT Q I get an error message when I try to record What s up A Check the capabilities of
135. sers then these operations are going to take a very long time A coprocessor will speed these operations up by at least a factor of 10 sometimes 20 Q Why does it take so long to save as ADPCM Wave format A ADPCM is a compression scheme which compresses 16 bit samples to 4 bits while retaining much of the quality at higher sample rates If the multiple pass option is chosen which provides the highest quality each block of wave data is compressed seven different ways and the way which sounds most like the original signal is then saved Q Iam using Windows NT Why doesn t my screen redraw when I make a change A Normally COOL is set up to multitask when the waveform is being drawn so as not to lock up the PC when drawing large waves NT automatically multitasks which throws things out of sync Make sure the NT Compatibility option is checked under Settings if you experience screen redraw problems Q How long did it take you to make this program A It took almost a year of programming to produce what you see here Cool Edit started as a DOS product that worked only with Sound Blaster files The code was then ported to Windows and functions and features were added until it reached it present form The brainwave function Transform gt Wave was written around April to May of 1992 and eventually released to ShareWare in July of 1992 It took several months of experimentation with different sound relaxation techniques to find one tha
136. serving pitch or tempo is to do an FFT and modify the amplitudes and phases of each frequency in the frequency domain and then do the inverse FFT to translate back Multiple radix FFTs are most effective This method would be very complex and be much slower than the methods currently being used And in the end there is very little difference in the quality of samples modified this way over just using the fast Interval Overlap method of pitch changing WAVE Audio may be Waved to produce files that when listened to with stereo headphones will put the listener into any desired state of awareness For example by listening to waved files you can easily achieve states such as deep sleep theta meditation or alpha relaxation Because of the nature of this function it only works on Stereo waveform data and to be effective must be listened to with stereo headphones The Wave function spatially locates the audio left and right in a circular pattern over time In order to spatially encode the signal either the left or right channel is delayed so that the sounds will appear at each ear at different times tricking the brain into thinking they are coming from either side When this 44 is done at frequencies of 3Hz and above the brain will start synchronizing at the same frequency increasing its output of Delta Theta Alpha or Beta frequencies Since this function periodically spatially locates audio left and right it can also be used to make
137. since after a while the echoes are so quiet they don t add to the final amplitude of the audio This is the number of actual echoes to produce To get a nice reverb and ambiance effect at least 30 echoes should be generated The more echoes that are generated the truer the result will sound You must sacrifice the quality you desire with the time you are willing to wait for the final product Generate about 15 echoes or so to test the chamber size and general room sound then increase that dramatically for the final production Up to 4 000 echoes can be generated for the very patient Use the damping factors to set the type of room in which the audio is being played The factors can simulate wall coverings floor coverings and other objects in the room that absorb sound Granted in real life various objects absorb different frequencies of audio In this simulation all frequencies are reflected equally The effects of speaker placement enhancing or canceling certain frequencies though is still accurate The fact that cement reflects high frequencies better than low ones is not accounted for but great effects can still be achieved and these effects are much more realistic than the basic Echo function A damping factor of 1 0 is the greatest simulating total reflectivity A factor of 0 0 is the lowest for total sound absorption by the reflecting surface The source highlighted audio before running this function can be placed anywhere in t
138. sy calculating While Cool Edit is calculating most of your CPU s time will be used for these calculations although you can still run other Windows applications albeit a little slower If in the middle of calculating a lengthy operation you need the processor for another task you can suspend or pause calculation by pressing the Pause button in the progress meter dialog or just clicking on the blue progress meter in some versions In general all functions that alter existing waveform data can be found in the Transform menu while those that create new waveform data can be found in the Generate menu All file and main program control functions are in the File menu All functions dealing with the general purpose editing can be found in the Edit menu And finally all miscellaneous functions that did not fit anywhere else are in the Options menu Most dialogs have help buttons for quick help about the current dialog Lengthy explanations of all the functions can be looked up this way Temporary Files When Cool Edit loads a file it is actually creating a temporary backup copy of the wave decompressing it if necessary which is why the size displayed in file size window can be larger than the size of the file that was loaded All editing transforming generating recording and playing is done by using this temporary file Most all systems are fast enough to record and play directly from disk so the limits of RAM are removed allowing for
