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Sony Water System 7 User's Manual

1. Normalize to This fader specifies the level to which the highest peak should be set e With Peak level if the peak level is 10 dB and the Normalize to value is 3 dB a constant boost of 7 dB is applied to the entire file y e With Average RMS power normalizing to O dB means boosting the signal until it has the same apparent loudness as a O dB square wave This results in all the dynamic range of the signal being flattened and all peaks being either clipped or seriously compressed For more information see If clipping occurs on page 161 M M M Note As a rule normalizing using Peak levels to O dB is acceptable but normalizing using Average RMS power to anything above 6 dB is not recommended NEE N Scan settings area The controls in this area allow you to determine the response of the RMS power scan to the dynamics in the file e The Ignore below fader determines the level of audio data included in the RMS calculation Data below the threshold is ignored effectively eliminating silent sections from RMS calculation The Ignore below fader should be set a few dB above perceived silence If Ignore below is set to Inf all audio data is used However if the value is set too high a
2. Note Sound Forge uses 00 00 00 00 as its output start point but certain sequencers recommend a SMPTE offset time of at least four seconds to ensure synchronization ESRH D 3 Turn on the sequencer s MTC input 4 If required by the sequencer press the Play button The sequencer does not begin playback but switches to Waiting for MTC mode 5 Start playback of the file in Sound Forge When the SMPTE offset time is satisfied the sequencer locks to and follows the MTC generated by Sound Forge Using Sound Forge to generate MTC for an external device To use Sound Forge to send MTC to an external device follow the previous instructions but configure Sound Forge s MIDI output port to send directly to the device s MIDI driver WORKING WITH MIDI SMPTE CHP 13 209 CHAPTER aa E Sampling y Fr 5 HE v at wm ee e Lala ee c Used in conjunction with the Sampler Tool Sound Forge s powerful editing capabilities allow you to create edit and transfer samples between external and internal samplers This chapter describes the procedures used to transfer dump samples between the computer and sampler with the Sampler Tool A Note The Sampler Tool is available only in the full version of Sound Forge
3. Tip Open loop transfers can be useful when you do not have enough cables to connect both the MIDI input and MIDI output ports l S SAMPLING CHP 14 MMM 213 Saving sampler configurations Once you complete a sampler configuration you can save it as a preset and quickly access it in the future 1 From the Sampler Configuration dialog click Save As The Save Preset dialog appears Save Preset New preset name Cancel Help The Save Preset dialog 2 Enter a descriptive name in the New preset name box and click OK The new configuration is saved and can now be chosen from the Configuration drop down list in the Sampler dialog MM 4 Note To delete a preset choose it from the Preset drop down list and click Delete Sending and receiving samples Once you have accurately configured the sampler setup you can send and receive samples using the Send Sample and Get Sample buttons in the Sampler dialog Sending a sample 1 From the Tools menu choose Sampler The Sampler dialog appears 2 From the Configuration drop down list choose the sampler configuration 3 Enter the sample number to be sent in the Logical send receive sample number bo
4. K OF Cancel v Use counter and start at 0 to 65 000 fi Caneel Insert leading zeros in field width of 2 to 24 E Regions C Automatically label by time Custom label New region prefix Region v Use counter and start at 0 to 65 000 i v Insert leading zeros in field width of 2 to 24 Markers C Automatically label by time Custom label New marker prefix Marker v Use counter and start at to 65 000 li v Insert leading zeros in field width of 2 to 24 Automatic Labeling dialog 4 Adjust the labeling controls as desired For help on the different controls in the dialog click the What s This Help button and click a control 5 Click OK to close the Automatic Labeling dialog 6 Click OK to close the Preferences dialog Naming markers manually You can name markers to make them easily identifiable 1 Right click a marker and choose Edit from the shortcut menu The Edit Marker Region dialog appears select Edit from n 00 00 05 00 00 10 the shortcut menu GoTo 6 0 Delete E Lm Edit Update 6 0 bi ice Inf 1 5 0 olle phios TETE No Dd xu 00 00 08 126 Edit Marker Region Example music bed 2 x Name guitar solo starts here i m Type Marker Region Enter a name for the marker Start 0 00 03 227
5. Tip You can save the custom settings to use again by entering a template name in the Template box and clicking the Save Template button i M 6 Click Save CHP 16 WORKING WITH VIDEO WORKING WITH VIDEO CHP 16 245 E Using Spectrum Analysis This chapter introduces you to the concept of frequency and describes Sound Forge s Spectrum Analysis Spectrum Analysis allows you to examine audio frequencies and overtones using either spectrum graphs or sonograms Note Spectrum Analysis is available only in the full version of Sound Forge N Working in the frequency domain Unlike the waveform display which represents audio in the time domain amplitude vs time Spectrum Analysis allows you to examine audio recordings in the frequency domain Consider the following graphic which depicts the same audio event as a waveform and as a spectrum graph Spectrum Analysis x 2048 w B amp ckmanais v S A Dy sol aea o T a a2 3 alala ii Example music bed Of x 04 Jalla e Frequency Hz Prominent Frequency 41 dB at 129 Hz Note C4 Decibels dB FFT Size 2 048 Slices 1 Overlap 75 No Uo gt d 00 00 09 858 FFT Bin Blackman Harris Log Mon
6. e Samplers Samplers are devices that produce on demand playback of audio samples at varying pitches For the purposes of this manual we will concentrate on two basic varieties external samplers and internal samplers External samplers External samplers are typically capable of recording samples or transferring prerecorded samples into their memory Sound Forge supports two methods of transferring samples to external samplers e MIDI Sample Dump Standard SDS e SCSI MIDI Device Interface SMDI MIDI Sample Dump Standard SDS The MIDI SDS is used to send and receive digital samples using normal MIDI hardware and cable connections Due to the limited bandwidth of the MIDI protocol and the large amount of data required by digital samples a MIDI SDS transfer can be time consuming Furthermore SDS is limited to mono samples though certain samplers allow two mono samples to be joined as a stereo sample SCSI MIDI Device Interface SMDI The SCSI MIDI Device Interface SMDI allows music hardware and software to communicate using SCSI hardware and cables Because SCSI hardware has a greater bandwidth than MIDI SMDI transfers are considerably faster than SDS transfers In addition SMDI supports mono and stereo sample transfers CHP 14 SAMPLING 210 SSMS Internal samplers Internal samplers are cards installed in your system that unlike typical sound cards actually allow sounds t
7. T CHP 6 CHANGING FILE ATTRIBUTES AND FORMATS 8 LLL Specifying the audio destination The Destination radio buttons in the Mono To Stereo dialog allow you to specify where the mono audio data is placed in a stereo file The following table describes the available data destinations Left Channel The mono data is placed in the left channel The right channel is set to silence Right Channel The mono data is placed in the right channel The left channel is set to silence Both Channels The mono data is copied into both channels Converting from stereo to mono 1 Open the Saxriff pca file ee 4 Note This file is located in the same folder as the application l M 2 Right click the Channels status box indicating Stereo and choose Mono from the shortcut menu The Stereo To Mono dialog appears Stereo To Mono Funky saxop Ed E3 c 3 Select the Mix Channels radio button and click OK The left and right iai Cancel C Right Channel channels combine into a mono channel For more information see Specifying the audio source on page 88 Specifying the audio source The Source radio buttons in the Stereo To Mono dialog allow you to specify what stereo data is used to create the mono file The following table describes the available data sources Left Channel Mono data is taken only from the left channel of the stereo file Right Channel
8. Open a 16 bit file From the Process menu choose Bit Depth Converter The Bit Depth Converter dialog appears From the Bit depth drop down list choose 8 bit If desired choose an option from the Dither drop down list For more information see Dither on page 85 If desired choose a Noise shaping type For more information see Noise shaping on page 85 Click OK L o9 Note There are no rules regarding maintaining audio quality when decreasing bit depth Experiment with the Dither and Noise shaping controls to determine the optimum settings for each audio file Oo oo W N Understanding dither and noise shaping You can adjust Dither and Noise shaping settings when decreasing a file s bit depth Dither The Dither value determines the randomness of the dither generated noise used to mask quantization distortion resulting from conversion to a lower bit depth This drop down list requires you to select from several shapes each of which roughly describes the pattern that would be produced if you plotted a graph with the dither amplitude on the X axis and the probability of the dither values on the Y axis As is frequently the case when working with audio you should experiment with dither values to yield the best results However keep the following information in mind e Rectangular eliminates distortion product
9. Tip If this method fails to repair the glitch undo it and apply Copy Other Channel again this time using a longer selection EA M N EDITING REPAIRING AND SYNTHESIZING AUDIO CHP 9 MC 139 Interpolating new audio This is the most basic method of repairing glitches Sound Forge simply interpolates new audio data based on the data at the beginning and end of the selection This method results in a straight line connecting the beginning and end of the selection Interpolation should only be used to repair small less than 2 ms glitches a scalenoteF wav 00 00 00 100 Data is interpolated within the selection 1 Open the file containing the glitch 2 Right click the data window and choose Zoom from the shortcut menu and choose In Full from the submenu If you are using the full version of Sound Forge the file displays at a 24 1 zoom ratio If you are using Screenblast Sound Forge the file displays at a 1 1 zoom ratio 3 Create a selection containing the glitch a Tip To improve the accuracy of this feature the selection should be as small as possible while still containing the glitch 5 4 From the Tools menu choose Repair and choose Interpolate from the submenu Sound Forge replaces the glitch data with interpolated data Replacing audio with preceding data The Replace tool allows you to repair audio files by
10. EM To quickly undo redo operations in the Undo Redo History window double click the operation CHP 4 GETTING STARTED D Sp ma Clearing the Undo Redo History for the current file Clearing the current file s Undo Redo History frees up disk space by deleting the file s temporary undo redo files However deleting these temporary files prevents you from undoing changes made to the file since it was last saved or beyond if you have the Allow Undo past Save check box enabled on the File tab of the Preferences dialog To clear the undo redo history for the current file go to the Special menu choose Undo Redo History and choose Clear from the submenu mnn Note A file s undo redo history is also automatically cleared when you close the file or exit Sound Forge Se Clearing the Undo Redo History for all open files Sound Forge also allows you to simultaneously clear the undo redo history for all open files Once again however you cannot undo any previous changes once these histories are deleted To clear the undo redo history for all open files go to the Special menu choose Undo Redo History and choose Clear All from the submenu Selecting status formats The status format determines how Sound Forge displays a file s position and length information The following table briefly describes status formats that Sound Forge supports hh hours mm minutes ss seconds and ff frames Format name Description Format Samp
11. T Configuring region playback triggers 1 Display and configure the MIDI Keyboard For more information see Configuring the MIDI device on page 202 2 Set up the MIDI input synchronization For more information see Turning on MIDI input synchronization on page 202 3 Open the Voiceover pca file and display its Regions List 4 Double click the Wow region The Edit Marker Region dialog appears 5 From the Trigger drop down list choose MIDI Note On Play CHP 13 WORKING WITH MIDI SMPTE Double click the Wow region 00 00 00 000 00 00 00 742 K UU UU UU 742 UU UU n 4 7 53 Edit Marker Region Won aoun ed zjx Sound editing det gets easier 00 00 01 475 00 00 03 639 Name Wow And easier 00 00 03 639 00 00 05 000 Cancel Ippe l C Marker Region Start foo 00 00 742 E hrm SC NNN Help Play End 00 00 01 475 Z LOB Lenath 00 00 00 733 Z Inputfomat Time M Trigger None m Play looped Specify MIDI Note On Play MIDI Note On Play TT ECRIRE MIDI Note n Play Note Off Stop L MIDI Note On Queue Note Off Pla VOST M AN 6 Enter 1 in the Channel box and C 4 in the Note box 7 Click OK A small musical note appears adjacent to the Wow region in the Regions List to indicate that a trigger has been configured Regions Wow sound editing Sound editing just gets easier And easier A small mu
12. Bypass Compressor 12 0 dB 40 1 00de Scan mode Peak RMS Auto gain compensate Use longer look ahead v Smooth saturation 5 Preview E Bypass Threshold Ratio Output gain mo v Real time 60 Eo D dEY1 1 to Inf 1 30 to 30 dB ijs Attack time 0toso0om H 2 0 Release time 0 to 1 000 ms j 100 0 Smart release Oto 100 m o Compressor i Volume Mawimizer CPU X 24 bit processing Selection 00 00 00 000 to 00 00 09 858 00 00 09 858 Channels Mono Selection Compressor tab Threshold The Threshold fader is used to adjust the audio level at which compression is applied Audio with levels higher than the Threshold value are compressed while audio at levels lower than this value pass through the compressor uninterrupted Ratio The Ratio slider determines the amount of compression applied to audio signals surpassing the threshold A ratio of 1 1 applies no compression to audio surpassing the threshold while a ratio of 2 1 requires a 2 dB increase in actual volume to raise the processed volume 1 dB A ratio of Inf 1 is considered a limiter CHP 12 USING ACOUSTIC MIRROR AND WAVE HAMMER 198 9 LLL Output gain The Output gain fader allows you to determine how much the audio signal is boosted following its compression Attack time The Attack time slider allows you to determine how soon after rising above the threshold the
13. Real time output monitoring is not available in sonogram display mode When you click the down arrow next to the button and choose Monitor Output from the menu Sound Forge will monitor the device selected in the Playback drop down list on the Wave tab of the Preferences dialog and a cursor is displayed in the graph to indicate the play position Note When Monitor Output is selected the post processing signal is monitored when you start playback from the Plug In Chainer FN Displaying frequency and amplitude values notes and statistics CHP 17 As you move the cursor through the spectrum graph the amplitude and frequency values at the current position are displayed in a ToolTip next to the cursor and in the Statistics area at the bottom of the window Use the cursor to display amplitude and frequency values 2 10 50 200 500 2 000 5 000 22 050 Hz EE Frequency Hz NIS Prominent Frequency 41 dB at 123 Hz Note C4 Sed Decibels dB 42 41 TEFT Size 2 048 Slices 1 Overlap 75 Statistics area FFT Bin 5 Blackman Hariz Lag Mono Samples 207 872 ta 221 184 USING SPECTRUM ANALYSIS 248 uum Right click the graph and choose Show Position from the shortcut menu to toggle the displa
14. at 00 00 00 00 00 02 00 00 04 2 5 6 0 12 0 Inf aldd 0 0 0 0 0 0 D wse af a e N J mu 00 00 00 000 00 00 02 321 00 00 02 322 gt 00 00 00 000 00 00 02 321 00 00 02 321 Using the Rotate Audio function with a selection at the start of a loop e If audio is selected from the end of a loop Rotate Audio transfers the selection to the start of the loop fi oices Pad fi oices Pad No JU gt w gt 00 00 02 914 00 00 06 644 00 00 03 730 K uU gt i o 00 00 02 914 00 00 06 644 00 00 03 730 Using the Rotate Audio function with a selection at the end of a loop LOOPING CHP 15 2323 Setting loop tempo You can calculate and if necessary edit the tempo of your loops Loop tempo is especially important if the loop will be used for building a project in any ACID product For more information see Creating loops for ACID on page 228 Calculating loop tempo 1 Select the loop 2 From the Special menu choose Edit Tempo The Edit Tempo dialog appears 3 Specify the number of beats the loop represents in the Selection length in beats box 4 Click the mouse pointer in the Tempo in beats per minute box The loop tempo calculates and displays Calculating loop tempo using the ACID Loop Creation Tools toolbar To calculate loop tempo using the ACID Loop Creation Tools toolbar select the looped audio in the data window The tempo pa
15. 00 00 00 000 End 00 00 02 997 r Destination Wow sound editing gt 0 0 dB 100 00 Start 00 00 00 000 End 00 00 02 997 Start miy at Start selection End selection Volume Inf to 15 dB T Invert data Volume Inf to 15 dB T Invert data IV Apply destination volume to overlapping area only Preview Bypass Set both faders to OdB Source Clipboard 0 0 dB 100 00 x Start 00 00 00 000 End 00 00 02 997 Destination Wow sound editing 0 0 dE 100 00 Z Start 00 00 00 000 End 00 00 02 997 Start mite at e Grat selection C End selection Pre Post fade destination edges 0 to 5 secs fp 010 p 010 EH 00 00 02 997 BIE Volume N Volume Inf ta 15 dB T Invert data Inf to 15 dB T Invert data Tune 500 to 500 ms 0 0 Total mix length LS 6 Verify that the Source and Destination volume faders are set to O dB and click OK The drum hit is mixed equally with the spoken passage ii Wow sound editing gt 2 00 00 00 00 00 02 V Silence Sound editing just gets easier 1 1 allal I bie Ja jje K gx 00 00 00 000 Both waveforms are combined Preview the file and notice that unlike pasting mixing does not change the length of the file Using undo and redo Sound Forge encourages experimentation by allowing you to easily und
16. Displays the current playback position of an audio file being played from the playlist Right clicking this box displays a shortcut menu that allows you to specify a new format Sync Status display Allows you to monitor the status of incoming outgoing MIDI commands LEARNING THE SOUND FORGE WORKSPACE CHP 3 CHP 3 w 6 E mm Auto Trim Crop removes silence and automatically fades in out the end points of each phrase Bit Depth Converter converts a file to a different bit depth Channel Converter converts between mono and stereo formats Can also intermix the left and right channels of a stereo file to create panning effects DC Offset changes the baseline of an audio file Graphic EQ opens Sony Pictures Digital s XFX Graphic EQ Paragraphic EQ opens Sony Pictures Digital s XFX Paragraphic EQ Parametric EQ opens Sony Pictures Digital s XFX Parametric EQ Graphic Fade creates user configurable fades Fade In fades in the selection Fade Out fades out the selection ME IE SITAE EA EAE d Process toolbar The Process toolbar contains buttons corresponding to all commands located in the Process menu Insert Silence inserts user configurable silence into audio files Invert Flip inverts or flips the polarity of the current selection Mute mutes the current selection Normalize normalizes the loudness of an audio file Pan Expand creates custom pans exp
17. Frequency Hz Decibels dB in Prominent Frequency 41 dB at 129 Hz Note C4 FFT Size 2 048 Slices 1 Overlap 75 Blackman Harris Log Mono Samples 207 872 to 221 184 Spectrum graph USING SPECTRUM ANALYSIS CHP 17 M 2437 4 Use the toolbar at the top of the window to set your display options a Tip You can also click the Settings button in the Spectrum Analysis window to set additional options Mnmra The spectrum graph displays the amplitude in dB of each frequency component from 0 Hz DC to the Nyquist frequency Tip You can continue to make selections in the audio file with the Spectrum Analysis window open just move the cursor or make selections as you normally would in Sound Forge Click the Refresh button in the Spectrum Analysis toolbar to update the display If no selection is made analysis is performed on the samples immediately following the cursor position M Monitoring an input and output source Click the Real Time Monitoring button 35 to turn real time spectrum analysis on or off Click the down arrow next to the button and choose Monitor Input to monitor the device selected in the Record drop down list on the Wave tab of the Preferences dialog to access the Preferences dialog choose Preferences from the Options menu
18. i If you want the graph to refresh automatically during playback or input monitoring select the Real Time Monitoring button 5 Viewing multiple spectrum graphs Once you create a selection in the data window you can display up to 64 individual spectrum graphs each representing a specific point in time 1 Open an audio file 2 From the View menu choose Spectrum Analysis The Spectrum Analysis window appears 3 Click the Settings button The Spectrum Settings dialog appears For more information see Adjusting Spectrum Analysis settings on page 253 Type a number in the Slices displayed box The Forward and Backward radio buttons activate 5 Select either the Forward or Backward radio button CHP 17 e Selecting the Forward radio button displays the first slice of the selection in the foreground of the spectrum graph e Selecting the Backward radio button displays the last slice of the selection in the foreground of the spectrum graph USING SPECTRUM ANALYSIS 250 6 Click OK 7 Use the Slice slider to add remove slice graphs in the Spectrum Analysis dialog Spectrum Analysis x 2 048 Blackman Haris 2 amp O hek a S 1 2 3 a4a amp Time 00 00 04 914 00 00 04 814 Prominent Frequency 36 dB at 108 Hz Note 43 FFT Size 2 011 246 232 Slices 3 Overlap 75 Blackman Harris Log Mono Samples 207 872 to 209 920 Use the Slice slider
19. 3 From the Preset drop down list choose the 20 dB exponential fade out preset Notice that the dialog s controls change to reflect the 20 dB exponential fade out 4 Click the Preview button The following occur e The Preview button changes to a Stop button e The effect previews on a brief selection of audio For more information see Previewing processed audio on page 146 5 From the Preset drop down list choose the 3 dB exponential fade out preset Notice that the dialog s controls update to reflect the new preset and the effect automatically previews 6 Select the Bypass check box The original audio previews with no effects For more information see Bypassing a process while previewing on page 148 7 Clear the Bypass check box and click OK The 3 dB exponential fade out preset is applied to the audio file r Note Sound Forge does not apply an effect or process to the audio data until you click OK CHP 10 PROCESSING AUDIO 146 LLL Creating presets You can also create custom effects and save them as presets 1 Open the Voiceover pca file 2 From the Process menu choose Fade and choose Graphic from the submenu The Graphic Fade dialog appears 3 From the Preset drop down list choose the 3 dB exponential fade out prese
20. CHP 4 GETTING STARTED 60 Trimming Cropping Trimming allows you to retain a selection while deleting all surrounding data 1 Create a selection containing Wow sound editing just gets easier in Voiceover pca but do not select the second and easier 2 From the Edit menu choose Trim Crop Only Wow sound editing just gets easier remains in the data window ik Wow sound edinin n xl Create a selection N gx 00 00 00 000 00 00 03 622 00 00 03 622 Trim Crop the selection md No J gt 00 00 00 000 00 00 03 622 00 00 03 622 Only the selected audio remains Mixing Mixing is a powerful editing function that allows two sounds to be combined into a single waveform 1 Open and play the Drumhit pca file The file contains a snare drum and crash cymbal sound 2 Verify that the Drumhit pca window is active and choose Select All from the Edit menu The entire waveform is selected 3 From the Edit menu choose Copy 3T Click the Copy button or press Ctrl C 4 Activate the Voiceover pca data window and click the Go To Start button R on the playbar The cursor moves to the start of the file 5 From the Edit menu choose Paste Special and choose Mix from the submenu The Mix dialog appears ST Click the Mix button i GETTING STARTED CHP 4 Mix Wow sound editing Preset HEC m Source Clipboard 0 0 dB 100 00 Start
21. Comments The Open dialog contains several features that allow you to locate and open audio files These features are detailed below Files of type Use this drop down list to specify the file format that Sound Forge displays in the system Sound Forge supports a variety of file formats Tip Choose the CD Audio cda option from this list to extract audio tracks from a CD Recent Use this drop down list to locate recently accessed folders Auto play Select this check box to automatically preview files as you select them in the Open dialog Merge L R to stereo Select this check box to merge two mono files to left and right channels of a stereo file when opening GETTING STARTED CHP 4 27 2 Locate and select a media file using the Look in drop down list at the top of the dialog 3 To preview the file before adding it to your project click the Play button a 4 Note If you have the Auto play check box selected your file will automatically begin previewing when you Select it 4 Click Open Sound Forge opens the file and displays a data window containing the waveform he Wow sound editing Iols W 00 00 00 00 00 02 00 00 04 EN M Silence Wow Sound editing just gets easier And easier I ala te ff N Pl Lf a 00 00 05 000 File displays in the data window Using
22. Ctrl J H or numeric keypad numeric keypad Ctrl ctrl SHORTCUTS 260 SMMC Cursor movement Cursor moves to Move one pixel right left Move one audio sample right left Previous next video frame video files Display the Go To dialog Go to the first sample visible in the waveform display Go to the last sample visible in the waveform display Go to the first sample in the data window Go to the last sample in the data window Move 10 of the current view prior to the cursor position Move 10 of the current view past the cursor position Move 100 of the current view prior to the cursor position Move 100 of the current view past the cursor position Move 10 pixels past the cursor position If regions loops or markers exist in the file this keystroke moves to the next region loop or marker boundary Move 10 pixels prior to the cursor position If regions loops or markers exist in the file this keystroke moves to the previous region loop or marker boundary Center the cursor in the waveform display Go to the next sample Go to the previous sample Move 10 samples past the current cursor Move 10 samples prior to the current cursor APPENDIX A Press Ctri Shift D Shift gt Shift Shift Ctr1 Alt gt Shift Ctrl Alt Shift Ait gt Shift Alt Shift Home iShift End ctr Shift Home SuSE Ctrl Sh
23. Select from the cursor to the next sample Select from the cursor to the previous sample Select 10 samples past the current cursor Select 10 samples prior to the current cursor Snap to time Snap edge to time Snap to zero Snap edge to zero Cycle stereo selection from left channel to right channel to both channels Shift current selection to the left by the length of the selection Shift current selection to the right by the length of the selection Cut the current selection length in half Double the current selection length Rotate audio Toggle current selection on and off Create a loop from the current selection Create a loop from the current selection without displaying the Edit Sample dialog SHORTCUTS Press Ctrl lt Number gt Number v Sd Shift v ctrl 4 SU on numeric keypad on numeric keypad Ctri Shift 4 Ctrl Shift Y on numeric Keypad or 1 or O Ctrl Spacebar Shift F12 Ctri HF12 Q Ctrl 4 K Ctri Shift K F8 Shift FG Shift F7 Press Ctrl R Ait R ait P Ait T Esc Ait Z SHORTCUTS 262 p LLL Navigation and playback Result Save a view in cell Number where Number ranges from 1 to 8 Restore a view using cell Number where Number ranges from 1 to 8 Increase time magnification zoom in Decrease time magnification zoom out Increase level magnificati
24. e Set the Trailer value to 0 bytes 5 Click Save As The Save Preset dialog appears 6 Enter a name for the preset in the New preset name box and click OK The preset is saved and the Raw File Type dialog appears 7 Click OK The file opens Remember that the byte order of files generated by CSOUND is not constant CSOUND executables for PC generate files that use Little Endian byte ordering while CSOUND for other platforms tends to generate files with Big Endian ordering In addition MTU files use Big Endian byte ordering Sony Pictures Digital recommends initially trying a file in Big Endian a M Note You may want to save presets for byte ordering as well as mono stereo when receiving CSOUND files from a number of source computers NS Saving files You cannot save these files in their original format You must select a file format supported by Sound Forge To save files for use with software that supports the BICSF EBICSF format use the NeXT Sun format This format does not save the additional information found in BICSF EBICSF files but allows the data to be read as a NeXT Sun file USING CSOUND MTU IRCAM BICSF AND EBICSF FILES APPENDIX D Index Symbols 122 ACID Creating loops for 228 233 Loop Creation Tools toolbar 35 230 Acoustic Mirror 183 196 Adjusting impul
25. 1 Position the cursor where you want to place the command marker 2 From the Special menu choose Insert Command The Command Properties dialog appears EM Press C 3 Complete the Command Properties dialog e From the Template drop down list select a custom Command PALA template For more information see Saving command a Fig x properties as a custom template on page 98 e From the Command drop down list select the type of eommane lt command you wish to create or type a custom Parameter command Position 00 00 08 684 e Enter parameters to define the behavior of the Cancel command in the Parameter box e Specify the timing of the command in the Position box Sound Forge automatically sets this value to the current cursor position CHP 7 USING MARKERS REGIONS AND THE PLAYLIST CUTLIST gg LLL 4 Click OK The new command marker appears in the data window i musicbed wav E Ioj x Yi 00 00 00 00 00 10 00 00 20 00 00 30 CMD URL http w sony com mediasoftware Command marker Editing command properties Right click a command marker and choose Edit from the shortcut menu to open the Command Properties dialog and edit the marker Saving command properties as a custom template If you plan to use a command more than once you can save command properties as a template You can then reuse the command properties by selecting the template from the Template drop down l
26. 263 yg Plug In Chainer SHORTCUTS 264 Mouse wheel shortcuts Mouse wheel action Result Wheel Up Zoom in horizontally Wheel Down Zoom out horizontally 4 Wheel Up Zoom in vertically 4 Wheel Down Zoom out vertically Shift Wheel Up scroll left in 1Oths of screen width Shiftl Wheel Down Scroll right in 10ths of screen width Shift Wheel Up Cursor left or current selection point left if there is a selection 4 Shiftl Wheel Down Cursor right or current selection point right if there is a selection Additional mouse shortcuts Select all Double click the waveform display to select the entire sound file Triple click when regions loops or markers are present r Tip You can turn off the triple click feature on the Editing tab of the Preferences dialog Nu Zoom time and level Double click the level ruler to zoom the current selection vertically and horizontally If no selection exists all waveform data is zoomed Magnify mode To zoom in to a section select an area while holding Ctrl Sound Forge zooms in on the selection to fill the window Return control value to default Double click a slider fader or spinner to return the control to its default value
27. Iof x KN A J gt Original audio data Reversed audio Smooth Enhance If you are working with the full version of Sound Forge choosing Smooth Enhance from the Process menu starts Sony Pictures Digital s XFX Smooth Enhance plug in For more information on using the XFX Smooth Enhance plug in refer to Sound Forge online help from the Help menu choose Contents and Index If you are using Screenblast Sound Forge choosing Smooth Enhance from the Process menu starts Sound Forge s native version of the effect CHP 10 PROCESSING AUDIO 166 Swap Channels The Swap Channels command allows you to exchange the right and left channels if you are working with a stereo recording M Important This option is only available in Screenblast Sound Forge If you re using the full version of Sound Forge use the Channel Converter Time Stretch If you are working with the full version of Sound Forge choosing Time Stretch from the Process menu starts Sony Pictures Digital s XFX Time Stretch plug in For more information on using the XFX Time Stretch plug in refer to Sound Forge online help from the Help menu choose Contents and Index If you are using Screenblast Sound Forge choosing Time Compress Expand from the Process menu starts the ExpressFX Time Str
28. L Plug In Manager window 1 From the View menu choose Plug In Manager The Plug In Manager window appears 2 Select the desired plug in s APPLYING EFFECTS CHP 11 _ __ a 1 73 3 Drag the plug in s from the Plug In Manager window to the Plug In Chainer window The selected plug in s are added to the chain and can be configured and arranged as needed HU Hamm o Tip You can also drag plug ins or a plug in chain from the Plug In Manager window to a data window Sound Forge opens the Plug In Chainer window with the selected effects in a new chain 798 RR M9895 sun Selecting the processing mode for audio tail data Some effects such as Reverb or Simple Delay create a tail at the end of the selected audio This tail consists of the echo or reverb created by the effect that lasts beyond the end of the selection When you select a portion of a file and apply the effect using the Plug In Chainer you can select one of three buttons to determine how Sound Forge processes the audio tail e Select the Ignore Tail Data button 3E to ignore the tail The effect ends abruptly at the end of the selection e Select the Mix Tail Data button 2 to mix the tail into the adjacent material This is the most natural sounding option e Select the Insert Tail Data button 3 to insert the audio tail All audio to the right of the tail moves over to accommodate the extra audio s
29. Recording over a selection 1 Select the audio that you wish to record over For more information see Fine tuning a selection on page 79 2 Click the Record button 3 in the transport bar The Record dialog appears 3 From the Method drop down list choose Normal CHP 8 RECORDING EXTRACTING AND BURNING 1185 LLL 4 Choose the destination data window for your recording By default Sound Forge records into the active data window If this is not where you want to record use one of the following methods to prepare for recording e To record into a different data window click the Window button and choose a data window from the Record destination window drop down list Click OK to return to the Record dialog Ofr e To record into a new window click the New button in the Record dialog and specify the attributes sample rate bit depth and channels for the new file Click OK to return to the Record dialog 5 From the Device drop down list choose the device to use for recording 6 From the Mode list choose Punch In record a specific length The Start End and Length boxes show the values for the selection you made in the data window Made Punch in record a specific length Start 0 00 14 000 E hr mn sc xxx End 0 00 34 258 Z E 0 00 20 258 2 The values in the Start End and Length Reset boxes reflect the current selection 7 Click the Arm button Eml to prepare for recording For more infor
30. Right clicking a region tag displays a shortcut menu that provides you with the following commands Select Delete Edit Split Update Command Description Select Selects the entire region Delete Deletes the region but leaves the audio data intact Edit Displays the Edit Marker Region dialog Split With the cursor placed within a region this command splits the region into two new regions at the cursor and updates the Regions List Update Moves the region tags to the current waveform selection USING MARKERS REGIONS AND THE PLAYLIST CUTLIST CHP 7 A 1 023 Editing regions in the Regions List You can also edit regions by double clicking the region name in the Regions List For more information see Using the Regions List on page 104 This displays the Edit Marker Region dialog which also allows you to specify triggers For more information see MIDI triggers on page 201 Right clicking anywhere in the Regions List displays a shortcut menu containing many commands previously discussed as well as Replicate and Copy onto Clipboard Command Description Replicate Duplicates the selected region and places the copy in the Regions List Copy onto Clipboard Copies the selected region s information onto the clipboard allowing it to be pasted into text editors such as Notepad Creating new files from regions Sound Forge allows you to quickly create a new file from each region in a file Sound Forge names each regi
31. 32 768 to 32 767 t 3 Bee Save As IZ Compute DC offset from first 5 seconds only Delete Selection 00 00 00 000 to 00 00 05 000 00 00 05 000 ean Channels Mona DC Offset dialog Estimating DC Offset You can estimate the DC offset of an audio file by choosing Statistics from the Tools menu Cursor position 00 00 00 00 0 Sample value at cursor 834 31 88 dB 2 54 Averag e DC offset Minimum sample position Minimum sample value Maximum sample position Maximum sample value AMS power e value DC Offset Average value DC Offset 1 287 28 11 dB 3 32 x DC Offset controls The following controls are located in the DC Offset dialog Automatically detect and remove Calculates and corrects the DC offset for each channel individually Adjust DC offset by Allows you to specify a DC offset value manually 2 141 483 648 to 2 147 483 647 for 32 bit data 8 388 608 to 8 388 607 for 24 bit data 32 168 to 32 767 for 16 bit data 128 to 127 for 8 bit data Compute DC offset from first 5 seconds only Selecting the Compute DC offset from first 5 seconds only check box specifies that only the first five seconds of a file are analyzed when measuring the DC offset Be aware that five seconds is not sufficient if the beginning of a file has a long fade in or mute PROCESSING AUDIO CHP 10 The EQ options available in the Process menu depend upon whether you are using t
32. After you configure the controls in the Spectrum Settings dialog you can save the settings as a custom preset by clicking Save As and entering a name for the new preset Save Preset Ei E OF New preset name Lok Po Cancel ee Help Enter a name for the new preset CHP 17 USING SPECTRUM ANALYSIS USING SPECTRUM ANALYSIS CHP 17 APPENDIX Keyboard shortcuts Project file commands Press CENT CE0 Ctri s Alt Enter Ctrl W Alt F4 257 Shortcuts Result Create a new data window Open a sound file or project Save modified sound data back to the file Display the Properties dialog for the active data window Close the active data window Exit Sound Forge Magnification and view commands Press att 0 Alt 1 Alt 2 Alt 3 4 5 Ait 6 Alt 7 Alt 8 9 tri Ag Ctrl Alt 2 CL Ait F5 Ait F10 Ctrl H FS Ct LES Ctri F10 Ctrl Enter APPENDIX A Result Set input focus to the waveform display in the active data window Show set input focus to the Explorer window Show set input focus to the Regions List Show set input focus to the Playlist Cutlist window Show set input focus to the Video Preview window Show set input focus to the Time Display window Show set input focus to the Play Meters window Show set input focus to the Undo Redo History window Show set input focus to the Spectrum Analysis window Sho
33. Allows for quick navigation and playback of any part of an audio file The overview bar also indicates the portion of the waveform currently depicted in the waveform display as well as the selected region Click to move the cursor Double click to center the cursor in the waveform display Right click to start or pause playback Drag to activate the audio event locator Specifies the number of samples of data represented by each horizontal point on the screen This determines the length of time displayed in the data window Smaller resolution values display less time Changes the zoom resolution for the time horizontal axis Changes the zoom resolution for the level vertical axis Resizes the data window to maximize its size within the workspace LEARNING THE SOUND FORGE WORKSPACE 28 Displaying data window components Sound Forge allows you to customize the appearance of individual data windows 1 From the File menu choose Properties or press Att Enter The current file s Properties dialog appears 2 Click the Display tab 3 Display hide specific components by selecting clearing the corresponding check boxes 4 Select the Save as the default for all new windows check box if you want to set the new configuration as the default data window display 5 Click OK EM Right click the Edit Tool Selector upper left corner of data window to display or hide components for the selected data window Playbar The playbar is lo
34. As a result rapid transient peaks may not be processed when compressing in RMS mode Auto gain compensate When you select the Auto gain compensate check box Wave Hammer boosts the compressor output by a constant amount derived from the Threshold and Ratio settings This option prevents a loss in overall level when compressing audio a 4 Tip When using the Auto gain compensate option the Output gain fader should be used to fine tune the signal output level EE e Use longer look ahead When you select the Use longer look ahead check box the compressor scans farther ahead in the incoming audio to determine how much compression is needed This results in compression being applied before the threshold surpassing audio actually occurs thereby allowing for a slower Attack time value However the pre compression effect fades that occur prior to attacks of this option may be distracting Smooth saturation Selecting the Smooth saturation check box lowers the amount of distortion caused when applying heavy compression When this option is turned on the compressed audio sounds warmer and not overly bright USING ACOUSTIC MIRROR AND WAVE HAMMER CHP 12 S S i 199 Input Output meter This meter allows you to monitor the level of the incoming and outgoing signals When the Input button appears the meters display the incoming signal level Clicking Input toggles the button to an Output button and displays the outgoing signal l
35. M 207 Turning on MIDI input synchronization 1 From the Options menu choose Preferences The Preferences dialog appears Click the MIDI Sync tab Specify the MIDI input that corresponds to the output port of the sequencer and click OK From the Options menu choose MIDI Triggers The MIDI Triggers dialog appears Qn 5 W N From the Preset drop down list choose Reset all triggers to none This prevents other MIDI commands from creating additional triggers Click OK 7 From the Options menu choose MIDI In Out and choose Trigger from MIDI Timecode from the submenu A check mark appears adjacent to the command to indicate that Sound Forge is ready and waiting for synchronization to MTC O Configuring the sequencer 1 Set the sequencer s MIDI output port to correspond with Sound Forge s MIDI input port 2 Turn on the sequencers MTC output If the sequencer supports generating MTC it is now ready to sync 3 Press the sequencer s Play button Sound Forge s MIDI In status box displays the same SMPTE time as the sequencer s SMPTE time At the specified SMPTE time Sound Forge starts playback of the region without interrupting the sequencer s output to other devices Playing regions using MTC from an external device When using a hardware device that generates MTC the configuration procedure is basically the same as outlined above Simply sp
36. MP Note If there is no CD in the current drive only the Drive and Speed drop down menus and the Close button are available in this dialog If you insert a disc or select a different drive after this dialog appears it takes a moment for Sound Forge to recognize the disc and make all options available RECORDING EXTRACTING AND BURNING CHP 8 Brace Ai diec before burning Close disc when done burning Eject disc when done Burn selection only Drive HP CO Writer 8100 1 0g 0 1 id Speed Mas Eject Time needed for audio 4 minute s 5 second s Time available on disc 9 minute s 53 second s Burn Track at Once Audio CD dialog 2 Choose a setting from the Action drop down list Burn audio begins recording audio to your CD when you click the Start button You will need to close the disc before it can be played in a audio CD player Test then burn audio performs a test to determine whether your files can be written to the CD recorder without encountering buffer underruns Recording begins after the test if it is successful Test only performs a test to determine whether your files can be written to the CD without encountering buffer underruns No audio is recorded to the CD Close disc closes your disc without adding any audio when you click the Start button Closing a disc allows your files to be played on an audio CD player Erase RW disc erases your rewritable CD when you cli
37. Saving a file You can save a file in a variety of formats including popular audio formats such as WAV and AIFF and streaming media formats such as Windows Media Audio and RealMedia You can save a file using a standard template or you can customize the settings to suit your needs Once you create custom settings you can save those settings as a template Sound Forge also provides an option to save all open files at once or to save all open files as a workspace file 1 From the File menu choose Save When saving a new file the Save As dialog appears If the file was previously saved choosing Save automatically saves the file without your input 2 From the Save as type drop down list choose a file format 3 In the File name box enter a name for the file 4 Select other options in the Save As dialog as needed and click Save For more information see Using the Save As dialog on page 54 CHP 4 GETTING STARTED BA yp Using the Save As dialog The Save As dialog allows you to save an audio file with a new name in an alternate format or with new attributes Save As 38 musicbed way ae Tutorsmp waw 38 muzicsample way 38 S arith wav 38 scalenateF way 3E Sound way k gt T utfill way 38 T utmusic wav 38 Tutor wav 38 Tutor wav File name New amp udio wav Select file type gt Save as type wave Microsoft wav Cancel Select recent directories Recent C Media Audio Fi
38. This text called a ToolTip is a brief description of the item s function Using ToolTips is an effective way to quickly familiarize yourself with Sound Forge fizo Olaja 00 00 07 012 a Selection Length ToolTip Turning off ToolTips 1 From the View menu choose Toolbars The Preferences dialog appears 2 Clear the Show ToolTips check box and click OK Command descriptions When you click and hold a menu item or a button in a toolbar a brief description of the command appears in the lower left corner of the status bar If you release the mouse button outside of the menu item or toolbar Sound Forge does not execute the command LEARNING THE SOUND FORGE WORKSPACE CHP 3 37 Meters Meters display audio levels in a number of different places in Sound Forge the Play Meters show audio file levels meters in the Record dialog help you adjust levels for recording and meters in the Wave Hammer dialog help you adjust levels when applying this effect Regardless of where the meters appear you can control them in much the same way d The full version of Sound Forge provides peak and VU PPM peak program meters that you can use to monitor your audio levels The peak meters display instantaneous levels during playback to help you determine the loudest level in your audio signal and whether the signal is clipping Volume unit VU and peak program PPM meters help you determine the perceived loudness of y
39. hrimn sc xxx Play m Trigger fennel Wito Ley Fus jo y fe 3 Automatic Labeling 2 Enter a name or description for the marker in the Name box and click OK The marker is named in the waveform display CHP 7 USING MARKERS REGIONS AND THE PLAYLIST CUTLIST 94 m The marker is labeled in m E the waveform r1 p i quitar solo starts here I guitar solo starts here 1 6 0 aled j P5104 alajo No LI meu 00 00 07 592 Changing the marker position You can change a marker s position by dragging it to a new location or by updating its position to the current cursor location You can also enter precise values to move a marker to a specific location Changing the marker position using drag and drop 1 Drag the marker to a new position on the data window ruler Drag the marker to the new position 2 Release the mouse button The marker is dropped at its new location Changing the marker position using update 1 Position the cursor where you want the marker to be 2 Right click the marker and choose Update from the shortcut menu The marker moves to the cursor position Changing the marker position using the Edit Marker Region dialog 1 Right click a marker and choose Edit from the shortcut menu The Edit Marker Region dialog appears 2 Enter a new marker position value in the Start box and click OK The marker position updates Edit Marker
40. n to add or remove slice graphs Creating and comparing snapshots of the Spectrum Analysis window You can store up to four snapshots to compare multiple spectrum graphs You can take snapshots from a single data window or from different data windows Note Snapshots are not available in sonogram display or when the Slices displayed setting in the Spectrum Settings dialog is greater than 1 NS Taking a snapshot 1 Navigate to the portion of the graph you want to capture 2 Click the Set button and then click a snapshot button T in the Spectrum Analysis toolbar Available snapshots buttons are displayed in black and buttons that are in use are displayed in blue and underlined Showing and hiding snapshots 1 Select a numbered button in the Spectrum Analysis toolbar to display a stored snapshot All selected snapshots will be displayed in the Spectrum Analysis window at the same time 2 Click a selected snapshot button to exclude it from the display 3 Select the Hide active plot button to hide the current spectrum so you can concentrate on your snapshots Erasing snapshots You don t need to erase individual snapshots to update or replace them Simply click the Set button J and then click a snapshot button 1 in the Spectrum Analysis toolbar to update its image If you want to erase all snapshots click the Clear all snapshots but
41. or Do not use timing spikes Each of these modes is described below Use the start and end of the recorded file as timing spikes This option specifies that the beginning and end of the recorded file are used as timing spikes This option is recommended for the best results during impulse recovery You must trim the file as close to the timing spikes as possible for this method of recovery to work most effectively The first sample of the file should contain the start of the first spike and the last sample of the file should contain the start of the second spike Therefore most of the second spike is deleted USING ACOUSTIC MIRROR AND WAVE HAMMER CHP 12 itl Auto detect timing spikes This option specifies that the timing spikes exist near the start and end of the recorded file and that they should be auto detected Timing spikes are used to correct for clock or tape speed mismatches If you have not trimmed the recorded file so that the timing spikes are at the very beginning and end select this option for the best results With this option you need only ensure that the first spike occurs within one second of the start of the file and that the second spike exists in the file To improve detection accuracy you can also boost the level of the start and end spikes in the recorded file sss ss ss ee a Tip If the spike s level is close to the noise floor select the Use the beginning and end of the recorde
42. uud ale a Sorts odds qon abd e o te So ae toa tdeo ew i ol eei 166 EN ivt a5 cote tics aos te be eet H eet T Di TTE 166 e 19T cs ease PPP ome oe cosa ere eae en ee Beene 166 Increasing the volume of a selection 0 0 eee eee eee eens 166 VOUE COMMON Pr SiMe Se Ma EET HET weak Bee ee eo ae Lee Se eh ott RT 167 ADDY MO ne cs cona ced ewes Nor ge os ba ied eco Orr d an 169 Adding all elect iu re v o CERE X dE LPS E eai orate t rator ade 169 Saving effect settings as a custom preset e 0c cece eee eee eee eee eee 170 Adding a chain of effects ccc eee eee nh 170 Applying effects using the Plug In Chainer eee eee eee eee eens 171 Adding DIUG INS to achail ss uum qud is xad Pura e echec e eed de racine ob gabe e Pong eara 172 Selecting the processing mode for audio tail data 2 0 0 ccc ees 173 Arranging plug ins on a chain e e e e ber beeen oe Seis baw Rice Eder RE Ges 174 BY DaSsiNnGCMmecls us ee ee eee Ph he ree iei uA PLE LK LM p LE Ee 174 Removing plug ins from a chain sexi kl ceed 9E rab kms eee XC ES ERR GE SP 175 Configuring chained pluris 39 age au pius axed mud oiu Stokoe oh eth ete ea dp M 175 Saving individual plug in settings as a custom preset 0 00 cece eee eee eens 175 Saving plugs Chains s5534 252 ete coa X elo dh S oio boo dedita Duda eden d cod ipe tem A 175 Loading DIUGTITCNAINS i3 cz edes EE eben oe did ed debida odes als ated 176 IMarnaginderleclS xx 3 37 3
43. 00 00 742 H Sound editing just gets easier 00 00 01 475 00 00 03 639 9 Wow 00 00 00 742 00 00 01 475 Stacked Docked windows Keyboard with tabs Regions List Time Display Playlist 3 4 5 d 44100Hz 16bit Mono 00 00 05 000 4 125 5 MB Docking a window 1 Drag a window to the edge of the workspace The outline of the window changes shape as you approach the edge 2 Release the mouse The window docks against the edge of the workspace Preventing a window from docking Press while dragging a window to prevent it from docking in the workspace ee a Tip You can choose to reverse this behavior so that windows will not dock unless you press Ctrl From the Options menu choose Preferences and clear the Allow floating windows to dock check box on the General tab CHP 3 LEARNING THE SOUND FORGE WORKSPACE 26 jess Floating a window Drag the handle on the left side of a docked window away from the edge of the workspace Close window x Expand window M 2 W w 00 00 00 000 00 00 01 467 Silence 00 00 01 467 00 00 02 209 Sound editing just gets easier 00 00 02 209 00 00 04 373 Silence 00 00 04 373 00 00 05 115 And easier 00 00 05 115 00 00 06 476 End of Playlist Drag the handle away from the edge of the workspace to float the window Time Display Playlist 9 lndo Redo Wow sound editing f Hiding the window docking area You can double click the sep