139. t making any assumptions Some audio drivers do not play DVI compressed data properly but lately this has been changing as other manufacturers are providing DVI audio drivers that can read the files saved by Cool Edit in this format just fine If you have other software that does not play files saved in this format properly please contact the vendor and try to obtain the latest driver they have Cool Edit also has a 2 bit version of the compression by using the index table 1 2 1 2 It may not be compatible with other IMA DVI 2 bit compressed files The preceding index table generally provides the best quality WAV CCITT mu Law and A Law waveforms These formats compresses original 16 bit audio down to 8 bits The quality is somewhere between 8 bit and 16 bit Thus a law and mu law encoded waveforms have a higher s n ratio than 8 bit PCM but at the price of a little more distortion that the original 16 bit audio The quality is definitely higher than you would get with any 4 bit ADPCM formats VOC Sound Blaster voice file format Sound Blaster and Sound Blaster Pro voice files will work with this format Only 8 bit formats are supported Maximum sample rate for mono is 44100 samples second and 22050 samples second for stereo Looped audio will be unraveled and silence space expanded when opening a file in this format Cool Edit will only save straight audio data In this format no looping or silence encoding will be done The only Info box
140. t notice it was different The sounds we hear in everyday life and when we listen to music are generally not just a pure sine waves as exemplified above but a collection of an infinite number of sine waves each at its own varying amplitude and its own varying phase At any instant in time what we truly hear is the sum of all of the frequencies present each at their own amplitude and each at a particular phase during their cycle Summing all these will give exactly one value or one pressure level that is present at the eardrum at any particular instant Because of this a wave can be graphed as the instantaneous amplitude or pressure level during an interval of time Cool Edit s Spectral View will display all the frequencies present at any instant in time almost and their amplitudes at that instant The louder a particular frequency is the brighter the point will be The higher up on the display the point is the higher the frequency is that the point represents Time is still represented as going from left to right The reason we say the Spectral View almost displays all frequencies present at any instant in time is because it is impossible to determine all frequencies at any instant that went into producing the pressure level that was measured during recording but it can be estimated from the audio before and after that point This is why as you zoom in more and more the particular frequencies begin looking very smeared from left to right S
141. t worked extremely well Q Why are some functions not selectable A If you have the unregistered version of Cool you chose which functions you wanted to use for the editing session The others will not be selectable until you choose them on the next editing session Also some functions only work on stereo files such as Wave and Channel Mixer which becomes Invert for mono waves Q How can I see my wave size information in samples instead of time A Double clicking on the time or samples Start and End window will toggle the display between time and samples This and double clicking on the wave to select all are the only functions that do not have a corresponding menu item or button associated with them Other shortcuts are double clicking on the waveform type display to change the waveform interpretation i e interpret the 44 1 KHz wave as a 22 KHz wave and double clicking on the green bar to bring up the viewing samples data entry box Q Why do my recordings sound choppy A You probably have a too small buffer size in the Settings dialog A minimal buffer size is about 2 seconds for fast machines about 8 for slow ones Also try decreasing or increasing the number of buffers Please note that some audio drivers have problems with too many buffers Using a compressed hard drive on a slow PC could also eat up so many CPU cycles that there isn t time left to do recording Either try adjusting the buffer size up or down or record at a l
142. tate and will not respond 67 greatly to the frequencies being presented During this warm up period gradually decreasing from about 12Hz down to 8Hz works nicely After about 4 minutes the listener s brainwave patterns will start to synchronize with the patterns in the headphones and the serious brainwave programming can begin Frequencies of 8 10Hz correspond to an alpha state light relaxation like a quick afternoon siesta Frequencies of 6 7Hz correspond to a theta state meditation 4 5Hz correspond to deep relaxation You can create a session that is constant in one of these states or create a session that dynamically flows from one to the other When going down in frequency give the listener about one minute to catch up and stay in sync with the wave Going up in frequency does not require the listener to catch up In other words if you go from 6Hz down to 4Hz over a 20 second timespan and hold at 4Hz the listener may not be at 4Hz for another minute When going from 4Hz to 8Hz in 20 seconds the listener will be at 8Hz at the end of the 20 seconds It appears to take extra time when going down in frequency but no extra time when going up This basically holds true for the first 20 30 minutes of a session After that the opposite tends to occur It is easier to go lower than go higher This means that to bring a listener from 4Hz where she has been for the last 30 minutes up to 12 Hz it should be done over a 5 minute period or