44. 00 02 209 1 Sound editing just gets 00 00 02 209 00 00 04 373 d And easier 00 00 04 373 00 00 09 815 Click a Play button to play End af Playlist through the end of the playlist Arranging the playlist Once you have added regions to the playlist you can arrange them using drag and drop 00 00 00 000 00 00 00 733 Ray m mL dum umm mm 1 Sound editing just gets 00 00 00 733 00 00 02 997 amp nd easie t 00 00 02 897 00 00 04 257 Silence hess 00 00 04 257 00 00 05 000 End of Playlist Drag and drop regions to rearrange the playlist Replicating a region in the playlist A major advantage of arranging with the playlist is the ability to repeat a region in multiple places without actually copying the audio data This feature is called replicating 1 Right click the region to be replicated and choose Replicate from the shortcut menu The region is replicated in the playlist Add I Dor UU gag 00 00 02 972 00 02 9 2 00 00 10 030 Delete Edit Stop Point Pre Rall Playback Open Save DS Copy onto Clipboard Convert to New Select Replicate from the shortcut menu Treat as Cutlist Delete Gut Regions 2 Drag the replicated region to its new position in the playlist E Replicate a region by holding while dragging the region to a new position in the playlist USING MARKERS REGIONS AND THE PLAYLIST CUTLIST CHP 7 109 U sing stop points You can atta
45. 1 256 ia a Tu 00 00 00 000 00 00 01 232 Loop Start window Loop End Position Loop Start Position 74794 4 S Salil ao Loop Endpoint Amplitudes The Loop Tuner contains three playback buttons Play Pre Loop Play Loop and Play Post Loop e Click the Play Pre Loop button 8 to start playback of a file from its beginning and stop playback at the loop start tag e Click the Play Loop button to start playback of the looped region The number of times the loop plays is dependent upon the Loop count value in the Edit Sample dialog Use this button to audition the loop for pops and glitches For more information see Creating a sustaining loop on page 220 e Click the Play Post Loop button to start playback immediately following the loop end point and continue through the end of the file ee 4 Tip You can use the Play as Sample button 8 in the playbar to audition the entire sample with configured loops R LOOPING CHP 15 225 Switching between the sustain and release loops When working with a file that contains sustain and release loops you can quickly toggle between the loops by clicking the Loop Select button When working with a file containing two loops this button indicates which loop is active e indicates that the sustaining loop is active e indicates that the release loop is active Viewing loop amplitude The sample amplitude at the loo
46. 175 Regions List display 104 Controls Envelope graphs 39 Faders and slider 39 Using the mouse 23 79 264 Convert to New 109 Converting file formats 88 Copying 57 Copying current video frame 237 Count 107 Crash recovery 68 Creating Automatic regions 100 CDs 128 Graphic fades 155 Impulse files for Acoustic Mirror 189 Markers 92 Markers during playback 92 Markers during recording 92 125 Markers for each index change in extracted CD track 127 New data windows 52 New files from the playlist 109 New windows for each recorded take 120 Pans 162 Presets 146 Regions 99 Regions for each extracted CD track 127 Regions from markers 95 Release loops 221 Sampler configurations 211 Selections 78 Selections on the fly 79 Stop points 109 Sustaining loops 220 Views 81 Cropping audio 60 Using Auto Trim Crop 149 Crossfade Loop tool 226 Crossfading 131 CSOUND 271 Cursor position 69 Custom graphic fade 156 a iii Cutlist 110 111 Adding regions to 110 copying to the clipboard 111 Creating a new file from 110 Deleting all cutlist regions 110 Opening cutlist files 111 Reverting to playlist 110 Saving cutlist files 111 Cutting 58 Previewing cuts 59 D Data window 27 Components 27 Displaying hiding elements 28 Overview bar 70 DC offset 121 Automatically detect and remove 154 Calibrating adjustment for recording 121 Compensating for 154 Defragmenting
47. 29 97 fps Video Available only in the full version of Sound Forge SMPTE Drop changes the status format to SMPTE Drop 29 97 fps Video Available only in the full version of Sound Forge SMPTE 30 changes the status format to SMPTE 30 30 fps Audio Available only in the full version of Sound Forge Auto Snap to Zero forces the ends of selections to the nearest zero crossing Available only in Screenblast Sound Forge Auto Snap to Time forces the ends of selections to the nearest whole time division on the time ruler Available only in Screenblast Sound Forge The Regions Playlist toolbar contains the Regions List and Playlist buttons as well as buttons corresponding to synchronization commands and status displays u Regions List displays the Regions List Playlist displays the playlist IN Trigger from MIDI Timecode configures m Sound Forge to be triggered by MIDI commands received through the MIDI input port The MIDI input port is specified on the MIDI Sync tab in the Preferences dialog For more information see Turning on MIDI input synchronization on page 202 Playlist Position display w hs Generate MIDI Timecode configures Sound Forge to send MIDI timecode through the MIDI output port The MIDI output port is specified on the MIDI Sync tab of the Preferences dialog Pre Queue for MIDI Timecode opens the wave device and preloads data for the next region to be played from the playlist
48. 6 for other devices M U M Note The ID of a bootable SCSI hard drive must be set to i The following table describes a typical SCSI configuration ID Device s U Hard Drive 1 CD ROM Drive 2 6 Samplers 7 SCSI Controller Card Periodic transfer failures Messages such as The SCSI Device is not responding or A problem was encountered while transferring the sample may indicate a problem with a SCSI bus 1 From the Tools menu choose Sampler The Sampler dialog appears 2 Click Configure The Sampler Configuration dialog appears 3 Repeat the selection of the SCSI host This causes a series of SCSI commands to be executed that may settle the bus If the problem persists power down and restart all equipment Sampler is recognized but does not transfer reliably The following are possible causes of unreliable SCSI transfers Synchronous transfer mode Select samplers the Kurzweil K2000 among them do not operate properly if there is a SCSI device set to synchronous transfer mode on the same SCSI chain SCSI hard drives and CD ROMs often have the option of using a synchronous transfer mode If there is a host versus device synchronous transfer option select the host option Refer to the SCSI device s documentation for more information SCSI termination If the SCSI chain is not p
49. EDITING REPAIRING AND SYNTHESIZING AUDIO 142 5 Generating audio with frequency modulation Sound Forge s FM Synthesis feature can be used to create complex sounds from simple waveforms using frequency modulation FM In frequency modulation the frequency of a waveform carrier is modulated by the output of another waveform modulator to create a new waveform If the frequency of the modulator is low the carrier is detuned slowly over time If the frequency of the modulator is high the carrier is modulated so quickly that numerous additional frequencies or sidebands will be created Using the FM Synthesis tool up to four waveforms operators can be used in a variety of configurations Depending on the configuration a waveform can be a carrier a modulator or a simple unmodulated waveform FH Synthesis Example music bed E Preset Untitled B Cancel Total output waveform length 0 001 to 600 0 seconds 1 000 E Current 140240344 oo Help 100 5 Save Os pelete Preview Length seconds 1 000 Configuration 12 0 dB 25 12 96 Operator shape sine Frequency 0 00 to 22 050 Hz 440 00 E C Feedback D to 100 IE ae R Amplitude Reset morie E Inf to 0 dB ESE Insert waveform at End af File F FM Synthesis dialog Generating a wavefor
50. However this method frequently does not provide the control required to create seamless loops In this case you should edit the loop using the Loop Tuner Editing a loop with the Loop Tuner The Loop Tuner allows you to precisely edit loop points in order to prevent distracting audio glitches This is accomplished by greatly magnifying the waveform and displaying the loop tags in relation to one another The left side of the Loop Tuner window displays the end of the loop while the right side displays the start of the loop This arrangement allows you to fine tune loops by viewing a graphical representation of the junction between the end and the start of a loop In addition the Loop Tuner contains several tools designed to assist you in creating professional sounding loops CHP 15 LOOPING 224 j Displaying the Loop Tuner 1 Open the Loop pca file A sustaining loop appears in the data window 2 From the View menu choose Loop Tuner The Loop Tuner appears at the bottom of the data window and displays the waveform of the file s loop he Voices Pad el x 00 00 02 00 00 00 AT Sustaining Loop ajjaj M U mue 00 00 03 380 Loop End window Sop mtp dog f G da xe Lock Loop Length Play Post Loop Play Loop Play Pre Loop Loop Select Playing loops using the Loop Tuner Zero crossing finders 00 00 04
51. PED OS Dc Hac i Odessa uo nese te mis ee eee eens 249 Updating a spectrum drap x dne doe XO a CE 968 79 and Sada eae dena CIRC 3C Rr aria oos ex s 249 Viewing multiple spectrum graphs lecce rh 249 Creating and comparing snapshots of the Spectrum Analysis window 250 MMT AC NEGA 99 0505 55 dde de a ntt rat Seren tarde tne todo nd Se ser ee nek deol soli ek teh ead ey cee cee 250 Jinga Sorogrartbo secet A se ct Ar toes hated ee aa 251 Displaying Renee lc us osa peus dicant Eder des bod eee teed eee a Bu Eus 251 Displaying frequency and amplitude values notes and statistics eee 251 IJodatihg a SONOOKaIN 254200316240 b246 Ere DESC acd San qu qi Ed hie uu Dad MEG PS 252 Monitoring an input and output source leen 252 Turri SONOJ aN o sa 0 S Or Oe ee eee IE LI detest es et ee cub ie R DUE 252 Returning tod spectrum graph siis ees eb bead dw Che iced hohe ee eee dra 253 Friribrig the SoHOQgELdLti 32e caida Soccer nd oi Robe boSuecc tico odd a E Seach eec idee iE a Ere ed 253 Adjusting Spectrum Analysis settings 0 00 cece eee eee eee eee eens 253 Saving spectrum graph settings e e e eee eee eens 255 SMOMCUIS ueceeacapee eee REqde d ERE PCR ee aes nae 257 Keyboard shores 2 464202 Sot eae S dro Ss aere d au tor doge ee haa pp us 257 Project file Commands sss aeeuescrs see sne isons ones sees eee EE eee ees 257 Magnification and view commands lt
52. Program Changes from the menu if the keyboard will be used to choose instrument voices A check mark appears adjacent to the command to indicate that this option is turned on Specify the output device from the shortcut menu Creative S W Synth A SB Livel MIDI Synth B SB Live MIDI Synth SB Livel MIDI Dut DFO SB AudioPCl B4 MIDI Synth SB AudioPCl 64 MIDI Out w Send Program Changes 3 Configure the MIDI input channel of the selected device to correspond to the keyboard s output channel a Note Most MIDI devices are configurable to accept MIDI commands on any channel Te T Troubleshooting the MIDI Keyboard If after configuration the keyboard fails to produce sound check the following e Verify that the output velocity of the keyboard is set to a value greater than 100 e Verify that the MIDI input channel in the sound module is set to the same channel as the keyboard e Verify that the device is configured to receive MIDI input e Verify the device output volume level e Verify external MIDI connections if applicable Specifying instruments 1 Choose Send Program Changes from the MIDI Out button amp menu A check mark appears adjacent to the command to indicate that this option is turned on If this option is turned off patches cannot be switched 2 From the Voice drop do
53. Region Example music bed i 2 x Mame quitar solo starts here x Type Cancel Marker C Region Help Play Start mpy 00 UE hrimnisc xx Enter the marker gt position value Play looped lengthy Input Format rime Trigger liane lt Ghennel 1 to Tey l 1 RA Note teo to Git cs B Automatic Labeling USING MARKERS REGIONS AND THE PLAYLIST CUTLIST CHP 7 95 yg Detecting and marking clipping The clip indicators in the play meters help you determine whether clipping occurs in your file and you can use the Find command to find audio that matches levels you specify For more control however you can use the detect clipping tool From the Tools menu choose Detect Clipping to scan a selection of audio for clipping and add markers where clipping occurs Markers can be quickly selected from the list in the Go To dialog Also markers are displayed in the Regions List for quick playback 1 Select the audio you want to scan 2 From the Tools menu choose Detect Clipping The Detect Clipping dialog is displayed 3 Choose a setting from the Preset drop down list or adjust the controls as necessary a Drag the Threshold slider to determine the sound level you want to find b Set a value in the Clip Length box to specify how many sequential samples must meet the Threshold setting to c
54. a sonogram 4 Use the toolbar at the top of the window to set your other display options r Tip You can also click the Settings button 8 in the Spectrum Analysis window to set additional options T If there is no selection in the waveform display window the sonogram analyzes the sound data from the current cursor position to the end of the file Displaying frequency and amplitude values notes and statistics As you move the cursor through the sonogram the amplitude and frequency values at the current position are displayed in a ToolTip next to the cursor and in the Statistics area at the bottom of the window Use the cursor to display amplitude and frequency values 31 4 dB at 101 Hz a Freg 0 00 00 00 661 00 00 01 101 00 00 01 628 00 00 02 156 00 00 02 683 00 00 03 211 00 00 03 738 p Frequency Hz 101 FFT Size 2 048 Slices 200 Overlap 754 icti Sample 51 707 Blackman Harris Log Mono Samples 29 184 to 164 864 Statistics area gee 2 7 00 I 50 05 CHP 17 USING SPECTRUM ANALYSIS 252 LLL Right click the sonogram and choose Show Position from the shortcut menu to toggle the display of ToolTips The setting for each sonogram in a stereo file is independent If you want to display the nearest musical note equivalent of t
55. a template 1 From the File menu choose Render As 2 From the Save as type drop down list choose a file format 3 n the File name box enter a name for the file 4 Select other options in the Render As dialog as needed and click Save The Render As dialog looks and behaves just like the Save As dialog For more information on using this dialog see Using the Save As dialog on page 54 Exporting to Net MD devices You can export your audio files from Sound Forge to your Net MD device 1 From the File menu choose Export to Net MD 2 Type information about your project a In the Name of track box type the name you want to use to identify your audio file on your Net MD device b In the Name of artist box type the artist name you want to associate with this track on your device c In the Name of genre box type the genre you want to associate with this track on your device d In the Comment for track box type any comments you want to associate with this track on your device 3 Click the Export button Sound Forge converts your project to the appropriate format for your device and begins transferring when conversion is complete Exporting to CLI handheld devices You can export your audio files in MP3 format and transfer them to your Sony CLIE handheld device all in one step 1 From the File menu choose Export as MP3 to CLI The Export current project to CLI dialog box displays 2 In the Rendered file na
56. acu e cac 83 Editing attributes in the Properties dialog 00 ee eee eeenees 83 Editing attributes in the status bar 5 4 2 3 34 03 RobP toneeddea RUE ROCA paddies IUE Sae Ru L8 a aia o3 wt we 83 Changing the Sample fates ss acxcace TR CIEGO b C GV a ec 84 TABLE OF CONTENTS B CHANGING ihe pt depth uu udo doce c Ee e M i e c Rcx how wt ae aw eed s 84 increasing bit epi x ct actin die toss rer ea nive poses eee pee e hee ode wee Dp ae 84 Blelelgers ij ale pl Dt dep ETE E S LO LISTE 85 Understanding dither and noise shaping 000 cee eee eee eens 85 Minimizing quantization error 1 ee eee eee eee 86 Converting mono stereo channels sssaaa aaan 97 Converting from mono to stereo eee eee etna 87 Converting from stereo TO MONO qx piu eb hueh aes endet una Rata ded E ace DREW eee 88 Using the Channel Converter 2 54 lt e nasaan nnna nn nanana nn nannan 88 Cornvert rig Me TOFMNalS usas v oe OR E Ca a cw HOC EE Ke ECC EC os 88 DAVE ds TVDO odds deu du bees quu eee t pum adusta edite os ode ke dk de aoe ee ee abdo deu 88 t Es vie Sc oa r Pda te RS Odes Ca eas dias Door bo bo ap Neh ditto aate n beo da tr uet 88 Adding summary information 0c eee n 89 Viewing and editing summary information 00 cc cece eee eee eee eee 89 Viewing extended summary information 00 ccc eee eee teens 89 Editing extended summary information 000 ccc eee eee eens 90 Saving s
57. analysis 245 253 FFT 246 Sonogram 251 253 Spectrum graph 246 Spectrum graph 246 Ceiling 254 changing zoom level 249 Displaying 246 Displaying frequency and amplitude values 247 Displaying notes 247 Displaying statistics 247 Displaying stereo files 249 FFT overlap 253 FFT size 253 Floor 254 Hold peaks during monitoring 254 Maintain last monitored view 255 Monitoring input output source 247 252 Navigating 248 printing 250 Set sonogram resolution 254 Slices displayed 254 Smoothing window 254 snapshots 250 thumbnail image 248 updating 249 Viewing multiple 249 Spectrum graph type changing 248 Spectrum graphs automatically updating 249 refreshing 249 Standard toolbar 30 Statistics 52 Status boxes 51 Status formats 64 65 Status Selection toolbar 32 Step down conversion 85 Step up conversion 84 Stereo files Converting to mono 88 Previewing data 43 Selecting data 42 Single channel editing 44 Working with 41 Stop points Creating 109 Deleting 109 Streaming media commands 96 for RealPlayer 96 for Windows Media 96 Summary information 89 Editing 89 Saving 90 Viewing 89 Sustaining loops 219 220 Synchronizing MIDI timecode 206 208 Synthesizing audio 141 144 oystem requirements 16 Tempo Calculating for loops 233 Changing a file s beat values 66 Creating regions using current tempo 101 Specifying for ACID loops 229 Test tone for Acoustic M
58. beats per measure values used to calculate measures and beats Changing a file s beat values 1 From the Special menu choose Edit Tempo The Edit Tempo dialog appears 2 Enter an appropriate value in the Tempo in beats per minute box 3 Enter an appropriate value in the Number of beats in a measure box and click OK Alternately you can make a selection in the file equal to one measure and then enter the number of beats in the sample measure in the Selection length in beats box Sound Forge automatically calculates the Tempo in beats per minute value based on the selection length and number of beats Changing the default beat values The previous procedure changes the beat values for the current audio file only Use the following steps to change Sound Forge s default beat values 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the Status tab 3 Enter an appropriate value in the Default beats per measure box 4 Enter an appropriate value in the Default beats per minute box and click OK GETTING STARTED CHP 4 M e7 Rendering files Once you are finished editing a Sound Forge project frg file you can save it to any type of media file supported by Sound Forge You can render a file using a standard template or you can customize the settings to suit your needs Once you create custom settings you can save those settings as
59. begins at the position displayed in the Start box when you click the Record button 9 and continues until one of the following occurs e You click the Stop button Hl e The cursor in the data window reaches the position displayed in the End box e The length of the recorded data equals the value in the Length box Punch In mode makes it possible to record over a specific section of audio without the risk of affecting the remainder of the audio file You can preview the punch in region by clicking the Play button 4 Note Punch In is the default mode when recording with a selection in the data window RECORDING EXTRACTING AND BURNING CHP 8 121 yg Adjusting for DC offset The DC adjust check box instructs Sound Forge to compensate for DC offsets generated by your system s sound card during recording A DC offset of approximately 30 dB is not uncommon for sound cards even with very low noise floors and this displays in the record meter as 60 dB This does not mean that the system is losing 30 dB of resolution but for the meters to accurately display ranges to 90 dB you must calibrate the DC adjust Record musicbed wav 2 x Recording attributes 44 100 Hz 16 Bit Stereo i j Close DC adjust Method norm m m
60. c eee RR hh 50 Playing in Loop Playback mode i 2 uoa eh wh oa a Se a a ea ac ne d ac Mo ca e o cS e eR 51 Playing a selectii se eutanasia due Pav Od additis e d oe idend 51 VIEWING selection statuss cedic 2 23518 E29 UIT Nie MESE E EDS Tae d dee Edu feos RR Soe 51 Viewing selection statistics eave teed she clo hh ee RO he Ee e da ade de eae 52 Creating a new data window 20200 2c cece eee 52 Active data windows vs inactive data WINGOWS 0 00 cece eee 53 Copying data toa New flle 53 ovo b peewee ae Ra he pu Rex ata a Ah aed Ged Gelb eae Ex Ws 53 Savio aTe eisat R Sassen ed Dae c ce hl ho Shc se fa R to Doe ale parar alt 53 Using the Save As dialog isa E RR R RKE RR TRE R TRER TRR dauid eee kee bees s wes aar 54 Creating eustomr templates s i6 er odes Saa S te aUe ele eid ou eae dt ae 55 saving all open audio Miles 2542 45 650 53 24584 8002 abe ee et ee ee ee 55 Saving Tiles as a WOFKSDSGB cocus IER eate oii race a ese Ehwta anita alea pr iP adios erat E dense s 56 ENGA o EDI 56 CODI Ces edt obe ues ibt ipi E RE DIU IN AME o EUN EI LIA E E que a aita 57 mcis WP PEE TE T CHI IPM THERE ERE 58 CUNG zou Ser ier ete sas ae aa hs Nd Nain aes o teins Eu ud utr ad Melee eet aay Beas f 58 DDeleubit sudant Ur etd ea p EE EM dra ea dc ena hun vee bas Bodas dba eoi eset ded quidc 59 E S Trai Ials le eee ii rr 60 MNG aa or eel P rcTUP ES 60 Using undo and redo s i c Bru 87 CR OUR tee seer ab eb Dc Pies pL AO ECC 61 Using
61. chain from the Plug In Chainer 1 Click the Add Plug Ins to chain button s on the Plug In Chainer window The Plug In Chooser dialog appears listing all available DirectX plug ins installed on your system EST Press Ctri E to open the Plug In Chooser Plug In Chooser No Plug Ins in chain o DK Cancel Direct ES E A gt ucro Amplitude Modulation fu ExpressF D ad m i Chorus Hy ExpressF D Delete e Direct Chains Distortion Hi EspressF D H DX Favorites Dither Hy ExpressF E ExpressFxi Amplitude Modulation d ExpressFx Fl ExpressFx Chorus d ExpressFx G LY Pave as Plug In Chooser dialog 2 Select the desired plug in s 3 Click Add The selected plug ins are added to the chain and can be configured and arranged as needed ES Double click a plug in to add it to the chain Adding a plug in to a chain from the Plug In Manager You can add a plug in to a chain in the Plug In Chainer by dragging an effect from the Plug In Manager window Plug In Manager Pug Amplitude Modulation li Expres Direct Chorus li Expres Direct Chains Distortion li Expres YLS DX Favorites Dither lis Flange ExpressFx Amplitude Modulation d Gappe ExpressFx Chorus E Graph ExpressFx Delay E Graph ExpressFx Distortion lr Multi E ExpressFx Dynamics lr Multi T ExpressFx Equalization lE Noise ExpressFx Flange w ahw ah E Paragi ExpressF Graphic EU lf Param ExpressFx Moise Gate lis Pitch
62. click the mouse until the selection box is the full width of the data window 3 Drag the Magnify tool to create a level zoom selection and release the mouse button The zoom ratio of the selection increases i Drum Fill B x ii Drum Fill Iof x Selection box spans the width of the window The selection is level zoomed Zooming both time and level with the Magnify tool 1 Drag the Magnify tool on the waveform to make a small selection box 2 Toggle click the mouse until the selection displays as a box 3 Drag the Magnify tool to create a time level zoom selection and release the mouse button The level zoom and time zoom of the selection increase fj Drum Fill ND Ol xm 00 00 00 00 Selection displays as a box The selection time and level are zoomed CHP 5 NAVIGATING ZOOMING AND SELECTING 78 Selecting audio using start and end values You can select audio by dragging the mouse or by using keyboard shortcuts pg 261 For the sake of accuracy however it is often useful to create selections by entering specific start and end point values The Set Selection dialog allows you to create selections in this way or by choosing a preset selection from the Selection drop down list 1 For users of the full version of Sound Forge from the Edit menu choose Selection and choose Set from the submenu For users of Screenblast Sound Forge from the Edit menu choose Selecti
63. create unique sampler configurations for each project Simply establish a unique sample bias to segregate the samples within the sampler Enter a value in the MIDI channel box to specify which MIDI channel 1 16 is used when transferring samples Select the Open loop check box if you want to send SDS sample data immediately upon clicking the Send Sample button This is an unconditional transfer of sample data no handshake SAMPLING 242 SSS 8 Select the Send request when retrieving samples check box if you want the Sampler Tool to send a request for the sample to the sampler when you click Get Sample Clearing the Send request check box requires that the sample transfer be initiated from the sampler even after you click Get Sample Typically pressing the appropriate button on the sampler satisfies this request 9 Select the Wait for request when sending samples check box if you want the Sampler tool to wait for the sampler to request the sample transfer before sending the sample even after you click Send Sample Typically pressing the appropriate button on the sampler satisfies this request Clearing the Wait for request check box configures the Sampler Tool to send the sample as soon as you click Send Sample Open loop versus closed loop Open loop describes a unidirectional communication protocol When the Open loop check box is selected the source transmits all data to the destination without listening for instruction fro