143. the channel in question This value is in milliseconds A delay of 1ms is about the time it takes audio to reach one ear before the other if coming from the side Mixing You may choose to have the resultant wave the delayed signal keep it the original signal or mix the two A value of 50 will mix the two evenly Invert The delayed signal may be an inverse of the original if this is checked More special effects Presets Tunnel This preset can be used with mono as well as stereo waveforms The settings provided give a nice tunnel tubular effect Spatial Echo With stereo waveforms this gives a nice fake big room effect Spatial Left If a mono wave source was converted to stereo so that the left and right channels are the same then choosing this will make the sound appear as if it is coming from the left since the right channel is delayed just enough so your brain interprets the sound as coming from the left You must use headphones to hear the effect Spatial Right The same as Spatial Left but it locates the sound to appear as if it is coming from the right Lo DISTORTION The Distortion function will map any sample value to a new sample value based on the transfer function graphed The sample value is described in terms of decibels the loudest sample value highest absolute value of the sample equates to OdB while the quietest sample value values closest to zero are seen as 48dB for 8 bit audio or 96dB for 16 bit audi
144. the editing of files as large as your hard drive Cool Edit uses the temporary directory specified in the Settings dialog This dialog first gets the directory from your TEMP environment variable usually set in your AUTOEXEC BAT file the first time Cool Edit is run The temporary directory used to store Undo information can be different than the main temporary files directory Undo and various other functions create temporary files that are all removed when every instance of Cool Edit is closed Playing and Recording Audio Cool Edit uses a multi buffered system for recording and playing audio The total buffer size can be specified in the Options Settings dialog The size is measured in seconds and should be just slightly longer than the longest time you expect your system to be busy The system is busy whenever you see the hourglass cursor so this should give you some indication of the proper time to enter If the system is busy for longer than the buffer time specified recording or playing will stop You will hear gaps of silence during play and missing audio data from recording if this value is too low For most systems 4 seconds is fine and 8 seconds should be more than enough Configurations Cool Edit doesn t need much configuration but for optimal performance there are a few guidelines you can follow Location of Temporary Files Directory Your temporary files directory should be located on your largest fastest hard drive of cour
145. the presets For best results in filtering use 16 bit samples whenever possible If your source is 8 bit you can use the Edit Convert Sample Type function to convert it to 16 bit For more accuracy in using any transformation always use 16 bit samples If your board only supports 8 bit samples you can work with 16 bit samples anyway and have them converted on the fly to 8 bit at playback time by choosing the convert 16 to 8 bit mode in Options Settings To keep the transitions from one filtered block to the next smooth a percentage of the previously filtered block is mixed with the block currently being filtered This will help ensure that there is no added high frequency noise when using very narrow filters If you encounter any undesirable side effects increase the Precision Factor to 32 48 or even 64 Lal FLANGE What is flanging you ask Just try it out and see The term is coined from the flanging mechanism on the old style tape recorders which when fiddled with would slow down the playing of the tape and speed it back up again when desired That is how they got those funky psychedelic sounding recordings in the 60 s Here s how you can do it today Original Delayed Slide This slide decides at what proportions to mix the original and flanged signal If the Original is at 100 no flanging is heard If the Delayed is at 35 Initial Delay Final Delay Stereo Phasing Rate setting Invert Special EFX Sinusoidal Pr
146. the source otherwise the relative volume of the echoes will be so low that they will not be able to be heard Mix Left and When working with stereo audio there are actually two source signals one for each Right Into channel that can be placed independently This takes twice as many calculations as a Single Source single audio source so this option allows you to mix the left and right into a single point source for faster calculations a ENVELOPE By using an envelope you have greater control over which parts of your wave are amplified and by how much A point at the top of the graph represents the maximum amplification while a point at the bottom represents zero amplification or silence This function is handy when modifying Tones generated with this program to create more realistic sounding instruments and effects For just decreasing the volume of extra loud peaks or increasing the volume of quiet portions in a waveform the Compress function will do a better job than eyeballing the peaks and running an amplification envelope over them Amplification Adjust this value to change the maximum amplification value This value changes the values represented by the graph A value of 100 is the default The graph is a Time versus Amplitude plot Time runs left to right and Amplitude up and down Click anywhere on the graph to create a new point Points on the graph can be removed by dragging them off Double clicking on a point will allow