64. cutlist displays The pe ees Play as Cutlist button 5 1 appears in the playbar Adding regions to the cutlist 1 Open the Voiceover pca file and the cutlist 2 Select the Silence region and drag it to the cutlist The region is added to the cutlist and the selection area in the waveform display is shaded EM Select the region in the data window and press to add it to the cutlist Di wow d editing i Wow sound editing ES New region is added to the cutlist er 00 00 00 00 00 02 00 00 04 i Cutlist Wow sound editing Sound editing just gets easier And easier 3 H Silence 00 00 00 000 00 00 00 742 End af Cutlhst alaj fst alje M Dl L mur 00 00 00 000 00 00 00 742 00 00 00 742 3 Click the Play as Cutlist button 1 on the data window s playbar The file plays with the cutlisted region omitted Creating a new file from the cutlist Once all superfluous regions are placed in the cutlist you can create a new audio file and Regions List from the remaining regions by right clicking the cutlist and choosing Convert to New from the shortcut menu Deleting all cutlist regions To delete all regions in the cutlist right click the cutlist and choose Delete Cut Regions from the shortcut menu Reverting to playlist function To use the cutlist as a playlist again right click the cutlist and choose Treat as Cutlist from the shortcut menu The check mark is cleared from the corresponding com
65. data window and adds the Sound Forge Volume or Sound Forge Pan plug in to the Audio Plug In Chainer If the Plug In Chainer is not visible Sound Forge will open it n M r Note If a data window already has a volume envelope pressing P or V will hide the envelope M 3 Adjust volume or panning with the envelope in the data window APPLYING EFFECTS CHP 11 GG Adjusting effect parameters with envelopes An envelope is displayed in the data window for each effect parameter that you ve chosen to automate Envelope points represent plug in parameter settings at a specific point in time You can add points adjust their positions and change the fade curves between points to modify effect parameters and the transitions between them A Note When you automate an effect s frequency parameter such as the modulation frequency parameter in the amplitude modulation effect you may notice that the frequency changes are more apparent when moving through the lower frequencies This is because frequency scales plug ins use a logarithmic scale but effect automation uses linear interpolation To make the automated frequency changes sound more natural change the fade curve types to change the interpolation vates between envelope points For high to low frequency sweeps use a fas
66. drag each point or you can drag envelope segments up or down P Tips Hold Ctrl while dragging an envelope point or segment to adjust the value in fine increments without changing the envelope points horizontal positions Hold Ctrl Alt while dragging an envelope point or segment to adjust the value in normal increments without changing the envelope points horizontal positions Hold Alt while dragging an envelope point to move the point s horizontal position without changing its value With the Envelope tool you can drag horizontally to select multiple envelope points in the selected data window Adding envelope points To create more complex envelopes you will need to add points To add an envelope point double click the envelope You can then drag and position the point as necessary To delete a point right click it and choose Delete from the shortcut menu Flipping an envelope You can flip an envelope to invert the envelope around its center Volume panning and effect automation envelopes can be flipped Flipping all points 1 Right click an envelope or a point A shortcut menu is displayed 2 Choose Flip All Points from the shortcut menu Flipping selected points 1 Create a time selection with the Envelope tool amp 4 to select the points you want to flip 2 Right click an envelope in the time selection A shortcut menu is displayed
67. e From the Edit menu choose Tool and choose Magnify from the submenu e Click the Magnify Tool button amp on the Standard toolbar e Click the Edit Tool Selector in the upper left corner of the data window until the Magnify tool appears EM To temporarily use the Magnify tool hold while creating a selection When you select the Magnify tool the cursor displays as amp You can use this tool to create a selection box indicating how audio data is magnified By using the Magnify tool and toggle clicking the mouse you can toggle between time zoom level zoom and simultaneous time level zoom For more information see Using the mouse on page 23 NAVIGATING ZOOMING AND SELECTING CHP 5 M M M M M C 71 Zooming the time ruler with the Magnify tool 1 Drag the Magnify tool on the waveform to make a small selection box 2 Toggle click the mouse until the selection box is the same height as the data window 3 Drag the Magnify tool to create a time zoom selection and release the mouse button The zoom ratio of the selection increases ii Drum Fill B x ii Drum Fill B x 00 00 00 16 00 00 00 18 00 00 00 20 fisz ef ele 00 00 00 00 Selection box spans the height of the window The selection is time zoomed Zooming the level ruler with the Magnify tool 1 Drag the Magnify tool on the waveform to make a small selection box 2 Toggle
68. eee hrs 257 Data window edit commands ccce 258 CursortnoVernebt iii bea P rua qu m Rx Aber b EE bag dua pue uus ad a qua beoe ie ee Ade 260 Selec irig data 2 9 ui i EACH FaNER UE ER IEEE edu LR e d abl du H teda 261 INavigalorn and playback 3324 2 20 B4 2 949 Cc doe doce Eb CR ee Or ep aed edere D E ee Ree gta 262 Record dialog keyboard shortcuts leeeeeeeeeee nnn 262 Pl dsIn e Ta T 3s2 veo io b RC EPIRERKR EI eR ERR pP bes ELE Edd rd 263 REgIONS EISE oritur Dp Eis Ed Masi NL edid md edu E A E RES 263 PAV WS Esci cbe bh bd te rt dC DAE tic dedo ewe b dara A aUe uale a RED dba a wap oun oed quio 263 Mouse wheel shortcuts u s mr xiu eee tea RD ES 264 Additional MOUSE SHOMCUIS 25 51 31 99 3h63 Dre D a kac des wo ad Iur Qo edes 264 Microsoft Audio Compression Manager 267 TABLE OF CONTENTS 14 MM LLL Audio data compression and decompression 002 eee eee eee eee 267 Transparent playback and recording of non hardware supported audio files 267 SMPTE HEMneGOGOGO ssa EP E CREER OC eta Saber 269 SMETE 25 EBU 25 10S VIOGO x3 x a e ERR Tu RUPTIEu pa EG bu ens 269 SMPTE Drop Frame 29 97 fps Video es 269 SMPTE Non Drop Frame 29 97 fps Video 2 0 cc ee 269 SMPTE 30 30 Tos AUCIO 4 1 1 aca ac be C en n a d ate oe ewe t s 270 SMPTE Film Sync 24 TOS dares EE uk Ra Rex RR RR Y X RE EORR Se ewe wees xa 270 Using CSOUND MTU IRCAM BICSF and EBICSF Fi
69. ellectlsus aea ure teh whe cen ENTRP SPEWUERNIUCNERVER EEREqNERRLREN PR ERNEES 193 Recreating spaces for foley effects and dialog replacement 194 Panning with head related transfer functions e eee ees 194 Troubleshooting Acoustic Mirror llle 195 Stuttering during real time previewing llle hh 195 Impulses do not recover properly lt e eee hn 195 Recovered impulse is too noisy ees 196 Error message explanationS 22 234 3 563 60d ebbe Sedo aco somete adus qe sud atc i is ede 196 Whatis Wave Hammer x voua Sev XE ar A Lade qbus 197 Displaying Wave Hammer oe ea fed ow ket e dede des e v RARE RUCRUAQUR AGACRLR 197 The Wave Hammer dialog 000 cee eee eee eee eeeee 197 COImDEessor laD ivo eh Debe i hace cee elec Vieh eae Ree ee poda ba dcc Le Ur aMd cre 197 Volume Maximizer tab 33803 x a ORE IR E re oe Sod deua tact hehe do ac dol dod demos ro 199 Working with MIDI SMPTE eene 201 UO Te AI P rer T aa a aar TAE E 201 TABLE OF CONTENTS 11 MIDIG S 1 erties Sg eq do pde do Qe EUR CR UO D Meu ay ee S X c a c arte a 201 Playback versus triggered playback leere 201 Triggering Tle playback 2229 abo salo pipe pt Ebor ox ae dace ao E eo bate rae ndvra 202 TriggerimngregionlayDacK 622521 Do bo Ee oe Db eeu ade bore bab Pati ea a 203 Triggering playback from additional internal external MIDI devices 205 Advantages
70. field is rendered unusable by ambient noise If you are shooting in the field and realize that overdubbing will be necessary you should create an impulse in each filming location This allows you to overdub dialog during post production that is indistinguishable from dialog recorded on location If you intend to use Acoustic Mirror as a film video post production tool there are some factors to keep in mind e Distance information is determined by the distance between the source and the microphone when creating the impulse Record multiple impulses at various distances for each location to create realistic dialog effects when matching audio processing to approximate camera positioning The frequency response of the human ear changes as the volume of a sound increases As a result impulses created from a significant distance may sound unusual at high volumes Placing a microphone off center allows you to create directional information in the recovered impulse For example placing a microphone to the left of the speaker produces an impulse that approximates a source located on the left side of the screen Panning with head related transfer functions A head related transfer function HRTF contains the frequency and phase response information required to make a sound seem to originate from a specific direction in a three dimensional space The Acoustic Mirror Impulse Files HRTF Impulses folder on the Sound Forge CD ROM contains a collection o
71. have trimmed the recorded test tone based on the mode chosen from the Impulse recovery mode drop down list For more information see Trimming the test tone on page 191 e Verify that the second spike is present in the recorded test tone if the Auto detect timing spikes options is specified e Verify that the file specified in the Test file used box is the exact test tone used to make to field recording and that neither its length or data has been changed e f the impulse still does not recover properly in Auto detect timing spikes mode use Sound Forge to normalize the spikes in the recorded test tone file This should aid the auto detect algorithm in detecting the timing spikes and recovering the impulse CHP 12 USING ACOUSTIC MIRROR AND WAVE HAMMER 196 r Recovered impulse is too noisy To maximize the impulse s signal to noise ratio you should verify that the field recording s noise floor is not too high When recording in noisy environments increase the test tone s amplitude until the test tone is at least 25 dB louder than the noise floor At least 40 dB of signal to noise is recommended for optimal impulses If you cannot avoid noise when recording in the field Sony Pictures Digital s Noise Reduction can salvage a session Speaker nonlinear distortion can also cause noisy impulses The most common source of nonlinear distortion is loudspeaker harmonics Most speakers display substantial harmonic distortion at low frequencies For exam
72. impulse file Time seconds Envelope graph USING ACOUSTIC MIRROR AND WAVE HAMMER CHP 12 M 187 The horizontal axis of the graph represents the time of the impulse file and the vertical axis represents peak amplitude in dB Specifying an impulse file from the Impulse drop down list automatically displays its envelope in the graph Pur Note If the impulse file is greater than 6 seconds in length it does not display in the envelope graph l M77 Envelope points Envelope points are used in the envelope graph to specify a fade curve The fade amount can vary from 096 to 10096 You can create delete and arrange envelope points just as you can in all of Sound Forge s envelope graphs For more information see Envelope graphs on page 39 a Note The fade value at any point in a curve does not use the same vertical logarithmic dB scale used for displaying the impulse file Adjusting the impulse length Drag the vertical Envelope Endpoint line to the desired location The Envelope Endpoint repositions and the length of the impulse adjusts Time seconds Time seconds Repositioning the envelope endpoint line Reset Clicking this button resets the envelope points to 10096 indicating no fade Package I
73. irat icio nace dos dog data 134 Dragging mono selections into stereo destinations eee eee eee 134 Snapping to events in drag and drop operations eee eee eee eens 134 Pasting mixing and crossfading with drag and drop lesser 135 Creating new windows with drag and drop 000 cece eee eee eens 137 Finding and repairing audio glitches cc cee ees 137 Were wlalekalis de xcx cK occ 137 pisierilatF ibolom M PIC 138 Synthesizing audio seed cod wh eS Pie e Ea Duc ue pr cod aud bees deut aw 141 Generating DIME MF tones lesser hh hh hs 141 Generating audio with frequency modulation scelere 142 Generating simple waveforms ccce eee eee has 144 PLOCeESSING AUC Os ac xc 33 sc dE o d Ao bra usu ae Ca 3 8 Re Sed 145 Applying presets arse ura REA SUR au ERE Ea RESP LeSduh Ed eere 145 EI SINC ie Sear ore erased M rcd c em EE IM ee ee bL Las iSc kee hae 145 Creating eT iov st i Mae be bea E Ae Dae ae Mae wet deed A Dd AIV is 146 DCICUING Presets sus 2e ve 2o Shee INE EO E104 DeLa a oisi o EUNT pub Sr suspe Mere a ER 146 Hese t ing parameters uber qued RI TIR sq e aper qu ISePasu LEE MES 146 Managing ei sra Peu b et 2 au qua dois oe Satan gro tt dum d eu S Er SCS Doce Du ca CUR sues 146 Previewing processed audlO 2 1 0 0 eee eens 146 Setting custom preview parameters lt e e ccc eee eee eee eens 146 Pre
74. letterbox A This option applies to file types that contain a video stream Selecting the Stretch video to fill output frame do not letterbox check box stretches the source video frame if the destination frame rate differs When this option is turned off letterboxing or pillarboxing occurs For more information see Saving a video file on page PA GETTING STARTED CHP 4 T MMM G85 Fast video resizing 4 This option applies to file types that contain a video stream Selecting the Fast video resizing check box speeds the process of saving video When this option is turned off the time required to save the file can increase dramatically Clear this check box only when you have critical material where nothing but the highest quality video rendering will do For more information see Saving a video file on page 242 Creating custom templates If the file type you select supports it you can create custom settings for saving files by clicking the Custom button Note If a file type supports custom templates a Custom button displays next to the Template drop down list after you choose the file type S When you click the Custom button a Custom Template dialog appears Adjust the settings for the different template propert
75. loop with a release loop To add a release loop to the sustaining loop created in the previous procedure you must reconfigure the dialog and rearrange the loop tags in the data window Configuring the dialog 1 Right click either of the loop tags and chose Edit from the shortcut menu The Edit Sample dialog appears 2 In the Edit Sample dialog select the Sustaining with Release radio button 3 Verify that the Release radio button is selected in the Loop to edit area of the dialog 4 Select the Loop count radio button The edit box is activated 5 Enter a value of 5 in the Loop count box and click OK Both loops sustaining and release are configured Arranging the loop tags Once the dialog is properly configured to support a release loop release loop tags are created in the data window beneath the sustaining loop tags The sustaining and release loops temporarily contain identical data 1 Drag the sustaining loop end tag toward the left side of the data window to reveal the release loop end tag Drag the sustaining loop end tag fj Drum Hit 00 00 00 000 michal fj Drum Hit Release loop end tag The release loop end tag is revealed 2 Drag the sustaining loop start tag toward the right side of the data window This reveals the release loop start tag 3 Arrange the loop tags so that the snare hit is contained within the sustaining loop and the cymbal crash is contained within the release loop fj Dru
76. microphone or line level inputs Be aware that the quality of the impulse is directly affected by the quality of your playback and recording devices The flatter your system s response the more accurate the impulse response Recovering an impulse from an acoustic space To recover an impulse from an acoustic space you need the following equipment e A playback device and speakers A stereo pair of microphones to record the test tone A recording device for recording the signal captured by the microphones CHP 12 USING ACOUSTIC MIRROR AND WAVE HAMMER 190 supe Recovering an impulse from an electronic device To recover an impulse from an electronic device you need the following equipment e A playback device that connects to the device s inputs e A recording device that connects to the device s outputs Recording the impulse in an acoustic space Once you have assembled the required equipment you are ready to begin recording the impulse The following sections describe the typical impulse recording procedure Transferring the test tone The first step in recording the impulse is to transfer the desired test tone to your playback device The Sound Forge CD ROM contains two test tones a 24 second test tone and a 48 second test tone We typically recommend that you use the 24 second tone because longer tones result in greater signal to noise ratios The 48 second tone should be used in particularly noisy environments or when the de
77. nennen 98 Moving the cursor to a command marker eee hh 98 Deleting command markets 25 5 itech he eee tee tee that Geet het banded dG wees 98 TABLE OF CONTENTS n WISING FEGIONS ed CEDE AH EIE EDI dc od Funus DAS qa ee d deed 99 Insert rng ee 3592552 donec onie a Ee deer Sob d dabat deu qd edat au ed tide 99 Inserting regions automatically eee h hh hm 100 CUES IONS ie ace E rd Cle ed oe Sc m den p ee hk Oh Se Ii ML E ae 102 Creating new files from regions 0 ehh eens 103 Using the REGIONS LISl ew ex aci acad En a a E ep aie ene race ia dat ra das 104 Displaying the Regions EISE 5 23 p atate OS eRe Erbe auc won Lose TT 104 Working with the Regions List ls rlleeeeeeeee enhn 104 LISING the DISVIISE as o doc ive RE p 8 808 Gah bee ek baat L amas ae heeds doses 106 Displaying die playlist susci a Aue Ru arp XO e C S ded Eoo Y de Tee Lew eR CR MCA ER EC CAO 106 Adding regions to the playlist enhn Rn 106 Understanding the playlist display 0 00 cece nnn 107 Customizing the playlist display eee eee ene 107 Repeating a region during playlist playback 2 000 nannan mnnn nannan 107 Playing fromthe eU T s weisse ere pop Sand puesto Raise a Gne a asad ate aa a dE Ed aie 108 Arranging the playlist 4s iie REG oe PE RE PEN PEE mee on Sus ua Ane e ative nae 108 Replicating
78. noise near the audio s Nyquist frequency a value equal to one half of the file s sample rate Consider the following e A file with a sample rate of 44 1 kHz has a Nyquist frequency of 22 05 kHz at the high end of human hearing Applying noise shaping to this file results in audio perceived to be cleaner than it actually is e A file with a sample rate of 22 kHz has a Nyquist frequency of 11 kHz well within the sensitive range of human hearing Applying noise shaping to this file results in audio that is perceived to be noisier than it actually is Ironically this defeats the entire purpose of the Noise shape control For this reason we do not recommend using noise shaping on files with sample rates less than 44 1 kHz y Channel Converter The Channel Converter is used to convert audio files between mono and stereo formats In addition to this basic function the Channel Converter allows independent level settings for each channel and can therefore be used to intermix the channels of a stereo file to create pan effects Channel Converter Wow sound editing EE Preset Stereo ta Mana 50 x na faders m Cancel Output channels Mono Stereo New left channel New right channel ile Fille ie ie Heb Save As Delete HE 961 HE 961 Anite ae Anite ae Preview Bypass Fron fete Eram rghit Fron fete Eram rghit EST G ta 20 s AU io e D s 20 ton zun eel zima EE E avert lett channel mis E avert
79. of external MIDI controllers leleleer IIIS 205 Sound Forge and MIDI timecode synchronization sse 206 Playing regions using MTC from a sequencer lt lt e e e e nnn 206 Playing regions using MTC from an external device lecce eee 207 Using Sound Forge to generate MTC for a MIDI sequencer Lleee 207 Using Sound Forge to generate MTC for an external device onnan anann rnnr nnn 208 SAN eill ee MEET PPP 209 me fs Ail 6s eee ee RE R E EET 209 External Salnplers ada doa ee o uc Dex De 4 ies Pate Cg eee aes ees wees eaasaeds 209 Interrid SaHIDIGES 6i uio a cele dee io S dac EC we Y wor eee Batak Grati un ttp 210 Configuring the Sampler TO0l 22 5 9 er ERESAOREI REL LVRPRLE RYE EG 210 Creating a sampler configuration 0000c cece eee eee eee ee eee eee 211 Open loop versus closed loGpw s ma ua te e EO d dite el e ob de wanes 212 Saving sampler config rations 292i e e e 644 VE X pb whale os UR RR P 213 Sending arncdrecelving Salil ES wx x nci Deer ac YR E RE Dee Ver XR Rd 213 Ts n Lee Ez Sample ERROR EE OE TERUEL TOLL TUR 213 Receiving a Sample scere tieni ens eee Iu ped oe oe Bie nat ee eee elencate ea i d ns 213 MIDI unity note and Fine tune imi ERSTER SCR ee ROR eR OR EROR E CER RO RAO ROSE SCAN 214 Using the MIDI Keyboard leere rt I 214 Displaying the MIDI Keyboard leere 214 Turnin
80. operations including those occurring before your last save Once you are finished working with a project file you can save your work to a media file using the Render As option on the File menu sE Note To use the advanced undo redo capabilities mentioned above you must have the Allow Undo past Save check box selected on the File tab of the Preferences dialog To access the Preferences dialog choose Preferences from the Options menu MSG 1 From the File menu choose Save As to save the current data window to a project file The Save As dialog appears Using the Save in drop down list locate the folder where you want to save the project From the Save as type drop down list choose Sound Forge Project File frg 2 3 4 In the File name box enter a name for the file 5 Click the Save button S ound Forge creates a frg file with the name you specified and creates a folder with a similar name projectname frg for example in the same location for the temporary files Important The associated project folder created by Sound Forge should not be deleted as this will cause your project file to be unusable GETTING STARTED 6y Getting media files Sound Forge can open a variety of audio and video files There are three main methodes for locating previewing and opening media files s From the File menu choose Open to display the
81. page 120 Tip Sound Forge automatically names regions for you while recording You can customize this automatic labeling feature For more information see Customizing automatic labeling on page 93 yg Inserting regions based on rapid sound attacks 1 Open the Fill pca file 2 From the Tools menu choose Auto Region The Auto Region dialog appears 3 Clear the Build regions using the current tempo check box USING MARKERS REGIONS AND THE PLAYLIST CUTLIST CHP 7 101 4 Specify a preset from the Preset drop down list or configure a new setting using the dialog s active parameters shown in the table below Parameter Description Attack sensitivity Determines the sensitivity of the attack detection algorithm to rapid volume increases Release sensitivity Determines the minimum decrease in sound level required to create a region end point Minimum level Determines the threshold audio level required to create a new region Minimum beat duration Specifies the minimum length in seconds that must elapse before a new region can be created Use release point for end Requires a region end when the sound level drops by the factor specified by the Release of region sensitivity value 5 Click OK Sound Forge inserts regions in th
82. part of the graph is being displayed To turn off Grab Pan mode choose Grab Pan from the shortcut menu again Changing the graph type Click the down arrow next to the Normal Display button F and choose Line Graph Filled Graph or Bar Graph from the menu to change the type of graph displayed in the Spectrum Analysis window A check mark is displayed next to the selected graph type y Note Some video drivers have problems displaying Filled Graph and Bar Graph modes If you encounter problems such as incorrect shading or very slow drawing use the Line Graph option or change video drivers If you re analyzing a stereo file you can click the down arrow next to the Normal Display button and choose Single Graph to see the right and left channels in a single graph Right click the graph and choose Logarithmic from the shortcut menu to toggle the x axis between logarithmic and linear mode In logarithmic mode more of the graph is devoted to lower frequencies USING SPECTRUM ANALYSIS CHP 17 CG Changing the zoom level Zooming can be accomplished in several ways 1 Drag on the graph to draw a box around the area you want to magnify You can toggle through mouse selection mode by right clicking while holding the left mouse button e The first type is a vertical zoom window This will allow you to zoom to a frequency range e The secon
83. position Ev SERIE LEARNING THE SOUND FORGE WORKSPACE sz S SSR Stop stops playback and returns the cursor to its prior position Go to Start moves the cursor to the start of the file Rewind moves the cursor backward in the current file Forward moves the cursor forward in the current file Go to End moves the cursor to the end of the file CHP 3 Navigation toolbar 31 The Navigation toolbar contains buttons used to navigate within the current data window Zoom In Full magnifies the selected area to a 24 1 ratio Zoom Normal resets the audio data to its original magnification Zoom Selection maximizes the selection vertically and horizontally Custom Zoom 1 sets the audio data to a custom time magnification level Custom Zoom 2 sets the audio data to a custom time magnification level Insert Marker drops a marker at the current cursor position Mark In marks the in point of a new selection Mark Out marks the out point of a new selection E memIEB xS Views toolbar T c op EB E r1 s xt Lo r1 um Ld a Go To displays the Go To dialog and allows you to quickly move the cursor to a specific point in a file Cursor Center centers the display with the cursor displayed in the center of the data window Cursor to Selection Start moves the cursor to the beginning of the selection Cursor to Selection End moves the cursor to
84. preview the effect that a process has on a file by using the Preview button This button is found in most audio processing dialogs You can use previews to fine tune effect parameters without leaving the dialog More importantly using previews reduces wasted processing time Setting custom preview parameters You can customize the preview parameters to satisfy your editing preferences You can save custom previewing settings for the current process alone or for all processes PROCESSING AUDIO CHP 10 147 Customizing previews for the current process 1 Right click the dialog and choose Configuration from the shortcut menu The Preview Configuration dialog appears 2 Edit the preview parameters as desired For more information see Preview parameters on page 147 3 Click OK The preview parameters are updated and retained until you close the current dialog Customizing previews for all processes 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the Previews tab 3 Edit the preview parameters as desired For more information see Preview parameters on page 147 4 Click OK Sound Forge updates and saves the new preview parameters for all effects Preview parameters The following sections briefly describe the configurable preview parameters o O Note If you are using Screenblast Sound Forge you can only access these preview parameters from the Preview Configuration window For more info
85. recording methods Time Threshold and MIDI Timecode These recording methods enable you to trigger recording to begin from Sound Forge automatically using a specified device with no intervention necessary You can set up multiple automatic recording sessions to take place at different times and set a session s recurrence level for one time daily or weekly For your recording sessions to take place the Sound Forge application must be started and armed for recording Triggering by time 1 From the Special menu choose Transport and then choose Record from the submenu EM Click the Record button 9 on the transport bar or press cti R 2 From the Method drop down list choose Automatic Time 3 Choose the destination data window for your recording By default Sound Forge records into the active data window If this is not where you want to record use one of the following methods to prepare for recording e To record into a different data window click the Window button and choose a data window from the Record destination window drop down list Click OK to return to the Record dialog Of e To record into a new window click the New button in the Record dialog and specify the attributes sample rate bit depth and channels for the new file Click OK to return to the Record dialog 4 From the Device drop down list choose the device to use for recording 5 From the Mode drop down list choose a recording mode For mo
86. replacing the damaged data with the data immediately preceding it This repair method is useful for repairing longer glitches such as needle drops and scratches a scalenoteF wav 00 00 00 100 Selection data Selection is replaced with data preceding it 1 Open the file containing the glitch CHP 9 EDITING REPAIRING AND SYNTHESIZING AUDIO 140 n 2 Create a 5 to 50 ms selection containing the damaged audio Note The maximum allowed replace time is 0 5 seconds 3 From the Tools menu choose Repair and choose Replace from the submenu Sound Forge replaces the selection with the selection of identical length immediately preceding the damaged data In addition Sound Forge creates rapid crossfades at the beginning and end of the replacement selection to prevent a new glitch from being created Repairing audio glitches manually with the Pencil tool The Pencil tool is for users who prefer to repair their audio glitches manually This tool allows you to repair waveform glitches by redrawing the damaged waveform section However the Pencil tool can only be used when a file s waveform displays at a zoom ratio of 1 32 or lower 1 Open the file containing the glitch 2 Zoom in tightly on the glitch 3 Select the Pencil tool using any of the following methods e From the Edit menu choose Too
87. represent one sample This high level of zoom may be useful when editing with the Pencil tool For more information see Repairing audio glitches manually with the Pencil tool on page 140 fii SampleMusic way x 00 00 24 238 a U 60 Sample Inf Pe ee Inf 6 0 allai 241 Olaf ND O xm 00 00 00 000 Waveform at 24 1 zoom ratio CHP 5 NAVIGATING ZOOMING AND SELECTING 74 Changing the zoom ratio To edit the zoom ratio use the Zoom In Out spin control located adjacent to the zoom ratio display e Clicking the magnifying glass buttons increases decreases the zoom ratio by single step increments e Dragging the spin control increments the zoom ratio quickly in the corresponding direction Right clicking the waveform display allows you to quickly access time ruler zoom commands from the shortcut menu Zoom In Full Dut Full Paste ee ee biosstade Custom oom 1 512 Numpad 1 Mik Custom oom 1 1 Numpad 2 Using the time zoom shortcut Note When Sound Forge opens a file the horizontal magnification is set to the value specified by the Normal zoom ratio setting in the Display tab in the Preferences dialog To access the Preferences dialog choose Preferences from the Options menu l Using zoom time commands If you prefer using commands you can control the time magnification from the View menu The following table briefly describes the available time
88. roughly the same size as the test tone file The end spike was not found Verify that the spike following the test tone is present in the recorded file when recovering impulses in Auto detect timing spikes mode USING ACOUSTIC MIRROR AND WAVE HAMMER CHP 12 T 197 What is Wave Hammer Sony Pictures Digital s Wave Hammer DirectX plug in is an audio mastering tool consisting of a classic compressor and a volume maximizer Wave Hammer can be used in any Microsoft DirectX compatible host application for example Sound Forge and ACID Pro and the quality and functionality of Wave Hammer is the same in each host application however the method of previewing effects is different Consult your host application s documentation to determine the available previewing methods Displaying Wave Hammer To display Wave Hammer choose Wave Hammer from the Effects menu The Wave Hammer dialog The Wave Hammer controls are divided into two tabs Compressor and Volume Maximizer Compressor tab The controls on the Compressor tab are used to compress the audio signal When applied properly compression reduces the dynamic range of audio and allows you increase overall loudness Compression has various uses For example applying heavy compression at a low threshold to electric guitar produces distortion Sony Wave Hammer Example music bed x Preset
89. scan treats video as non interlaced Upper field first treats video as interlaced and reads the interlaced video as upper field first Lower field first treats video as interlaced and reads the interlaced video as lower field first r Note The Field order setting remains in effect only as long as the file is open Sound Forge does not retain the setting when you save or close the file 4 Choose a setting from the Pixel aspect ratio drop down list to determine the ratio Sound Forge uses to display and render the video In most cases Sound Forge auto detects this value for you 5 Click OK CHP 16 WORKING WITH VIDEO 242 j LLL Configuring your video settings You can use the Video tab on the Preferences dialog to choose your video settings From the Options menu choose Preferences and then click the Video tab The items on this tab are explained below tems Description Resample source video Select this check box if you want Sound Forge to interpolate video frames when you render to a frame rate that is greater than the source file s frame rate Deinterlace method Chooseasetting from the drop down list to determine how Sound Forge separates the two fields that make up a video frame when you render to a progressive format Blend Fields Maintains the data in the two fields by blend
90. show hide and enable bypass automation envelopes Plug in parameters can be edited using the automation envelope in the data window Ja Note Choosing a new effect chain preset will clear the current effect automation settings Adding an effect automation envelope 1 In the Plug In Chainer select the button t amp s for an effect that includes automatable parameters The plug in s controls are displayed and a list of the effect s automatable parameters is displayed on the right side of the Plug In Chainer Tip The Parameter Chooser is displayed on the right side of the Plug In Chainer window when you add a plug in that supports automation Click the Show Parameter Chooser button W or press Ctri H to show or hide the chooser 2 Select the Automate check box for each parameter you want to control with an envelope An envelope is added to the data window for each selected check box Adding a volume or panning envelope Panning envelopes will have no effect on mono source data Convert mono sound data to stereo before adding a panning envelope 1 Click within a data window to give it focus 2 Press V to add a volume envelope or press P to add a panning envelope Sound Forge adds an envelope to the
91. signal with the original signal Gapper Snipper removes inserts sections of silence at regular intervals to create unusual effects Noise Gate removes signals below a set amplitude threshold Pitch Bend creates a modified sound envelope that corresponds to increasing or decreasing the pitch of a sound file over time Pitch Shift changes the pitch of a selection with or without preserving the duration of the file Reverb simulates the acoustics of different environments Vibrato creates periodic pitch modulation in an audio file Wave Hammer acts as a classic compressor and volume maximizer CHP 3 35 yg Tools toolbar The Tools toolbar contains buttons corresponding to commands in the Tools menu Replace replaces selected audio data with P Burn CD writes the selected audio track to CD e previous adjacent data Extract Audio from CD extracts audio from CD E and opens in Sound Forge for editing Interpolate replaces selected audio with interpolated audio data based on the selection s beginning and end samples m Auto Region creates regions in an audio file sampler allows you to transfer samples to according to rapid sound attacks or a specified from Sound Forge time interval Crossfade Loop mixes audio occurring before Clip Detect performs clip detection on the the loop start point into the end of the loop to current file or selection Note clip detection is smooth transitions
92. t transpose from the drop down list 6 In the Number of beats box specify the length of the loop in beats The default value is four beats 7 Click OK 8 From the File menu choose Save As and save the file with a descriptive name Creating an ACID 2 0 disk based file ACID 2 0 disk based files can stretch to comply with an ACID project s tempo but require that you specify the file s original tempo upon configuration If the original tempo is not specified in the Edit ACID Properties dialog no stretching occurs While ACID 2 0 disk based files can change tempo they cannot change pitch Disk based files are typically used in ACID 2 0 for extended vocal tracks or other long audio files that do not loop 1 Open the Voiceover pca file and select the entire waveform 2 From the Special menu choose Edit ACID Properties The Edit ACID Properties dialog appears 3 Select the ACID 2 0 Disk Based radio button The Tempo check box activates Edit ACID Properties muziched wav E x Play Play looped Tempo 60 to 240 bpm T Select the ACID 2 0 Disk based radio button 4 If the file should stretch to match the ACID 2 0 project s tempo select the Tempo check box The Tempo box activates 5 Specify the file s original tempo 60 240 bpm in the Tempo box and click OK For more information see Setting loop tempo on page 233 6 From the File menu choose Save As and save the file with a descriptive name CHP 15 LOOP
93. the Undo Redo History window eee nnn 62 Selecting status TOrtfials eeann H s REPE eE kaneis R E R ER NE 64 Experimenting with status formats lt lt e e een hh 65 Configuring the Measures amp Beats format 00 cece eee eee ehh 66 Rendering TI68 suia nusarin de ado nda ee ac Ra d E cde See ee d a o ac 67 Exporting to Net MD devices luere nn 67 Exporting to CLI handheld devices e eee eeeeeeeeees 67 Recovering files after a craSh 0 ccc cece eee eee eee eee eee eee eee eee 68 Hecovenrad Hes 22 949 Ern bet R cee Bet S eee bal fea ossis eee teeta wh eset 68 Deleting recovered files 3 3 c3 bd cla ES b dox eb nnna nananana 68 TABLE OF CONTENTS yz Navigating Zooming and Selecting 69 Setting the cursor POSON cs d ice dod Roh eU CDS ea D ERI 69 Previewing audio with pre roll leeeeeee e RII Ih 70 Using trie overview Dal iix pcd ew HORE ead Rees E code i Vans dae 70 Understanding the overview bar lleeeeeeeeeee hh hh nnns 70 Navigating in the overview bar l l hh hh hh 71 Playing audio in the overview bar lt hh hh hrs 72 Navigating with the audio event locator enhn 72 Zooming and magnifying e cee ehh 72 Zooming the time ruler horizontal 0 c ce eee eee ees 73 Zooming the level ruler vertical e cc eee eee eee eens 74 Using custom ZOOM settingS a
94. the end of the selection Center Sustaining Start moves the cursor to the beginning of the sustaining loop Center Sustaining End moves the cursor to the end of the sustaining loop Center Release Start moves the cursor to the beginning of the release loop Center Release End moves the cursor to the end of the release loop The Views toolbar contains buttons used to store and retrieve data window views Toggles views 1 8 between setting and A restoring CHP 3 9 Stores and recalls specific selection views LEARNING THE SOUND FORGE WORKSPACE 32 9 LLL Status Selection toolbar The Status Selection toolbar contains buttons used to specify a file s status format and control snapping functions Samples changes the status format to samples Time changes the status format to Time mm Seconds changes the status format to EL Seconds Time and Frames changes the status format to Time and Frames Absolute Frames changes the status format to Absolute Frames E amp Measures and Beats changes the status format to Measures and Beats SMPTE Film Sync 24 fps changes the status format to SMPTE Film Sync 24 fps Available only in the full version of Sound Forge E Regions Playlist toolbar DROP E SMPTE EBU changes the status format to SMPTE EBU 25 fps Available only in the full version of Sound Forge SMPTE Non Drop changes the status format to SMPTE Non Drop
95. the entire file at once or a small portion of data in greater detail For this reason Sound Forge allows you to utilize two varieties of zooming time ruler zooming and level ruler zooming NAVIGATING ZOOMING AND SELECTING CHP 5 73 Zooming the time ruler horizontal The current time ruler magnification ratio appears in the lower right corner of the data window above the status boxes D musicbed wav nm xl Time ruler zooming controls at 00 00 00 00 00 00 0 1 00 00 00 02 00 DIO DO CES DOT 00 00 04 00 6 0 Zoom ratio Inf 6 0 Zoom Out Zoom Spinner D 1 512 ala be Zoom In Db Der aa ar Understanding the zoom ratio The zoom ratio determines the number of samples represented by each horizontal point on the screen The zoom ratio is a value of X Y where X is the number of horizontal points and Y is the number of samples If the ratio is 1 1 each point on the screen represents one sample At this zoom ratio a brief but detailed selection of time displays M musicbed wav B x 00 00 00 00 U ajta fai Phi e jele NH O mu 00 00 00 00 Waveform at 1 1 zoom ratio Conversely if the zoom ratio is 1 1024 1 024 samples are represented by each point on the screen and a greater length of time displays For very precise editing you may want to zoom in more tightly than a 1 1 ratio The full version of Sound Forge allows up to a 24 1 ratio where 24 points on the screen
96. the polarity of the new left channel New right channel pane The following three controls are located in the New right channel pane of the Channel Converter dialog Control Description From left Determines the amount of the original left channel data mixed into the new right channel From right Determines the amount of the original right channel data mixed into the new right channel Invert right channel mix Selecting the Invert right channel mix check box reverses the polarity of the new right channel Convert to specified output channels only no custom mixing Selecting the Convert to specified output channels only check box makes all of the dialog s controls unavailable and results in the following e When converting from mono to stereo each new stereo channel is an exact copy of the original mono file e When converting from stereo to mono the new mono channel consists of both of the original stereo channels mixed at 5096 volume CHP 10 PROCESSING AUDIO 154 Sp DC Offset Audio that is not centered around the zero baseline in the waveform display is said to have a DC offset DC offsets are typically caused by electrical conflicts between the sound card and input device The DC Offset function is used to change the baseline of an audio file by adding a constant value to each sample to compensate for offsets DC Offset Sound 2 H E Preset Cancel Automatically detect and remove Hel C Adjust DIC offset by
97. to create a smoother more natural sounding transition In addition you can configure the Crossfade Loop tool to crossfade the beginning of the audio loop with the beginning of the post loop audio on the loop s final pass This smooths the occasionally awkward transition from looped to non looped audio LOOPING CHP 15 Using the Crossfade Loop tool 1 Open the Loop pca file A sustaining loop appears in the data window 2 From the Tools menu choose Crossfade Loop The Crossfade Loop dialog appears 3 Drag the Loop slider to configure the percentage of the loop to be crossfaded Loop to crossfade Leopiocrossfade Sustaining Release C peleas Loop to crossfade tf Loop to crossfade Sustaining Release C Release Y a Yy SE mm ENS Iv Loop 1 to 100 ST W Loop 1 to 100 X Post Loop 1 to 100 X is Post Loop 1 to 100 X 3090 loop crossfade 80 loop crossfade 227 4 If desired select the Post Loop check box and drag the slider to configure the percentage of the loop to be crossfaded into the post loop audio Loop to crossfade 6 Sustainin Loop to crossfade 6 Sustainin t Release pc NEC LLL II M 2 g Tet Iv Loop 1 to 100 X L IZ Loop 1 to 100 ST IZ Post Loop 1 to 100 gt T WR 20 X Iv Post Loop 1 to 100 gt T 2096 post loop crossfade 9096 post loop crossfade 5 From the Preview mode drop down list specify how the Preview butto
98. uncompressed data The amount of processing time is dependent on the algorithm as well as the system s hardware Typically opening and saving compressed files takes longer than uncompressed files Compressed files are not as portable as uncompressed files To distribute WAV files in a compressed format you must verify that the audience can use them Also not all audio software can use compressed WAV files which may make using other applications with Sound Forge difficult In Sound Forge any compressed WAV file can be opened if a compatible ACM driver is installed If no compatible ACM driver is available for a compressed WAV file Sound Forge alerts you to the problem Saving compressed WAV files is as simple as specifying the compression algorithm in the Format drop down list of the Custom Settings dialog Once a compressed file is saved Sound Forge automatically saves updates to the file using the selected compression algorithm The compression format can be changed later or reverted to an uncompressed format using the Save As dialog Transparent playback and recording of non hardware supported audio files The second component of the ACM is called the Sound Mapper It allows playback and recording of audio data formats that are not directly supported by the sound card You can select the Sound Mapper as the Playback and Record devices on the Wave tab of the Preferences dialog You can perform any additional configuration of the Sound Ma
99. use When you save a plug in chain you not only save the order of the effects in the chain but also the parameters of each individual effect 1 Create an effects chain in the Plug In Chainer window 2 Enter a name for the new chain in the Chain Preset box Enter a name in the Click the Save Chain Preset button to Chain Preset box o L c Y Chorus S Distortion HI Dither a Save Chain Preset save the new chain aR Press Ctri S enter a name for the preset and press Enter CHP 11 APPLYING EFFECTS 176 Sp d Loading plug in chains Once you have saved a plug in chain you can easily load it into the Plug In Chainer Loading a plug in chain from the Plug In Chainer Choose a plug in chain from the Chain Preset drop down list The chain loads into the window Loading a plug in chain from the Plug In Manager 1 From the View menu choose Plug In Manager The Plug In Manager window appears 2 Click the DirectX Chains folder in the left side of the window The folder displays your saved plug in chains in the right side of the window 3 Drag a plug in chain to the Plug In Chainer The chain loads into the window Managing effects Sound Forge provides several tools to help you manage your plug ins including the Plug In Manager DX Favorites menu and the Preset Manager Using the Plug In Manager window The Plug In Manager window not only allows you to add plug ins and saved plug in chains pg 172
100. window 4 M Multiple takes creating Regions Multiple takes creating Regions mode allows you to record several takes with each take defining a region in the Regions List Recording begins at the position displayed in the Start box when you click the Record button L 271 and continues until you click the Stop button 1 When you stop recording the stop position becomes the start position for the next take which can be recorded immediately For more information see Using the Regions List on page 104 Multiple takes no Regions Multiple takes no Regions mode also allows several takes to be recorded without these takes being defined as regions Like the previous mode recording starts at the position displayed in the Start box when you click the Record button 9 and continues until you click the Stop button Hl When you stop recording the stop position becomes the start position for the next take which can be recorded immediately Create a new window for each take Create a new window for each take is similar to Multiple takes creating Regions but creates a new data window for each take This is useful when recording audio data in which you will save each take as an individual file Punch In record a specific length Punch In mode is used to record over a specific selection in an existing data window Specifying Punch In activates the Start End and Length boxes Recording
101. window i Wow sound editina__ 00 00 01 Sound editing just 1 LR Zooming in on a selection decreases the size of the No J gt de 00 00 00 824 00 00 01 381 00 00 00 557 bracketed area However the selection remains the same size and does not move This allows you to quickly locate a selection even when another section of an audio file is displayed Navigating in the overview bar 1 Open the Voiceover pca file 2 Click the Zoom In button Gy until you reach a 1 32 zoom ratio 3 Click outside the bracketed region in the overview bar i Wow sound editing Iof x G PR H 2 DEM i51 43 TL ee ere Clicking in the overview bar outside the bracketed area places the cursor beyond the 25 6 0 12 0 Inf pe m fit Pl P PARARI M LARA ATL NI aii o 4 visible data window 12 0 6 0 2 5 allaj L Phs Offa K O zx 00 00 03 873 The cursor position changes but the cursor is located beyond the scope of the data window CHP 5 NAVIGATING ZOOMING AND SELECTING 72 4 Double click anywhere in the overview bar i Wow sound editing B x Bead TC Oa ae 00 00 01 100 00 00 01 200 B h The cursor is centered Wp in the data window E The cursor position updates and centers in the data window E allal E i32 el ele No O gt d 00 00 01 126 Playing audio in the overview bar To make navigating a file from the ove
102. windows You can customize this automatic naming feature to suit your needs For more information see Customizing automatic labeling on page 93 GETTING STARTED CHP 4 M c 3 Active data windows vs inactive data windows When multiple data windows are displayed on the workspace only the window currently being edited is active and all operations affect this window exclusively Activating a window To activate a data window click anywhere within it The title bar changes to the color defined as the active window color and the previously active window is deactivated Note Choosing Focus to Data Window from the View menu also results in the focus being returned to the current data window Copying data to a new file You can create new audio files by copying data to a new data window 1 Open an audio file and create a selection 2 From the Edit menu choose Copy The selection is copied to the clipboard sem Click the Copy button amp in the Standard toolbar 3 Create a new data window For more information see Creating a new data window on page 52 4 From the Edit menu choose Paste The selected data is pasted in the new data window EST Click the Paste button in the Standard toolbar
103. 0 00 05 o lg E S Lr Inf log MM Lid U 6 0 Inf 6 0 allal f Do Japa e No I gt 00 00 05 317 Inserting markers using the ruler shortcut menu The ruler shortcut menu allows you to insert and name a marker in a single step 1 Click to position the cursor in the waveform 2 Right click the ruler and choose Insert Marker Region from the shortcut menu The Insert Marker Region dialog appears 3 Enter a name for the marker in the Name box and click OK The new marker appears in the waveform Inserting markers during playback To insert markers in real time during playback press M Inserting markers during recording To insert markers during recording click the Drop Marker button l in the Record dialog or press M For more information see Inserting markers while recording on page 125 Naming markers When you insert a marker Sound Forge automatically names it for you You can customize this automatic labeling feature or you can name markers manually USING MARKERS REGIONS AND THE PLAYLIST CUTLIST CHP 7 93 Customizing automatic labeling You can customize the way that Sound Forge names new files markers or regions 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the Editing tab 3 Click the Automatic Labeling button The Automatic Labeling dialog appears Automatic Labeling EE Sound windows
104. 00 00 00 02 997 00 00 02 997 a 00 00 00 00 00 02 00 00 04 V V Silence Wow Sound editing just gets easier 1 And easier 1 LI 1 P Hold the Alt key and drag the selection into arre els Ria the destination window N J gt 00 00 00 383 3 Hold the key and drag the selection to the Voiceover data window e A vertical dotted line representing the leading edge of the source selection appears in the destination window e The letter P appears in the box adjacent to the pointer 4 Use the mouse to position the dotted line in the destination window where the source data will be pasted ij Wow sound editing Drag the selection to the destination window M Wow sound editing Pm x a 00 00 00 00 00 02 00 00 04 V V Silence Wow Sound ec 1 1 i 25 1 512 MEAZ 60 00 00 00 383 120 Inf 12 0 Drag and drop paste indicator Selection is pasted into alem pz iee the destination window N 4 gt 00 00 03 380 5 Release the mouse button The selection is pasted into the destination window CHP 9 EDITING REPAIRING AND SYNTHESIZING AUDIO 136 LLL Mixing 1 Open the Voiceover pca and Drumhit pca audio files 2 Select all audio data in the Drumhit data window 3 Drag the selection to the Voiceover data window e A shaded region representing the sourc
105. 0000 002 LLL tima ja a e H A oL muB 00 00 00 000 GETTING STARTED S Playing a file After you open a file you can play it by clicking the Play All button IF on the transport bar For more information see Transport bar on page 30 Viewing the current position As a file plays Sound Forge indicates the current playback position in the data window in three ways A cursor travels across the visible portion of the data window e The current playback position in relation to the entire file appears in the overview bar e The first selection status box in the playbar displays the current position in the user specified format For more information see Selecting status formats on page 64 ig wow sound editing Ww Sound editing just gets easier I Silence And easier Overview bar current position Cursor position Status box value ajaq ee jiz jajJaje HL mu 00 00 02 275 Playing a file from a specified point Sound Forge also allows you to begin playback from any point in a file 1 Click to position the cursor in the data window A flashing cursor spanning the height of the waveform display displays 2 Click the Play button on the transport bar The file plays from the cursor position If you do not hear playback you may have inadvertently created a small selection To determine if you created a selection examine the status boxes in the bottom right corner of the data wind