147. the tape hiss sound will completely disappear and in its place about 15dB quieter will be completely different type of noise This noise will contain all frequencies in different combinations thus it cannot be reduced much further without noticeable signal loss The new noise has a burbly or bubbly quality to it and if amplified sounds very harmonic like those 1960 s computers in old science fiction films Since this is so much quieter than the original noise though it is very acceptable 38 Great effects can be generated by setting the noise level to some valid signal component in the waveform and not the background noise Whatever frequencies are present in the highlighted selection when Set Noise Level is chosen will be removed when the reduction level is set to 100 Use this function to remove tape hiss microphone background noise 60 cycle hum or any noise that is constant throughout the duration of your waveform You can even reduce the noise incurred by the sound board s circuitry during recording just record a second of silence before whatever you want to record and tell the noise reducer to remove the sound of that silence for another 10dB dynamic range FFT Size This parameter causes the most drastic changes in quality Good settings for this size are 2048 4096 and 8192 This determines the number of frequency bands to analyze Higher values will create background noise that sounds more spread out like an orchestra tuning up
148. they work on the right channel Invert Choosing invert for either channel will invert the channel Peaks become valleys and valleys become peaks By inverting both channels there will be no perceived difference in sound when listened to But inverting only one channel will greatly change the sound when listened to Presets Vocal Cut This will sum the left channel with the inverse of the right and place the result into both channels On music where the vocals are heard equally loud on both channels the vocals will disappear or come close to disappearing Swap Channels The left channel is placed on the right and vice versa Inverted Average The left channel is the average L R 2 of the two channels and the right channel is the inverse of the average of the two channels L R 2 Average Both channels are set to the average of the two channels Both Left Both channels are set to the left channel the left channel is copied to the right Both Right Both channels are set tot he right channel the right channel is copied to the left By playing with the combinations effects of swapping channels creating a mono sounding wave that is equal to the left right or a mixture of both channels and creating waves whose left channel is the inverse of the right can be done E COMPRESSOR The compressor function varies the output level based on the input level This allows one to expand or compress the dynamic range of a sample limit
149. ties Using higher sampling rates stereo or higher bit resolutions will result in higher quality sounds at the expense of requiring more memory Sample Rate This describes how many times per second to take a snapshot of the audio The human ear can perceive sounds up to about 17 000 cycles per second or 17 Khz When choosing a sample rate frequencies of up to 1 2 the sample rate can be produced effectively So to reproduce frequencies up to 10Khz a sample rate of at least 20Khz must be chosen Choose Custom to enter a sample rate not listed 11 025 Hz Poor AM Radio Quality Speech 22 050 Hz Near FM Radio Quality 32 075 Hz Better than FM Radio Quality 44 100 Hz CD Quality 48 000 Hz DAT Quality Channels Mono waveforms support one channel of audio information Stereo files take twice the space because there have two channels of information represented a left and a right channel Resolution This describes the number of bits to use for each sample on each channel 8 bit resolution will provide 256 unique volumes The PC Speaker for example provides only 4 bits of resolution because it can support 16 unique volume levels 16 bit resolution will provide 65 536 unique volumes for roughly a 96 dB signal to noise ratio Much quieter sounds can be reproduced at 16 bit resolution than at 8 bit resolution which only has about a 48 dB signal to noise ratio The perceived signal to noise ratio and actual ratio may both vary somewhat dependi
150. to the cue list and give ita name Repeat the step above for creating a brainwave encoding over the carrier wave you just inserted Do this as many times as needed until you have all the pieces you need to build the final brainwave file Once all the pieces have been generated add them in the order you like to the play list To make pieces last longer if the beginning and ending of the piece are at the same brainwave frequency increase the number of loops for that entry in the play list When Played from the play list the pieces will be played in the order shown and looped if necessary To get familiar with the cue list and play list open one of your favorite wave files and highlight sections then add them to the cue list After you have a few selections in the cue list add them to the play list and choose a loop count of greater than one for some of them Choose Play from the play list and listen to what you ve just created Authoring Brainwave Files After learning about carrier waves and encoding procedures all you need to know is what frequencies to use and when to use them during the course of the listening session Once you know what frequencies to use and at what intensity you can generate the completed file using either of the methods above Effective brainwave files have some sort of encoding going on the entire length of the session For the first 3 minutes or so of the session the listener will not be in a relaxed s