106. 06 e The total number of samples in the selection is 220 507 4 From the Options menu choose Status Format and choose Time from the submenu Notice that status values change from samples to hours minutes and seconds 00 00 00 000 00 00 05 000 00 00 05 000 5 From the Options menu choose Status Format and choose SMPTE Non Drop 29 97 fps Video from the submenu Notice that status values change to hours minutes seconds and frames 00 00 00 00 00 00 04 29 00 00 04 29 6 Experiment with each status format and make note of how each format displays a 4 Note Selecting a new format changes the status format for the current data window only ee CHP 4 GETTING STARTED 66 To quickly change a file s status format right click any of the data window s status display boxes and choose a new format from the shortcut menu zin x 00 00 02 00 00 04 editing just gets easier And easier K 1 512 MAZ 00 00 00 394 00 00 00 499 nninman ina Git Set Selection Choose a format from the shortcut menu Samples Time Seconds Tige amp Frames Apsslute Frames Measures amp Beats SMPTE Film Sync 24 fps SMPTE EBU 25 fps Video SMPTE Mon Drop 23 87 fps Video SMPTE Drop 23 37 fps Video SMPTE 30 30 fps Audio Configuring the Measures amp Beats format Choosing the Measures amp Beats format allows you to specify the beats per minute and
107. 233 Playlist files 111 Regions List files 105 Sampler configurations 213 Summary information 90 Video files 242 Workspaces 56 Scaling Record meters 125 Scan Levels 160 Scott Studio commands 97 Script commands 96 SCSI MIDI Device Interface SMDI 209 SCSI SMDI Hardware setup 216 Troubleshooting 217 INDEX Selections Auto snap to 80 Creating on the fly 79 Fine tuning 79 Restoring 80 Selection status boxes 51 Set Selection dialog 78 Statistics 52 Sending samples 213 Set Selection dialog 78 Setting record levels 125 SFK files 48 Shifting a selection left right 231 Simple synthesis 144 Smooth Enhance 165 SMPTE 201 269 Snapping 80 Current selection 80 Disabling at high magnifications 80 To time divisions 80 To zero crossings 80 Snapshots creating and comparing 250 Sonogram 251 253 Displaying 251 Displaying frequency and amplitude values 251 Displaying notes 251 Displaying statistics 251 printing 253 Tuning 252 Updating 252 Sound Forge Command descriptions 36 Controls 39 41 Crash recovery 68 Data window 27 Full version features 15 Installation 16 Introduction 15 Main screen 24 Playbar 28 Status formats 64 Toolbars 29 ToolTips 36 Spectrum Analysis changing spectrum graph zoom level 249 changing the graph type 248 printing graph 250 printing sonogram 253 Refreshing graphs 249 settings 253 snapshots 250 IX Spectrum
108. 3 Choose Flip Selected Points from the shortcut menu APPLYING EFFECTS CHP 11 a 18 Setting fade properties You can adjust the fade curve for each envelope segment individually To change the fade curve right click an envelope segment and choose a fade command such as Linear Fade or Fast Fade for example from the shortcut menu Cutting copying and pasting envelope points Qn A OO N 6 Select the Envelope tool 4 Click within a data window to select it Drag horizontally in a data window to select envelope points From the Edit menu choose Cut or Copy Click to position the cursor where you want to paste envelope points U M Tip Click within a different data window if you want to paste envelope points across data windows G From the Edit menu choose Paste Copying an envelope to another data window 0O FR WY CHP 11 Select the Envelope tool Click within a data window to select it From the Edit menu choose Select All From the Edit menu choose Copy Glick within a data window to select it r 4 Tip You can paste envelope points to a different envelope type by selecting the envelope where you want to paste LO From the Edit menu choose Paste Click Go to Start IR if you want the envelope to appea
109. 3 8000 20 8 229 Kaui GE EOD ek ep e qo AR Cs ai ps MM a 176 Using the Plug In Manager window eere hh 176 Organizing effects in the DX Favorites menu eee 177 Using the Preset Manager sax REX REGE Ba Saws edule da weed CC ede Vox SS 177 Automating Effect Parameters eee 178 Adding an effect automation envelope leeren 178 Adding a volume or panning envelope celere hh 178 Adjusting effect parameters with envelopes scelere 179 Previewing effect automation saamisen seana a aa eee enhn 179 Applying effects automation 0 000 cece eee eee eee hs 179 Showing or hiding effect automation envelopes cesses 179 Enabling or bypassing effect automation enveloppes e e e eens 179 Removing effect automation envelopes e e c cece eee eee eee eee ee eee 180 Adjusting envelopes leere Rh Rhin 180 Adding envelope points 55s 3 5 ac oor de ae EC RC GR abeo caa aha d ee ee ei es 180 Sele ET CNVClODG 54 53 99299 1 03 9x pier ea CR a Pewee ue A0 o 7 0 eee Oa e et 180 Setting fade DIO DEMS 34 x Meee ete ese aie L ac d aur SN eee ee 181 Cutting copying and pasting envelope points 2 000 cece ee eee en 181 Copying an envelope to another data window lecce 181 Using Acoustic Mirror and Wave Hammer 183 TABLE OF CONTENTS 10 n What IS ACOHSIIG MIMO s a
110. 53 LLL Inserting regions using drag and drop One of the easiest ways to insert a region is to drag a selection from a data window into the Regions List 1 Create a selection containing the opening drum roll in Fill pca Drum Fill gt No Bg mu 00 00 00 000 00 00 00 475 00 00 00 476 Create a selection 2 Drag the selection from the data window to the Regions List The Insert Marker Region dialog appears 3 Name the region and click OK Inserting regions using the time ruler shortcut 1 Create another selection in the waveform display 2 Right click the time ruler and choose Insert Marker Region from the shortcut menu The Insert Marker Region dialog appears 3 Name the region and click OK Inserting regions using the keyboard 1 Create a selection in the waveform display 2 Press R The Insert Marker Region dialog appears 3 Name the region and click OK Inserting regions automatically In addition to the previously described methods you can also insert regions automatically Inserting regions while recording The most efficient way of inserting regions is to do it while recording your audio This is especially useful when working on a project that you will piece together from multiple takes To create regions while recording specify Multiple takes creating Regions from the Mode drop down list in the Record dialog For more information see Multiple takes creating Regions on
111. 6 M N K M Internal MIDI devices 205 Samplers 210 Interpolating audio to repair glitches 139 Introducing Sound Forge 15 Invert Flip 158 IRCAM 271 Keyboard MIDI 214 Labels Automatically generating for files regions and markers 93 126 Level ruler 74 Levels Record 125 Levels toolbar 35 Loop Tuner 223 Locking loop length 226 Zero crossing finders 225 Looped playback 51 Loops 219 233 Creating for ACID 228 233 Editing 223 Halving doubling 231 Locking loop length 226 Release 219 Rotating audio 232 Saving 233 Setting tempo 233 Shifting selections left right 231 Sustaining 219 Magnify tool 76 Main screen 24 Markers 92 98 Automatically naming 93 126 clipped audio 95 Creating 92 Creating during playback 92 Creating during recording 92 125 Creating regions from 95 102 Moving 94 Naming 92 Measures and Beats Configuring 66 Media getting 46 Media files Auto preview setting 47 Meters 37 Disabling 20 MIDI 201 208 Conflicting SCSI IDs 217 Device configuring 202 Devices 205 Fine tune value 214 Initiating playback 203 Input synchronization 202 Keyboard 214 Open loop versus closed loop 212 Periodic transfer failures 217 Playback and triggered playback 201 Resetting triggers 202 Sample Dump Standard SDS 209 216 SCSI MIDI Device Interface SMDI 209 SMPTE 201 Synchronizing when recording 124 Timecode synchronization 20
112. 6 208 Trigger configuring 202 Triggered playback 202 Triggers 201 Unity note 214 MIDI Keyboard 214 Configuring 215 Displaying 214 Generating chords 215 Specifying instruments 215 Troubleshooting 215 Turning on 214 Minimizing quantization error 86 Mixing 60 136 Monitor for video previewing 239 Mono to stereo conversion 87 Mouse shortcuts 23 79 264 Moving markers 94 MTC sync 206 208 MTU 271 Multiple takes no Regions 120 Multiple takes creating regions 120 Musical time intervals 101 Mute 158 Naming Automatically naming files regions and markers 93 126 Markers 92 Navigating In the overview bar 71 Spectrum graphs 248 INDEX vi gt Navigation toolbar 31 Net MD devices exporting to 67 New window Creating 52 Creating for each recorded take 120 Creating through drag and drop 137 Noise gate 86 Noise shaping 85 152 Normalize 87 158 161 Applying dynamic compression 87 161 O Online help 16 Via the web 17 What s This help 17 Open dialog 46 Opening Cutlist files 111 Files 46 Playlist files 111 Regions List files 105 Workspaces 56 Opening files Explorer window 47 Optimization Hard disk defragmentation 19 Meters 20 Passive update 20 Playback cursor and record counter 20 Preload size 20 Total buffer size 19 Overview bar Navigating 71 Playback 72 Using 70 Overwriting 131 P Pan Expand 161 Mix mid side M
113. Adjusting Spectrum Analysis settings on page 253 Improving the graph s contrast To improve the contrast of the sonogram decrease the frequency and amplitude ranges as much as possible Smoothing the graph s display If che graph appears too pixelated raise the Set sonogram resolution value to 200 Improving the frequency resolution For greater frequency resolution choose a higher value from the FFT size drop down list Reducing the processing time To reduce processing time decrease the Set sonogram resolution value and or choose a lower value from the FFT size drop down list USING SPECTRUM ANALYSIS CHP 17 gt 253 Adjusting color intensity Adjust the sonogram s color intensity using the Color slider REEL E located directly beneath the sonogram Notice that the bottom pane of the dialog depicts the color scale in dB auge G anas TT a Le color intensity Tip This function may be fairly slow if the system lacks a palletized driver and Video for Windows is not installed M ia Returning to a spectrum graph To return to the spectrum graph click the Normal Display button in the toolbar Printing the sonogram Click the Print button to print the contents of the Spectrum Analysis window including the sonogram and statistics data Adjusting Spectrum Analysis settings From the Spectrum Analysis toolbar click the Settings button to display the Spectrum Settings dial
114. Burning CDs Sound Forge allows you to write audio to CD if your system is configured with a supported CD R RW drive and the necessary drivers Sound Forge burns CDs using the track at once method meaning that additional tracks can be added to the CD over a period of time Once all desired tracks are added you must close the CD before it can be played in a consumer CD player However once you have closed a CD you can no longer add tracks to it Correcting the sample rate for CD burning Sample rates deviating from 44 100 Hz cause CD track lengths to be miscalculated When attempting to write a file to CD that deviates from the 44 100 Hz sample rate Sound Forge prompts you to change the sample rate Selecting Yes automatically resamples audio to 44 100 Hz In addition you can use the Resample tool to change the sample rate of a file prior to burning the CD For more information see Resample on page 163 Writing mono tracks to a CD If you attempt to write mono audio tracks to a CD Sound Forge prompts you to create a stereo file by copying the mono data to both channels Adding tracks to a CD You should always save your audio files prior to writing them to CD 1 From the Tools menu choose Burn Track at Once Audio CD The Burn Track at Once Audio CD dialog appears The bottom of the dialog displays the length of the current audio file and the amount of time remaining on the CD currently in the CD R RW M
115. Configure the MIDI triggers to respond to the corresponding controls on the controller For more information see Configuring the MIDI trigger on page 202 Advantages of external MIDI controllers In addition to simple playback MIDI commands can be used to control a wide array of Sound Forge s navigation and editing functions In fact a quick look at the Event drop down list in the MIDI Triggers dialog can provide you with an idea of the power of MIDI commands used in conjunction with Sound Forge Using external MIDI controller presets Sound Forge comes equipped with system presets supporting the sequencer cursor dial and function buttons on the following external MIDI controllers e Roland MCR 8 Multi Controller e JL Cooper Media Control Station 2 The system presets for these controllers allow you to do the following Move the cursor using the controller s dial Drop markers by clicking the dial Zoom in and out of the waveform using the cursor keys vertically and horizontally Start and stop audio playback using the sequencer controls s M Ma Note Users of the aforementioned external MIDI controllers need not limit themselves to Sony Pictures Digital s default configurations ER Dropping markers creating regions with an external MIDI controller When triggering Sound Forge with an external MIDI contr
116. Creating from markers 95 Editing 102 Extracting 103 Playback using MTC 206 Regions List 103 104 Changing the region order 105 Configuring the display 104 copying to the clipboard 105 Displaying 104 Editing regions 103 Opening Regions List files 105 Saving Regions List files 105 Regions Playlist toolbar 32 Release loops 219 Creating 221 Remote recording mode 123 Renaming effects plug ins 176 Rendering files 67 Repairing audio Copying the other channel 138 Interpolating audio 139 Replacing with preceding audio 139 Using Pencil tool 140 Vinyl Restoration plug in 140 Repeating an operation 134 Replacing glitches 139 INDEX vili M Replicating Audio 132 Regions in the playlist 108 Resampling 163 Downsampling 164 Upsampling 164 Restoring a selection 80 Reverse 165 Rotating audio 232 S Sample rate 84 Editing 84 For CD burning 128 Sample size Editing 85 Sampling 209 218 Configuring the sampler 210 External samplers 209 Internal samplers 210 MIDI Keyboard 214 Open loop versus closed loop 212 Sample Dump Standard SDS 216 Sampler Tool 210 Saving sampler configurations 213 SCSI SMDI hardware and setup 216 Sending and receiving samples 213 Save All 55 Save As 54 88 Saving All open files 55 Cutlist files 111 Files 53 Loop points
117. EE beh ena A E o e b ci t a 23b Previewing files with VideO 4 ri er viv AKI Eu PAN UNEPUESE Taur d 238 Using an external monitor s 45 3 3 5 9 e cz 378 Ghee RO ane abi ab Red 94 8 Do ACA u s Aa ale RACES Sa 239 Attaching video to an audio file lecce nnn 240 Detaching video from an audio file llle nn 241 Setting video ODUOLS a sa ed heirs Bre pred uq OR DEAS EAD ERR ES 241 Video fille prODOrties 2x ck bx a xe EE ee GE DC Pe eee nri eda daudauidauu uds 241 Configuring your video settings 00 eee eee Rh 242 Saving a video Tile ei uti E De AE heed a ease dcm C ge 242 Using Spectrum AnalySIs 0 0000 eee ees 245 TABLE OF CONTENTS 1 3 Working in the frequency domain ee e n nn 245 Fastroturer TFaBSTOEUD ue Ap redd nerd a E ee aa d ww de eR ee ee idus da qiue Die 246 USING a spectrum graph ass s OO RE RCNH RC CC CARCER CC RC C Ra 246 Displaying a spectrum graph 29 3 3 9 310 DOCE Ce X dew Xe ke dra edades SPD Ro PP 246 Monitoring an input and output source leer 247 Displaying frequency and amplitude values notes and statistics LL 247 Navigating a spectrum Graphiver uus ad gaude eet re Gute Qoae oe ava tele nubes ete 248 Changing the graph VDE cercei se x nnii inina tasche nrbt artc Pete sata a a dea Siac Saw 2 wR deeded 248 Changing the zoom level 34 159 od ede See Lote hae tee hi beta oo dd ds 249 Working with stereo files nci Sox ord eta
118. Fade Controls The following controls are located in the Graphic Fade dialog Show wave The Show wave drop down list provides several settings for drawing the current selection s waveform on the envelope graph This function is available only for small selections Reset Envelope Clicking the Reset Envelope button clears the envelope of all points except the original two Fade Fade In The Fade In command is used to linearly fade a selection from a volume of Inf to a volume of O dB The size of the selection determines the length of the fade 1 Open the Musicbed pca file 2 From the Process menu choose Fade and choose In from the submenu Sound Forge applies the fade and volume increases over the length of the entire file Audio file fades in from Inf to O dB PROCESSING AUDIO CHP 10 M TJ 5S Fade Fade Out The Fade Out command is used to linearly fade a selection from a volume of O dB to a volume of Inf The size of the selection determines the length of the fade 1 Open the Musicbed pca file and select all audio data 2 From the Process menu choose Fade and choose Out from the submenu The fade is applied and the volume decreases over the length of the entire file i Example music bed B x Audio file fades out No d 2 EX from 0 dB to Inf Insert Silence The Insert Silence command allows you to place sections of si
119. Fine tune control value To fine tune a slider fader or spinner hold the right and left mouse buttons or hold cti while dragging Preview Hold and click the Preview button to hear the original audio This is equivalent to selecting the Bypass check box Hold and click the Preview button to display the Preview Configuration dialog otatus bar Double click the Sample Rate Bit Depth or Channels Stereo Mono box to display the Properties dialog Selection Status bar Double click the leftmost status selection box to display the Go To dialog Double click either of the other two boxes to display the Set Selection dialog SHORTCUTS APPENDIX A 265 Go to marker Double click a marker tag in the ruler to move the cursor to the position of the marker Set selection to region loop Double click a region or loop tag in the ruler to change the current selection to the region or loop end points Edit region or marker Double click a region or marker in the Regions List to display the Edit Region Marker dialog Edit playlist Double click a playlist entry to display the Edit Playlist dialog Play Normal button Hold and click to preview a Cut operation Hold ctri Shift and click to play to the cursor with pre roll Slow and fast selection scroll toggle To create a selection extending past the start or end of the waveform display hold the left mouse button while clicking the right mouse button to toggle between fas
120. Forge removes the plug in and adjusts the remaining plug ins aR Press Ctrij Tab to select the next plug in or Ctri Shift Tab to select the previous plug in and then press Ctri Delete to remove the selected plug in from the chain You can also remove a plug in by right clicking a plug in in the chain and choosing Remove from the shortcut menu Configuring chained plug ins To configure the parameters of specific plug in select it from the chain The plug in s parameters display allowing you to adjust all controls as needed For help on the different plug in controls click the Help for Plug In button 2 or click a control and press shift F1 Saving individual plug in settings as a custom preset Once you have adjusted effect parameters in the Plug In Chainer window you can save your settings as a custom preset for later use You can select a custom saved preset from the Preset drop down list to apply the same effect settings at a later time You also have the option of saving the entire chain as a chain preset For more information see Saving plug in chains on page 175 1 Adjust the effect parameters in the Plug In Chainer window to achieve the effect you want 2 Enter a name for the new preset in the Preset box 3 Click the Save Preset button The new preset is saved in the Preset drop down list Saving plug in chains Once you ve set up an effect chain you may want to save it for later
121. HP 6 91 CHAPTER gt Using Markers 7 Regions and the 2 Ld v C Playlist Cutlist el dw This chapter describes the use of markers command markers the Regions List and the playlist cutlist These tools allow you to tag and organize audio data and make audio editing more efficient Sound Forge can save marker Regions List and playlist cutlist information as metadata in most file types You also have the option of saving the Regions List and playlist cutlist to an external file For more information see Save metadata with file on page 54 Why use markers regions and the playlist There are at least four reasons for you to master the use of these features Rapid navigation Added effects for streaming media Multiple versions of edits MIDI synchronization and triggering Rapid navigation The most obvious use of the Regions List is for dissecting an audio file into multiple regions Once created regions can be selected and played in the data window You are also able to tag important time positions with markers This allows you to navigate large files and locate important audio events Added effects for streaming media Command markers allow you to add interactivity to media streamed over the Internet by inserting metadata into streaming media files As your file plays any number of other actions can be triggered including opening a Web page in a browser or displaying caption text IMultiple versions of edit
122. IMinimum inter phrase silence When you choose the Remove silence between phrases function the Minimum interphase silence value determines the minimum amount of silence needed between phrases for a new region to be created Minimum length following loop end When you choose the Remove data beyond loop points function the Minimum length following loop end value determines the number of samples that must follow a loop Bit Depth Converter The Bit Depth Converter is used to increase decrease the bit depth of a file while concealing the resulting quantization noise e Decreasing a file s bit depth decreases the overall size of the file but results in added quantization noise which can be masked using dither and noise shaping ncreasing a file s bit depth while not improving the quality of the audio allows subsequent audio processing to be performed with greater accuracy and resolution Bit Depth Converter Sound 2 E x Preset OK Cancel Bit depth 16 bit Dither None Help Noise shaping Dn hd Save As EIZ Preview Bypass Selection 00 00 00 000 to 00 00 27 875 00 00 27 876 Channels Bath Selection Bit Depth Converter dialog Prior to decreasing a file s bit depth you should optimize the audio for conversion For more information see Minimizing quantization error on page 86 se Note There are no rules regarding maintaining audio quality when decreasing bit depth For this
123. ING 230 r Creating an ACID beatmapped file ACID beatmapped files can change tempo and pitch to match an ACID project You must specify the file s original tempo and root note for transposing upon configuration If you do not specify these values no tempo or key changes occur Beatmapped files are typically used in ACID 3 0 or later for extended vocal tracks or other long audio files that do not loop 1 Open the Voiceover pca file and select the entire waveform 2 From the Special menu choose Edit ACID Properties The Edit ACID Properties dialog appears 3 Select the ACID Beatmapped radio button Complete the information for an ACID beatmapped file e Select a value from the Root note for transposing drop down list so that ACID can transpose the file to match the project key Select Don t transpose from this list to keep the key from being changed e Specify the file s original tempo 40 300 bpm in the Tempo box so that ACID can stretch the file to match the project tempo For more information see Setting loop tempo on page 233 Enter a value in the Downbeat offset samples box to indicate the location of the first downbeat ACID Beatmapped Root note For transposing pont transpose Y Tempo 40 to 300 bpm 120 000 Downbeat offset samples Select the ACID Beatmapped radio button 4 Click OK 5 From the File menu choose Save As and save the file with a descriptive name Using the ACID Loop Creatio
124. Invert Feedback Phase 0 0 dB 6 0 dB 4 4 dB Attenuate High Frequencies Attenuation Frequency Input Gain Invert the chorus phase Dry Out Invert the Feedback phase i Out Chorus size 1 to 3 a 3 ypass Effect controls OOOOOOOOOOoOoOO ERR REE PETE TT TTT Input gain Dry out Chorus aut f InF to 0 dB Inf to Q dB Inf to 0 dB Feedback B to 100 95 gj D 95 Chorus aut delay 0 1 to 100 0 ms a B 40 0 Modulation rate 0 001 to 20 0 Hz LE essen Modulation depth 1 to 100 95 a 3 95 Attenuate high frequencies above Hz 5 ii APPLYING EFFECTS CHP 11 171 yg Applying effects using the Plug In Chainer 1 Select the data you want to process If no data is selected Sound Forge applies the effect chain to the entire file 2 From the View menu choose Plug In Chainer The Plug In Chainer window appears a Click the Open Plug In Chainer button on the data window 3 To use an existing chain preset choose the chain from the Chain Preset drop down list For more information see Saving plug in chains on page 175 Otherwise add the desired plug ins to a new custom chain For more information see Adding plug ins to a chain on page 172 4 Configure the parameters of each plug in For help on the different plug in controls click the Help for Plug In button or click a control and press Shift Fi 5 Click the Preview button l to test the effect chain If
125. M w Overview L1 a Inf w Level Ruler Thumbnail wv Level zoom v Scrollbar n Small triangle indicates Data Window Onl i v NN CNN the location of the frame No Dd mu 00 00 27 876 on the timeline By default the video strip displays when you open a file containing video If the video strip is not displayed right click the data window s Edit Tool Selector and choose Video from the shortcut menu A check mark appears adjacent to the command and the video strip displays To hide the video strip choose Video from the shortcut menu again CHP 16 WORKING WITH VIDEO 236 Changing video strip height You can change the video strip height by dragging the thin bar at the bottom of the video strip To change the default height for all video files you open in Sound Forge choose Preferences from the Options menu and set a Default video strip height on the Display tab T 04 Moon mov Drag the bar below the video strip to change the video strip height Enabling frame animation When playing a video file you can specify whether frames are animated or displayed as still frames To turn on frame animation right click the video strip and choose Animate from the shortcut menu A check mark appears adjacent to the command to indicate this feature is turned on Using the cursor to select a frame When frame animation is turned on clicking anywhere within the audio portion of the data window displays the corresponding video
126. MTC synchronization requires more of your system s processing power When triggering a limited number of sounds in Sound Forge from a sequencer it is preferable to use Note On MIDI Triggering For more information see Triggering file playback on page 202 Playing regions using MTC from a sequencer Triggering region playback in Sound Forge from a sequencer using MTC involves three procedures e Configuring the regions e Enabling MIDI input synchronization e Configuring the sequencer Configuring the regions 1 Open the Voiceover pca file and view the Regions List and Playlist windows 2 Select the Wow region in the Regions List and drag it to the playlist The Wow region is added to the playlist Playlist ow sound editing Cnt Mame sm m m m m m m m Se U 1 Wow ILS IL OOU OOOO IL Fa 1 End of Playlist The Wow region is added to the playlist 3 Double click the Wow region in the playlist The Edit Playlist dialog appears 4 From the Trigger drop down list choose SMPTE Play at Time The SMPTE time box activates 5 Enter an appropriate SMPTE start time using the hours minutes seconds frames format and click OK A small musical note appears adjacent to region in the playlist to indicate that a start time for this region s playback is configured Playlist ow sound editing Cnt Name A small musical note indicates a start time WORKING WITH MIDI SMPTE CHP 13
127. Mono data is taken only from the right channel of the stereo file Mix Channels Mono data is created by mixing both channels of the stereo file Using the Channel Converter You can also use the Channel Converter to convert files between mono and stereo formats Using the Channel Converter provides the added flexibility of independent level settings for each channel thereby allowing you to intermix the channels of a stereo file to create pan effects To use this tool choose Channel Converter from the Process menu For more information see Channel Converter on page 152 Converting file formats The previous sections have described changing a file s sample rate bit depth and channel configuration Using Sound Forge you can also convert a file s format and compression settings To demonstrate this open the Voiceover pca file and choose Save As from the File menu Notice the Save as Type and Template drop down lists For more information see Using the Save As dialog on page 54 Save as type When the Save As dialog appears the Save as type drop down list defaults to the Sound Forge project file frg format However using the Save as type drop down list you can specify any file type supported by Sound Forge Template The Template drop down list provides standard settings for saving your audio file If the templates do not match your particular needs click the Custom button to create custom settings CHANGING FILE ATTRIBUTES A
128. ND FORMATS CHP 6 hhh 89 Adding summary information Specific audio file types allow you to store text fields of summary information in addition to the audio and video data File types offering this feature include WAV AVI AS and RealMedia file formats You can view and edit these text fields using Sound Forge Viewing and editing summary information Properties Funky saxophone riff The Summary tab is used to view and edit the summary t tl information stored in the file Tile Funky saxophone nf 5 Sect Load 1 From the File menu choose Properties The Properties dialog OO E Coppini 1996 Sonic Fanan nc 2 Click the Summary tab Comments Tutorial sound file for Sound Forge No Picture Ez Picture 3 Edit the summary information as needed and click OK Viewing extended summary information 1 From the File menu choose Properties The Properties dialog appears 2 Click the Summary tab The Summary dialog appears 3 Click the Extended button The Extended Summary dialog appears The dialog is divided into two sections the Fields pane and the Contents pane The Fields pane The Fields pane displays the following components for each available field A check box to turn the field on or off The abbreviation of the field type A short description of the field An indication of the field s current status Fields Full field indicator Field description Empty field indicator Fiel
129. Note box and click OK go Controller Mate C 1 ta 33 Sound Forge is now configured to play the Voiceover pca file when it receives a C4 Note On command on MIDI Channel 1 Value iba Wey WORKING WITH MIDI SMPTE CHP 13 203 Starting playback 1 From the Options menu choose MIDI In Out and choose Trigger from MIDI Timecode from the submenu A check mark appears adjacent to the command indicating that it is active and Sound Forge is ready to receive MIDI commands 2 Click the C4 key on the MIDI Keyboard Keyboard ooo Acoustic Grand Fiano Note sir 127 The Voiceover pca file plays in its entirety Click the C4 key to begin playback Resetting MIDI triggers Once set MIDI triggers are not permanent They can be edited or deleted as needed 1 From the Options menu choose MIDI Triggers The MIDI Triggers dialog appears 2 From the Preset drop down list choose Reset all triggers to none and click OK Triggering region playback Frequently it is preferable to use a MIDI device to control the triggering of the individual regions within a file As in the previous example the MIDI Keyboard will be used to demonstrate this function a 4 Note Before performing this procedure reset all triggers For more information see Resetting MIDI triggers on page 203
130. OK The selected region s Count column updates To change the Count value quickly select a region and use the and keys to increment decrement the value Playlist Example music bed wav E Cnt Mame Start End l Add 10 00 00 000 00 00 03 529 8 Change the Play count in the Edit Playlist dialog Delete E qm Edit Playlist Example music bed Yeplicate Mame intro Play count 0 ta 999 li Stop Point Stark Dr Der aa ar Cancel End 00 00 18 04 Length DO 00 18 04 Help Pre Rall Playback Open Save Os Play Channel tote fi Stop point Note C4 to GS cs et Eme 06 00 00 00 Play count 0 to 2221 fi Enter a new Preroll playback 0 0 to 300 0 seconds 2000 Play count value Copy onto Clipboard Convert to Mew ri Treat as CutlisE Delete cut Regions CHP 7 USING MARKERS REGIONS AND THE PLAYLIST CUTLIST 108 r Playing from the playlist The playlist displays the sequential order in which regions play To play a region click the corresponding Play button K Playback begins with the selected region and continues through the end of the playlist playing a region multiple times when instructed by the Count value OL TT _ Note Playback is interrupted if a stop point is present For more information see Using stop points on page 109 Playlist ow sound editing Cnt Mame 2 M DW 00 00 00 000 00 00 01 467 Silence 00 00 01 467 00
131. Open dialog 20 From the View menu choose Explorer to display the Explorer window OT These methods are explained in greater detail in the following sections 4 Note To have Sound Forge automatically remove pulldown fields when opening 24 fps progressive scan DV video files select the Allow pulldown removal when opening 24p DV check box on the Video tab of the Preferences dialog To open your 24p DV video files as 29 97 fps interlaced video 60i clear this check box Using the Open dialog 1 From the File menu choose Open The Open dialog appears ST Click the Open button Look in S Audio Files lt l Tl e K musicbed wav SAXRIFF pca TUTFILL pca 3E Tutorl war 4 musicsample wav 4 Sauriff wav A Tutfill wav ba TUTOR25 S musictest pca a SAXRIFF wma a Tutfill wma 4 Tutor2 war i musictest wav 3E scalenoteF wav la TUTMUSIC pca TUTORSK a musictest wma 4 Sound2 wav 4 Tutmusic wav 4 Tutorsmp a talkinghead avi E Files of type Jal known Media Files 9 Recent E Medis Audio Files 9 jTUTORi pca a vidtest a File name Files of type all Known Media Files b Recent C Media Audio Files h Open as read only v Auto play Merge L R to stereo Open as read only M Auto play Select to Preview Files SMPTE Rans Play Cmds File type r L S ibd does File Information Display Video Length Unity note Loop s
132. RARE OA ARE e UE ORCI 29 CUStOnnIZInG Ez Mrorello de ER CO PPP 29 Standard ToO Dar 953 9 438 do aC br bee qae ee ee DET Bae hese tale aes Mosca Nadu ORE AI de s 30 Transpo Da ce Sh a Geto ier cn H ador Be cash cate deed diana Io epos ee tanta Riad dab Mur oi ale hoe dt 30 NaViGallon toolDal i42 5socncbuodviedsodudt eee eates don bane weed a r a a dee ede 31 WIGWWS TOOIDOE ua i eine Eua d obra diac nat anace sare ace Eae Snes Gata ausus ats Sca ie aoa icu athe ae eee ah Rc 31 Status Selection toolbar 525 52 p REIR RACER REED ee eo ee a eva eae 32 REGIONS S EO T LOOlDbarP xcisovteste s dst Nette ue see tee d dx qu Ep dre d 32 l rOCcess TOOIDSE o xoxo dri ot arm eet tr ce Sce a ete Eo Rc oa cedo ae ke eae apa a pai aos 33 EectS tOOIDSE s dose adeb aate de o deed dee e P PCR aud Gale qi mc opa Ead MM Ed 34 TOOS TOODA MEC Tr a he ei ce ad eA ne we Ce ay Ge Re ee ne we 35 Levels eel eT sod tod vob eae oe ee eo urb ceo ace ene ea aided cds sued eti dts 35 ACID Loop Creation Tools toolbar 0 00 cc eee RII 35 NUR Ie toolbar 5423 2 1 278 3 R Sane tino itn e Gece eedce rad 6 Aah ae e ode Ro o pareri Rai posco oS ees 36 WOODS 24 oie rS 36 R RETS xI ele Renn d Kere Hre rx 36 Command descripllOFis a aai doch Dco end o Reb do RR Pbi R DI ROS CRUS 36 IS iS us dons tied A ees Prnt du pd a H Mp Ve p Ud LR Lie d REL Y 3 Resetting clipping indicators uui lt e e e did reper Nepeuumeddcsu ced cede RN Wc d dune e 37 Scaling MEIS M NR TTE T E ECT RES
133. RDING EXTRACTING AND BURNING i22 j Playing back recorded audio Audition your recorded audio by playing it back in the Record dialog Click the Play button to begin playback and click the Stop button to end playback You can use the other buttons on the mini transport bar in the Record dialog to navigate to different locations in the file Arm Pie p A E Pl Go Mini transport bar in Record dialog L Go to Go to end of file Go to start of last take Go to start of file Drop marker Arm Play Record Adjusting pre post roll for punch in and automatic retake recording playback Once you have recorded a punch in or an automatic retake you can audition it with user configured pre roll and post roll to evaluate the performance This option allows you to indicate the amount of sound data that should be played preceding or following your recorded take when you review your takes Reviewing with pre and post roll helps you review your takes in context 1 Select the Review pre post roll check box The two corresponding boxes become active 2 Enter appropriate pre roll and post roll values in the respective boxes Iv Review pre post rall 0 to 30 seconds 4 000 4 000 Enter pre and post roll values Note In Automatic retake mode the post roll control is unavailable 3 Click the Play button The punch in segment plays with the configured pre roll and post roll Note Regardless of the
134. REGIONS AND THE PLAYLIST CUTLIST 102 n Inserting regions based on marker positions E Sound Forge can automatically insert regions by using all markers in the audio file as region boundaries Regions created this way are added to the Regions List but not to the playlist 1 Open the Fill pca file 2 Play the file and drop several markers using the M key Oh Drum Fill BSE 00 00 01 Markers created in yp poseen 00 00 01 00 00 02 data window all 1 LUIS elele No O zu 00 00 01 219 3 From the Special menu choose Regions List and choose Markers to Regions from the submenu Sound Forge prompts you to verify whether the markers should be used to create regions 4 Click Yes Sound Forge creates regions and adds them to the Regions List Editing regions You can edit regions from the data window or the Regions List Editing regions in the data window 1 Drag the desired region tag to a new position Both associated region tags are highlighted and the name of the region appears in the lower left corner of the status bar 00 00 00 10 UMDEO d F r n Pp pe Aegion 00 00 00 005 miye eu BO Region Drag the region tag to a new position 2 Release the mouse button The region s values update in the Regions List a Tip To move both region tags at once press while dragging l A Editing regions using the shortcut menu
135. RES ae Es SEARED T TTL UT IT 37 Displaying VU PPM meters uci erat n eee eae foe bbe bee tate aei ee ox CS oan C A 38 SHOWING labels 5s 2o omar tex bt ES 8s Oakes OBS Bee ee Euge 38 Holding peaks and valleys nannan nnmnnn eee eens 38 COOS RR RS RU RO E T ETE LT T TT TDI 39 Fad rs and slgelS 29x e deb e os dite Suo ard Ceo x AGE Nep NOISE T do aca eae Ded te o cab ca s 39 Envelope graphs orreri aee ace e Oca OE Fue Du hey s oo ebd Pob a a T deg oc 39 Displaying the waveform on an envelope graph llle 41 E T Re toute cue ces bb psu ite iOS P I EA EA ETN N UM LE rs 41 Working with stereo THES is cece ie eh eu pP UP odie teenie dem dd idu vi wi 41 Selecting data in stereo files 0 cee eee eee hh 42 Genin tal TOO e errer kea researc eecendhadwenheeaeae ee i 45 TABLE OF CONTENTS n__n mMM 3 Creaung a DEOIGGL d aco donde do ac ied E i Kcu Sog c Sl in Ju docs deca ae re dee 45 GETING media 5 026 beste temo ER ELE SES OR Fe o odd 46 Using the Opernrcdiadlo8 43 992 dte iio eh i s En ed P aoo aco dr cele a pte vee ewes zee 46 Using the Explorer WINDOW ou 22545 ES Gp RE ues qu E ees be eee wees 47 miss DIR EROR ERI TRE ETE IE I ncm 48 Working with video files III I RII 49 PIavirig GING vcn ago bdo E Oo RO EU ea oae iba o aca tpe sia tes tota AOL CR Hd o ao 50 Viewing the current position 25 99 53 o6 op e ee er ire dint tess dt ost Gade etek does 50 Playing a file from a specified point 2 22
136. RTED CHP 4 M 7 Copying You can copy audio data from a data window to the clipboard without changing the original file Once audio data is on the clipboard you can paste it into existing files or use it to create new files Copying data to the clipboard 1 Open the Voiceover pca file Note This file is located in the same folder as the application 2 Create a selection containing Wow 3 From the Edit menu choose Copy The selected data is copied to the clipboard EST Click the Copy button or press ctr c lj Wow sound editing Iof x 2 00 00 00 00 00 02 00 00 04 Tee editing just gets easier Y And easier Create a selection In the waveform alali fs elle K A U gt i 00 00 00 743 00 00 01 474 00 00 00 731 Copy the selection EB i Wow sound editing B x at 00 00 00 00 00 02 00 00 04 L y Vy V wow Sound editing just gets easier 1 And easier 2 1 1 6 n 1 1 1 12 1 Li x 1 1 1 ale 5 2 ble elle Data is copied to the clipboard but the waveform is unchanged N XJ U gt 00 00 00 743 00 00 01 474 00 00 00 731 Previewing clipboard contents To preview the contents of the clipboard choose Clipboard from the View menu and choose Play from the submenu Tip You can display detailed information on the size and attributes of the clipboard contents by choosing Clipboard from the View
137. Recover to restore Your edits and undo history media files remain unchanged IF you click Cancel you will lose your edits and undo history Your media files will remain unchanged GETTING STARTED CHP 4 9 Navigating Zooming and oelecting This chapter introduces some of Sound Forge s navigation and selection features Setting the cursor position 69 While you can click anywhere in the waveform to position the cursor there are times when you may need to position the cursor more precisely You can use the Go To dialog to move the cursor to a specific point in an audio file and center it in the data window a Tip You can also use a variety of keyboard shortcuts to position the cursor For more information see Cursor movement on page 260 EN Go To Example music bed GoTo DK Custom Positiory 00 00 00 000 hr rire Hex Input format Time Cancel did Help Go To dialog 1 Choose Go To from the Edit menu EM You can also use the following methods eRight click the waveform choose Cursor and choose Go To from the submenu e Double click the leftmost selection status box e Press G 2 Set the cursor position using one of the following methods e From the Go To drop down list choose a preset e From the Input format drop down list choose a format and enter an appropriate value in the Position box 3 Click OK The cursor is placed at the s
138. S 163 Pan mix channels before panning 163 Pan preserve stereo separation 163 Stereo expand 163 Passive updating of displays 20 Paste Special 131 Crossfading 131 Overwriting 131 Replicating 132 INDEX Pasting 58 135 Drag and drop 135 In existing data windows 58 In new data windows 58 Peak files 48 Pencil tool 140 Play meters 37 Playbar Current playback mode 28 Optional shuttle control buttons 28 Using 28 Playing Files 50 From a specific point 50 From the cutlist 110 From the playlist 108 Loop Playback mode 51 Play Device toolbar 36 Selections 51 Playlist 106 111 Adding regions 106 Arranging 108 copying to the clipboard 111 Count 107 Creating new files from 109 Deleting regions from 109 Displaying 106 Opening playlist files 111 Playing from 108 Replicating regions 108 Saving playlist files 111 otop points 109 Treating as cutlist 110 Plug In Chainer 171 Adding plug ins 172 Arranging plug ins 174 Audio tail data processing mode 173 Bypassing plug ins 174 Configuring plug ins 175 Loading saved chains 176 managing plug ins 176 Plug In Manager 176 Preset Manager 177 Removing plug ins 175 Saving chains 175 Saving settings as a preset 175 Plug In Manager 176 Plug ins See Effects Preload size 20 Pre roll to cursor 70 Preset Manager 177 Presets 145 Creating 146 Deleting 146 Managing 177 Using 145 Previewing Cuts 59 Operation
139. SB Livel MIDI Synth em CB E fuel MII Cr ESN AM MIDI channel i E Open loop IZ Send request when retrieving samples Wait for request when sending samples The Sampler Configuration dialog 3 From the Sampler model drop down list choose the appropriate sampler If the desired sampler is not CHP 14 included in the drop down list choose the generic SMDI or SDS capable sampler option If the sampler supports the specified protocol the Sampler Tool should interface with the sampler Specify input output settings for the sampler e f your sampler uses MIDI SDS transfer select the MIDI radio button and choose input and output ports in the MIDI In and MIDI Out boxes e f your sampler uses SCSI SMDI transfer select the SCSI radio button and select your sampler in the Sampler box a Note The Sampler box lists all devices connected to the selected SCSI host including devices that are not samplers N If desired enter a value in the Sample bias box Sample bias is a user specified value that is added to the logical sample number to determine the actual sample number used for sending or receiving Additionally sample bias can be used to define unique biases for multiple projects For example when composing multiple pieces using different samples it is possible to
140. Snapping to events in drag and drop operations A major advantage of drag and drop editing is the ability to snap to markers regions time increments or other events in the destination window All drag and drop operations can be configured to snap or align to points in the destination file based on the events established within that file The following table describes all events that drag and drop selections snap to in the destination file Cursor Start of block snaps to cursor position Selection Start of block snaps to start or end points of a selection Start Start of block snaps to start of file End Start of block snaps to end of file Markers Start of block snaps to marker Regions Start and End Markers Start of block snaps to region start or end Time Measures etc Start of block snaps to labeled divisions on time ruler Video Frames Start of block snaps to the start of video frames appearing in the video strip EDITING REPAIRING AND SYNTHESIZING AUDIO CHP 9 1 38 Pasting mixing and crossfading with drag and drop You can drag an audio selection and paste mix or crossfade it into another data window Pasting 1 Open the Voiceover pca and Drumhit pca files 2 Select all audio data in Drumhit pca Create a selection in La 00 00 00 00 00 01 00 00 02 the source window 25 6 0 s 12 0 Inf lli Wow sound editing B x CO LES o o ooo E DI jajjaje N X OF gt k 00 00 00 0
141. Sound Forge 7 0 After the Sound Forge software is installed and you start it for the first time the registration wizard appears This wizard offers easy steps that allow you to register the software online with Sony Pictures Digital Media Software and Services Alternatively you may register online at www sony com mediasoftware at any time Registering your product will provide you with exclusive access to a variety of technical support options notification of product updates and special promotions exclusive to Sound Forge registered users Registration Assistance If you do not have access to the Internet registration assistance is available during normal weekday business hours Please contact our Customer Service Department by dialing one of the following numbers Telephone Fax Country 1 800 577 6642 toll free US Canada and Virgin Islands 608 204 7703 for all other countries 1 608 250 1745 Fax All countries Customer Service Sales For a detailed list of Customer Service options we encourage you to visit http mediasoftware sonypictures com support custserv asp Use the following numbers for telephone support during normal weekday business hours Telephone Fax E mail Country 1 800 577 6642 toll free US Canada and Virgin Islands 608 204 7703 for all other countries 1 608 250 1745 Fax All countries http mediasoftware sonypictures com custserv Technical Support For a detailed list of Technical Support option
142. Sound Forge involves three separate procedures e Configuring the MIDI device in this case the MIDI Keyboard e Enabling MIDI input synchronization e Configuring the MIDI trigger Configuring the MIDI device 1 From the View menu choose Keyboard The MIDI Keyboard appears On Off Voice Note Chord Output Channel z 9 EI zm Unnamed Note zb Eee le eae 2 Open the Voiceover pca file 3 Click the MIDI Out button 12511 and choose the appropriate MIDI router from the menu or RTE note LI Lang Choose the MIDI router from the menu Creative S W Synth A SB Livel MIDI Synth 4 Set the keyboard s Output channel value to 1 The MIDI device is configured Hi ll Output Velocity B SB Live MIDI Synth SB Livel MIDI Out DFO SB AudioPCl B4 MIDI Synth SB AudioPCl 64 MIDI Out w Send Program Changes Turning on MIDI input synchronization 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the MIDI Sync tab 3 From the Input drop down list choose the appropriate MIDI router and click OK Configuring the MIDI trigger 1 From the Options menu choose MIDI Triggers The MIDI Triggers dialog appears 2 Select Play All from the Event list box 3 In the Trigger section select the Note radio button The Channel and Note boxes activate 4 Enter 1 in the Channel box Trigger C Mane Channel 1 to 16 5 Enter C4 in the
143. TM a Note The dialog box pictured above is from the full version of Sound Forge If you have Screenblast Sound Forge you will not have all of the tabs and options pictured above available to you NN Customizing a toolbar 1 From the View menu choose Toolbars The Preferences dialog appears with a list of available toolbars 2 Select the check box for a toolbar and click Customize The Customize Toolbar dialog appears 3 Use the controls in the Customize Toolbar dialog to add remove or rearrange the buttons on the selected toolbar Click Reset to restore the toolbar to its default setting CHP 3 LEARNING THE SOUND FORGE WORKSPACE 3Q LLL Standard toolbar The Standard toolbar displays by default when you start Sound Forge The buttons on this toolbar provide quick access to many common commands 3 New creates a new data window E Open displays the Open dialog Save saves the current audio data Save As saves the current file with a new name or format Render As renders the current project file to a media file Cut removes selected audio data and places it on the clipboard This command has no effect if there is no selection Copy copies selected audio data to the clipboard This command has no effect if there is no selection Paste inserts a copy of the clipboard data at E the current insertion point If there is a selection this command replaces the selected
144. Teir lib L I 4 Device Microsoft Sound Mapper 525 B exer aL Mode Multiple takes creating Regions Window Sync Out a eP 2 Start 0 00 14 000 hr MNES XXX VI S End as DC adjust Right 4 J DC adjust Galibrate lengua Reset Aim O gt OU N N D co Time recorded 00 00 04 780 Time left on drive Over 2 hours Review pre post roll 0 to 30 seconds 0 000 0 000 F Prerecord buffer 0 to 30 seconds Calibrating the DC adjustment Before using the DC adjust feature you must calibrate it for the selected recording device 1 Select the DC adjust check box The Calibrate button activates along with displays labeled Left and Right M DC adjust Aight 1 029 Select the DC adjust check box to activate the Calibrate button 2 Click the Calibrate button Sound Forge listens to the selected recording device calculates the offset and displays the Left and Right offset values in sample amplitude Recalibrating the DC adjustment If you have multiple sound cards you should recalibrate the DC adjust each time you select a new recording device Certain sound cards must also be recalibrated each time the sample rate changes or when switching between mono and stereo recording aaaea Tip You can recalibrate at any time even during recording However it is preferable to perform recalibration with silence at the record inputs PP CHP 8 RECO
145. Undo Envelope 0 000000 to 5 0001 35 H Undo Distortion 0 000000 to 5 0001 36 e H Undo Chorus 0 000000 to 5 000136 H Undo Distortion 0 000000 to 5 0007 36 H Undo Envelope 0 000000 to 5 000736 H Undo Chorus 0 000000 to 5 0007 36 Performed operations Reda H Redo Graphic EG 0 000000 to 5 0001 36 FI H Redo GapperSnipper 0 000000 to 5 0007 36 Undone operations Undoing and redoing 1 Verify that the Voiceover pca data window is active and choose Undo Redo History from the View menu The Undo Redo History window appears If you have performed the previous procedures the window should look like the figure below UndosRedo wow sound editing H Unda Mix 00 00 00 00 to 00 00 02 1 4 Undo Trim Crop DO O0 QD 00 to OO OC 0 3 03 H Unda Cut 00 00 07 07 to DO O0 O2 0 3 Undo Paste Redo z Current Undo Redo History window Notice that the Mix operation appears at the top of the Undo pane The most recent operations always display at the top of the appropriate list GETTING STARTED CHP 4 63 2 In the Undo pane click the r corresponding to the Mix operation The audio file plays without the drum track Is indo Tim roo ibo 00 00 DD la DD 00 03 09 W Undo Cut 00 00 07 07 to 00 00 02 031 Undo Paste Play the pre mix file 3 Select the Mix operation and choose Undo from the Edit menu The drum track is extracted from the Voiceo
146. ZING FOR SOUND FORGE CHP 2 23 CHAPTER Li 8 s Learning the Sound J e amp Forge Workspace This chapter provides a detailed overview of Sound Forge toolbars and controls Using the mouse The following table defines the mouse related terms used throughout this manual Pointing Moving the mouse pointer over an item Clicking Pointing to an item and quickly pressing and releasing the left mouse button If there is no left or right specification left clicking is implied Right clicking Pointing to an item and quickly pressing and releasing the right mouse button Right clicking is frequently used to display shortcut menus Double clicking Identical to clicking but instead of pressing and releasing the mouse button once it is done twice in quick succession Double clicking always indicates the left mouse button Triple clicking Identical to clicking but instead of pressing and releasing the mouse button once it is done three times in quick succession Triple clicking always indicates the left mouse button Toggle clicking Clicking the right mouse button while holding down the left mouse button This is used to toggle options and is a shortcut for drag and drop editing and using the Magnify tool Shift clicking Holding down the Shift key while clicking the mouse Shift clicking is typically used to skip dialogs and quickly repeat operations Ctrl clicking Holding down the Ctrl key while clicking the mouse Ctrl cli