151. ts of data bandwidth for recording and playing especially 44 1K 16 bit stereo CD quality audio and lots of CPU time while crunching out the results of various waveform functions In many ways it is similar to a CAD package except that the focus is on audio instead of graphic design Please use this documentation for reference purposes or just to learn more about digital signal processing and all the capabilities Cool Edit already has We are committed to keeping Cool Edit up to date with current and future technologies Syntrillium Software Corporation Contents GENERAL WORKINGS AND OVERVIEW cscsssssssssssssccsccccssssssssssssssssscccccccccccccccccssssssssscenssssccses 5 FEATURES OVERVIEW cic frost dl cerda ak dls e Ol Od e ad cath et ede Dl ed Date A Bs 5 HOWCEOOEEDIT WORKS cet rece ge lore de pode cado lero da pe de ado qe le a da pe de ode q eo e deco aa ba dede o da 7 CONFIGURA TIONS Sse a o a tte e a eee et ek as 8 USING COMEDIA Ea 9 A SHORT COURSE IN DIGITAL SIGNAL PROCESSING ccccccssseseccccccccceessssecccsseeeeusesssecccssseueuseseseess 12 SIGNALS OR WAVES EEE EA A ccov eae seve cote EE E ore ne et ca 12 AMPLITUDE AAA AAA 12 EREQUENCY unan naaa aaa aaa daa aaa 12 PHASE 322222222 RS A ERR IE EA 13 SAMPLING ca eeaeee ee ie A a 13 SOUND REPRODUCTION lt lt lt AA AA A A IS 14 OUALITELSSU ES 5 A A O 14 NOTSEZ 0 AA A e 14 PTA a TI CORR RR RR RE RR RR RRA RARA AA ARA A RATA 14 THE TE eee AE 14 WORKING WITH FILES
152. which I finished in July of 1992 See the Transform Wave function for more details I hope you find lots of uses for Cool Edit and find it fun and enjoyable to use Feel free to let us know what you think of it It s because of input from numerous users out there that the program has evolved to what it is today I have also written some other programs but some of them may not be available on your local BBS Kaleidoscope Screen Saver This is a great screen saver for use with Windows Lots and lots of options let you customize or completely randomize the kaleidoscopic variations It s hard to describe the beauty of the living flowing artwork that is the Kaleidoscope screen saver Can also change patterns based on incoming music Revive your old CD collection and actually see your music MindSync for DOS v 1 01 This is the original brainwave synchronization program I wrote for DOS and the Sound Blaster It only generates brainwave files in 22K stereo 8 bit VOC format Brainwave synchronization is the same as the Wave function in Cool Edit After Dark Screen Savers I have written three after dark screen savers Kaleidoscope scaled down version of the Windows counterpart Organic fractal designs that look like cells and String Arts colorful designs resembling string art a popular artform of the 60 s and 70 s where colored string is strung between nails to make beautiful patterns RPN Calculator Reverse Polish Notation calculator li
153. y at sleep onset Journal of Abnormal Psychology 70 231 243 Glicksohn J 1986 Photic driving and altered states of consciousness An exploratory study Imagination Cognition and Personality 6 167 182 Green E E Green A M 1971 On the meaning of the transpersonal Some metaphysical perspectives Journal of Transpersonal Psychology 3 27 46 Green E E amp Green A M 1986 Biofeedback and States of Consciousness In B B Wolman amp M Ullman Eds Handbook of States of Consciousness New York Van Nostrand Reinhold Harding G F amp Dimitrakoudi M 1977 The visual evoked potential in photosensitive epilepsy In J E Desmedt Ed Visual Evoked Potentials in Man New Developments Oxford Clarendon Henriques J B amp Davidson R J 1990 Regional brain electrical asymmetries discriminate between previously depressed and healthy control subjects Journal of Abnormal Psychology 99 22 31 Hoovey Z B Heinemann U amp Creutzfeldt O D 1972 Inter hemispheric synchrony of alpha waves Electroencephalography and Clinical Neurophysiology 32 337 347 Hutchison M 1986 Megabrain New York Beech Tree Books William Morrow Hutchison M 1990 Special issue on sound light Megabrain Report Vol 1 No 2 Iamblichus The epistle of Porphyry to the Egyptian Anebo In Jamblichus on the Mysteries of the Egyptians Chaldeans and Assyrians Trans by Taylor T London B Dobell
154. ysis window to find the sample s base frequency then divide by an integer to get the Interval Rate For example if the tone was reported to be 438Hz dividing by 20 gives 21 9Hz so using 21 9Hz for the Interval Rate will greatly improve the quality by reducing the phasing artifacts For very non tonal or noisy samples the Interval Rate does not matter as much Zero Splicing This is the second method of preserving pitch or tempo Less distortion is noticed when using samples that were derived from one source and contain a relatively low number of fundamental frequencies For example a single instrument or speech will work OK while an orchestra or music will not work as well When stretching or compressing the wave is broken up into chunks that begin and end when the waveform crosses zero or the midpoint Cutoff Chunks are repeated or thrown out depending on the compression ratio and the cutoff Frequency frequency Chunks smaller than the cutoff frequency will not be thrown out or repeated Try cutoff frequencies between 50Hz and 300Hz for best results using this method Presets Raise Pitch Adjust the settings so that the pitch of the sample is raised by 1 4 octave Lower Pitch Adjust the settings so that the pitch is lowered by 1 4 octave Speed Up Speed up the sample so talking will be faster but the pitch is unaffected Slow Down Slows down the sample while preserving pitch Note An alternative method of stretching while pre

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