147. a 3 From the Special menu choose Edit ACID Properties The Edit ACID Properties dialog appears 4 Select the One Shot radio button and click OK 5 From the File menu choose Save As and save the file with a descriptive name Creating an ACID loop file Loops are musical building blocks and are by far the most common type of file used in ACID Loops stretch with an ACID project s tempo and can be configured to change pitch When using Sound Forge to create files for use in ACID the Edit ACID Properties dialog defaults to the loop setting 1 Open the Voiceover pca file 2 Create a selection containing the And easier and drag it to the workspace A new data window is created containing the And easier audio data 3 From the Special menu choose Edit ACID Properties The Edit ACID Properties dialog appears LOOPING CHP 15 X 229 4 Select the Loop radio button The Root note for transposing and Number of beats boxes activate Edit ACID Properties musiched wav E E Cancel Root note for transposing Don t transpoze gt Help Number of beats 17 to 140 17 E Select the Loop radio button 5 Choose one of the following options e f the loop should be transposed when inserted in an ACID project choose its root note from the Root note for transposing drop down list e If the loop should not be transposed in an ACID project choose Don
148. a region in the playlist nnn 108 WISING SLOP POMS o5 mordet cda Rice i alee RE twa cap A CAU IDA Cb b ARCH ae eo a C c Ra 109 Deleting a region from the playlist llle nr 109 Creating a new file from the playlist n 109 Configuring the playlist as a cutlist 0 00 c cc eee eee eens 110 Savintdg a playvlisUedtistTIle s sen out eee ae bbe bee She N DULE S e done cer bae b er eg 111 Opening a playhst c tlist file sc adipe ioca EORR nr Ini Race Ucet y a a dente acid aca 111 Copying the playlist cutlist to the clipboard 0 ccc eee eens 111 Recording Extracting and Burning Ln 113 Recording audio suas wads daded deg Sie ook ae See Ow Eee SE bue rue 113 Recording IMANUANY s sushi esa p DD DI Ede dudes tie fite pd nde 113 Hecording autormaucally q eer eiris derse rE ER RIP NE EE uta du xd d RAT AE 115 Recording a specific length punch in 0 02 00 eee eee eee eee 117 Clioosing a recording rode 2 25 22 nde ie ide od bed ded de aei eg E ede ear d 119 Adjusting Tor DG OSCE 53 erdee dear enr Sands Rigo cise desibardy Das mans aneudip a uh qct Ere ira de goat 121 Playing back recorded audio 2 22 122 Using remote recording mode ue aeter otecensttastoet ios hced2 th dtede eve NES 123 Synchronizing with other devices celles hh 124 VIEWING InDutblevels 2 352 b 0 RURSUS oo Xe Tu grep xe e mede equ EM EM EE Es 125 Inserting markers while recording sllll
149. able from an actual stereo recording If you choose to use Acoustic Mirror for stereo simulation you may find the output too reverberant If this is the case decrease the Apply envelope and limit decay value Frequently setting this value to as little as O 1 seconds provides stereo realism without adding a distracting amount of reverb Creating special effects Processing an audio file using a non impulse WAV file can produce any number of unexpected and interesting special effects To demonstrate this concept create several short less than 12 seconds audio files using the FM Synthesis tool and save them as individual WAV files Now choose any of these files from the Impulse drop down list and preview the results CHP 12 USING ACOUSTIC MIRROR AND WAVE HAMMER s jm We have included several short files on the Sound Forge CD ROM to allow you to experiment with this technique After some experimentation you should begin to notice a few general rules regarding this use of Acoustic Mirror Impulse files that cover the entire frequency spectrum prevent the output from sounding too filtered Using a frequency sweep as an impulse creates a frequency dependent delay effect Panning within the impulse causes the stereo image of the output to flutter between channels Using staccato sounds such as drum hits creates a variety of echo effects Recreating spaces for foley effects and dialog replacement Frequently dialogue recorded in the
150. alog for the selected effect appears Sony Simple Delay Example music bed E Preset Preset EYE zn eu Td About Cancel 3 0 dB Delay time 0 001 to 5 0 seconds 0 400 Help I Plug In ka B online help Save OS Effect Decay time 0 1 to 20 0 seconds 2 0 controls R Delete v Multiple delays Feedback Preview I Preview Stop out Delay out Bypass L no A O dE i InF to 0 dB Real time b Simple Delay i CPU 24 bit processing Selection 00 00 01 567 to 00 00 03 552 00 00 01 985 selection Channels Mana 3 Select a preset from the Preset drop down list and adjust the parameters in the dialog to achieve the effect you want For help on the different controls in the effect dialog click the Help button or click the What s This Help button and click a control 4 Click the Preview button to test out the effect Adjust the settings as needed and click Stop to end the preview M Tip If the selection you made in the data window needs to be adjusted click the Selection button to adjust the selection T 5 Click OK Sound Forge applies the effect CHP 11 APPLYING EFFECTS 170 yp Saving effect settings as a custom preset Once you have adjusted the parameters in the effect dialog you may want to save your settings as a custom preset for later u
151. alog with an attached image Using the new impulse file To use your new impulse file open the Acoustic Mirror dialog and choose it from the Impulse drop down list as you would any other impulse file If you performed the previous procedures properly the custom impulse file should realistically recreate the reverberation characteristics of the electronic device or acoustic space Using impulse files in creative ways Now that you understand the use and creation of impulse files you may want to begin using Acoustic Mirror in more interesting ways than simply applying an impulse to an audio file The following sections describe some creative and advanced uses for Acoustic Mirror technology that can contribute to the professionalism of your work Processing individual audio elements Instead of applying an impulse file to an entire song try applying an impulse to individual elements of the song Applying an impulse to specific notes chords riffs or phrases can quickly change the dynamics of a song This technique is possible because Acoustic Mirror automatically mixes the tail of processed audio with the adjacent unprocessed audio Adding realistic stereo to mono recordings You can give mono recordings realistic stereo characteristics by selecting the Convert mono to stereo check box in the General tab of the Acoustic Mirror dialog when applying the specified impulse file The stereo image produced using this method is virtually indistinguish
152. alues on page 78 7 Click the Arm button 4m to prepare for recording For more information see Arming to record on page 119 RECORDING EXTRACTING AND BURNING CHP 8 M 119 8 Click the Record button 9 in the Record dialog 9 Click the Stop button Hl to stop recording 10 Click the Close button to close the Record dialog Arming to record When you click the Record button 3 in the Record dialog recording does not begin immediately Sound Forge must perform a number of important functions prior to recording the input signal The Arm button Em gives Sound Forge the time to prepare allowing it to begin recording the instant you click the Record button When you click the Arm button Sound Forge opens the recording device and loads all recording buffers This ensures that the time lapse between clicking the Record button and actual recording is minimized MN Tip This feature is recommended when recording punch ins ps RN Choosing a recording mode You can choose any of several recording modes in the Record dialog s Mode drop down list Sound Forge recording modes include the following Automatic retake automatically rewind Multiple takes creating Regions available only in the full version of Sound Forge Multiple takes no Regions Create a new window for each take available only in the full version of Sound Forge Punch In record a specific length Me
153. ample rate The sample rate is the number of samples per second measured in hertz Hz used to record audio When creating a new file in the full version of Sound Forge you can specify sample rates from 2 000 Hz to 192 000 Hz When creating a new file in Screenblast Sound Forge you can specify sample rates from 2 000 Hz to 48 000 Hz Typical sample rates are stored as presets in the Sample rate drop down list In addition Sound Forge can increase or decrease the sample rate of an existing audio file 1 Open and play the Voiceover pca file aaaea Note This file is located in the same folder as the application 0 E 2 Right click the Sample Rate status box and choose 48 000 from the shortcut menu 3 Play the file Notice that the pitch is higher and the duration is slightly shorter 4 Right click the Sample Rate status box and choose 8 000 from the shortcut menu 5 Play the file Notice that the pitch is lower and the duration is longer Changing the sample rate of a file also changes the pitch and duration To change the sample rate of a file while preserving its duration and pitch use the Resample command For more information see Resample on page 163 Changing the bit depth Bit depth refers to the number of bits used to represent a sound Sound Forge can increase or decrease a file s bit depth Increasing bit depth Increasing the bit depth does not improve the quality of a Bit Denth Concia AF P it d subsequent proce
154. and click the button The Favorites tab allows you to keep topics that you revisit often in a separate folder To add a topic to your favorites click the button on the Favorites tab What s This help What s This help allows you to view pop up descriptions of controls in dialog boxes 1 Click the question mark in the upper right corner of the dialog box The cursor changes to a question mark icon 5 2 2 Click a control in the dialog box A pop up description of the item appears EY Click a control in the dialog box and press Shift F1 Help on the Web Additional Sound Forge information is available on the Sony Pictures Digital Media Software Web site From the Help menu choose Sony on the Web and choose the desired location from the submenu Sound Forge starts your system s Web browser and attempts to connect to the appropriate page on the Sony Web site About your rights in Sound Forge software Sound Forge software is licensed to you under the terms of the End User License Agreement The End User License Agreement is first presented to you when you install the software Please review the End User License Agreement carefully as its terms affect your rights with respect to the software For your reference a copy of the End User License Agreement for Sound Forge software is located at http www sony com mediasoftware CHP 1 INTRODUCTION 18 About Your Privacy Sony Pictures Digital respec
155. and when the recording starts This optional step can allow for more accurate takes when recording in Punch In mode 8 If desired select the Prerecord buffer check box and specify the amount of time to buffer prior to recording when Sound Forge is armed for recording A prerecording buffer helps to ensure you won t miss a perfect take if you re a bit slow to click the Record button When you click the Record button Sound Forge starts recording and commits the sound data in the buffer to disk For example if you set a 15 second buffer recording effectively begins 15 seconds before you click the Record button Note The prerecord buffer is unavailable in punch in mode 9 f necessary select the DC Adjust check box and calibrate the DC offset adjustment For more information see Adjusting for DC offset on page 121 10 Click the Record button 9 in the Record dialog Recording begins E Press Alt R For more information see Record dialog keyboard shortcuts on page 262 RECORDING EXTRACTING AND BURNING CHP 8 115 Stop button displays m mr gt M KI xk Jl GO Recording Recording message Time recorded 00 02 57 493 Time left on drive Ower 2 hours Time Recorded value increases 11 Click the Stop button Hl to stop recording 12 Click the Close button to close the Record dialog Recording automatically In addition to the normal recording method Sound Forge also has three automatic
156. and with the same settings For more information see Repeating an operation on page 134 CHP 9 EDITING REPAIRING AND SYNTHESIZING AUDIO 138 r Repairing audio Sound Forge provides several ways to repair audio glitches Copying the other channel For glitches in a single channel of a stereo file Sound Forge can replace the glitched section of damaged channel with the corresponding data from the good channel ETT TES W 00 00 00 000 00 00 00 100 E E LUE E ee L3 3 EV V do MEN ONE NES NM ACC C V A B afal pe IIa l l l Damaged data in the right channel is KH ol Ld gt 00 00 00 052 00 00 00 060 00 00 00 007 replaced with data from the left channel r aaa Note This method only works if both channels contain similar audio 1 Open the stereo file containing the glitch 2 Create a selection in the channel containing the glitch three or four times longer maximum 50 ms than the glitch itself 3 From the Tools menu choose Repair and choose Copy Other Channel from the submenu Sound Forge replaces the selected data with the corresponding data from the good channel In addition Sound Forge creates rapid crossfades at the beginning and end of the replacement selection to prevent a new glitch from being created r
157. ands and mixes Resample creates a copy of the audio file with a new sample rate Reverse reverses the current selection Smooth Enhance opens Sony Pictures Digital s XFX Smooth Enhance tool Time Stretch opens Sony Pictures Digital s XFX Time Stretch tool Volume adjusts the volume of an audio file LEARNING THE SOUND FORGE WORKSPACE 33 34yz Effects toolbar If you are using the full version of Sound Forge the Effects toolbar contains buttons corresponding to all Sound Forge s built in XFX plug ins Acoustic Mirror adds environmental coloration to your existing recordings Amplitude Modulation applies a sinusoidal or square shaped periodic gain to the input signal Chorus simulates multiple audio sources from a single sound Multi Tap Delay creates a delay with up to eight delay taps spaced anywhere within 2 5 seconds of the original sound Simple Delay adds a delayed copy of the audio signal to the file Distortion simulates the overloading of an amplifier Graphic Dynamics applies compression expansion and limiting to affect the dynamic range of an audio file Multi Band Dynamics allows compression and limiting to be placed on up to four different frequency bands Envelope forces the amplitude envelope of a E p EE NN EN LEARNING THE SOUND FORGE WORKSPACE waveform to match a specified envelope shape Z m SB IE BE NIS Flange Wah Wah mixes a modulated delay
158. any regions that have been defined in the selected media file Summary View Displays a short description of the selected media file at the bottom of the Explorer window Details Displays the file size date and when the file was last created or last modified All Files Displays all file types in the active folder Peak files When you first open a file Sound Forge scans the entire file and creates a peak file The peak file is stored with the same name and in the same location as the audio file but it is given an sfk extension Sound Forge automatically updates this peak file whenever the original file is edited If you modify a file in an application other than Sound Forge you can regenerate the peak file by choosing Rebuild Peak Data from the Special menu GETTING STARTED CHP 4 X49 Working with video files Sound Forge has the ability to open and save many video file formats The video files cannot be edited within Sound Forge but this functionality allows you to attach detach and edit audio for the video Once you ve edited the audio you can preview the audio and video together When you open a media file containing video the data window displays the video portion in a video strip above the audio For more information see Working with Video on page 235 CHP 4 Th E E E fa T imeflies_ avi at 00 00 00 00 00 02 00 00 04 Inf Inf alal o 0 0
159. arator between the workspace and window docking area to hide the docking area You can also use shortcut keys to manage the workspace Shortcut key Description bottom of workspace right sides of workspace LEARNING THE SOUND FORGE WORKSPACE CHP 3 27 The data window Data windows contain audio data as a waveform as well as a number of controls and commands used to edit and process audio Edit Tool Selector Title bar Time ruler _ 00 00 02 I Overview bar 20 00 04 s 00 00 00 yp ee Ruler tags Region 00 00 01 880 to 00 00 03 076 Level ruler Waveform display Level zoom in out A aJa Component Title bar Level ruler Time ruler Ruler tags Edit Tool Selector Playbar Selection status boxes Waveform display Position scroll bar Overview bar Time zoom resolution Time zoom in out Level zoom in out Maximize width CHP 3 i Time zoom resolution y Tine gaii mout 1512 Gaj Maximize width 00 00 01 880 00 00 03 076 00 00 01 195 Selection status boxes N 20 U p de Position scroll bar Playbar Description Displays the file name If title information is included in the summary of a file it appears here instead of the file name Double click to maximize and restore the window Displays the amplitude of the waveform Right click to display the level ruler shortcut menu Drag to shift the view u
160. audio signal is attenuated Release time The Release time slider allows you to determine how soon after falling below the threshold the audio signal attenuation is interrupted Smart release The Smart Release slider allows you to configure the compressor to automatically increase the release time for sustained notes and decrease the release time for sharp transients Setting this value higher increases the internal variability of the specified Release value Generally louder overall audio levels can be achieved with lower Release values However low Release values can also lead to an increase in pumping artifacts Configuring a Smart Release value increases the release time during sustained sounds thereby preventing release changes from occurring too rapidly Scan mode The Scan mode radio buttons allow you to specify whether Peak or RMS mode is used to determine the loudness of an audio file which in turn determines the amount of compression that is applied When compressing in Peak mode the compressor applies compression where it detects audio signal peaks that surpass the threshold However when compressing using RMS mode the compressor processes the audio using the detected average RMS value of the entire file The Root Mean Square RMS of audio is a measure of its intensity over a period of time Therefore the RMS power of audio corresponds to the loudness perceived by a listener when measured over small intervals of time
161. available in Normal display only RS Select the Both Left or Right radio button to choose which graph you want to edit If you are analyzing a stereo file select the Sync Graphs check box to synchronize both displays in a stereo file so you can view the same region of the FFT in both channels Select the Logarithmic graphing check box to display the X axis in logarithmic mode instead of linear mode This results in more graph area being devoted to lower frequencies Frequency minimum Determines the lowest frequency displayed in a graph when you select Zoom to Range Frequency maximum Determines the highest frequency displayed in a graph when you select Zoom to Range Ceiling Determines the highest amplitude level displayed in a graph when you select Zoom to Range Floor Determines the lowest amplitude level displayed in a graph when you select Zoom to Range Hold peaks during monitoring Selecting this check box results in the highest value of each frequency being indicated on the spectrum graph with a small horizontal line The length of time in seconds that the peak is held is determined by the value entered in the edit box USING SPECTRUM ANALYSIS CHP 17 MX 255 Maintain last monitored view Selecting this check box freezes the appearance of the spectrum graph when playback stops Clearing this check box results in the graph resetting to the cursor position when playback stops Saving spectrum graph settings
162. available only in the full version of Sound Forge xg lov Extract Regions extracts all file regions and saves them as individual files Statistics displays statistics corresponding to the current file or selection Find searches for clicks and pops volume levels or silent breaks in an audio signal DTMF MF Tones Synthesis generates dial tones used by telephone companies Preset Manager backs up and transfers user FM Synthesis uses frequency modulation and configured presets from effects processes additive synthesis to create complex sounds and plug ins from simple waveforms Note FM synthesis is available only in the full version of Sound Forge amp mE Simple Synthesis generates a simple aC Copy Other Channel replaces selected audio waveform of a given shape pitch and length Y with a corresponding selection from the opposite channel 2 Levels toolbar The Levels toolbar displays the audio levels in the left and right channels in the user specified format You can right click to choose the format from a shortcut menu Left Right channel level channel level ACID Loop Creation Tools toolbar The ACID Loop Creation Tools toolbar contains buttons corresponding to commands used when creating audio loops for Sony Pictures Digital s ACID family of products For more information see Creating loops for ACID on page 228 Edit ACID Properties displays the Edit ACID Shift Selection Le
163. board 25 alel 1 S bs alje ND O mu 00 00 01 462 Previewing a cut Sound Forge allows you to preview cuts prior to performing the edit This option allows you to determine if you made the selection accurately and if the results are desirable 1 Create a selection anywhere in Voiceover pca 2 From the Edit menu choose Preview Cut Cursor Sound Forge ignores the selection and plays the audio before and after the selection to allow you to preview the cut m Press Ctrl K Configuring cut pre roll and post roll lengths Frequently the default pre roll and post roll lengths are insufficient to evaluate the accuracy of an edit For this reason Sound Forge allows you to configure pre roll and post roll lengths 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the Other tab 3 Configure the Pre roll and Post roll values in the Cut preview configuration area of the dialog and click OK Deleting Deleting a selection permanently removes it without replacing the data currently residing on the clipboard To delete data choose Delete Clear from the Edit menu a Press Delete Note If the Treat as Cutlist command available in the Special menu Playlist Cutlist submenu is selected deleting a selection creates a region in the Cutlist window but does not remove the selection For more information see Configuring the playlist as a cutlist on page 110
164. bove 10 dB the RMS value may never rise above the threshold In this case normalization cannot occur For this reason you should evaluate the threshold by clicking the Scan Levels button For more information see Scan Levels on page 160 e The Attack time value determines how quickly the scan responds to transient peaks e The Release time value determines how quickly the scan should stop using transient peak material after it begins to drop in level Slower release times result in more data being included in RMS calculation e Selecting the Use equal loudness contour check box allows the scan to compensate for the Fletcher Munson Equal Loudness Contours The Fletcher Munson Equal Loudness Contours illustrate that very low and high frequency audio is less perceptible to the human ear than mid range audio Therefore selecting this option forces the scan to factor this into RMS calculation Scan Levels Clicking Scan Levels initiates Peak and RMS scans on the audio and displays the RMS level and the highest peak level detected When previewing a normalize effect the entire file must be scanned to preview a even small selection Clicking Scan Levels saves the current Peak and RMS values and allows you to preview different Normalize to settings without re scanning the entire file Feak 0 1 dB RMS 17 1 dB Current Peak and RMS levels An asterisk adjacent to a level value indicates that the value is not current This occurs when the se
165. bs Contents Index Search Favorites introduction E working with Projects E working with Files E working with Video Files E Previewing a File gt Monitoring Levels gt Recording E Selecting Data and Positioning th P Basic Editing gt Markers Regions and Commant E Editing with the Playlist Cutlist gt Applying Processes and Effects gt Repairing Glitches Clicks and N gt Synthesis Sampling gt MIDI Synchronization gt Spectrum Analysis E Acoustic Mirror gt Wave Hammer 92003 Sony Pictures Digital Inc gt Customizing Sound Forge All Rights Reserved gt The Sound Forge Window Rev October 1 2003 E Shortcuts gt Appendix 2 Glossary Sound Forge 7 0 je screenbiesl souncdiforge audio editing software Information pane The Contents tab provides a list of available help topics Double click a closed book to open the pages and then click on a topic page 211 The Index tab provides a complete listing of the help topics available Scroll through the list of available topics or type a word in the Type in the keyword to find box to quickly locate topics related to that word Select the topic and click the button The Search tab allows you to enter a keyword and display all of the topics in the online help that contain the keyword you have entered Type a keyword in the Type in the word s to search for box and click the button Select the topic from the list
166. but it provides a way to manage your plug in files to rename plug ins hide plug ins create folders add plug ins to a DX Favorites folder and perform other standard file management tasks Plug In Manager Amplitude Modulation Direct Chorus E Directs Chains Distortion m DX Favorites Dither ExpressFx Amplitude Modulation d D appe Express Chorus lf Graph Delete ExpressFX Delay Ws Graph New Folder EspressFs Distortion lr Multi E E pressF Dynamics s Multi T Refresh E pressFx Equalization His Noise Up One Level ExpressFx Flange ahw ah d Paragi ExpressFx Graphic EG lf Param ExpressFx Moise Gate ls Pitch LY Plug In Manager window Renaming a plug in You can customize the names of plug ins within Sound Forge 1 Right click a plug in in the Plug In Manager and choose Rename from the shortcut menu 2 Type a new name and press Enter Hiding a plug in Sound Forge automatically makes all DirectX plug ins on your system available to you You may want to hide a plug in within Sound Forge without removing the plug in from your system 1 Right click a plug in in the Plug In Manager and choose Hide from the shortcut menu Sound Forge prompts you to confirm that you want to permanently hide the plug in 2 Click Yes The plug in no longer appears in Sound Forge APPLYING EFFECTS CHP 11 177 d Organizing effects in the DX Favori
167. cated in the bottom left corner of a data window You can use the playbar to navigate and play audio files in a variety of ways k Go to Start moves the cursor to alo Play Plug In Chainer previews the audio processed through the start of the file 2 plug ins when the Plug In Chainer window is open If there is a selection plays from the beginning of the selection to the end of the selection If the Plug In Chainer window is not open the Open Plug In Chainer button Em appears instead P Go to End moves the cursor to D Play as Cutlist plays the file with the regions in the cutlist the end of the file omitted This button appears only if you treat the playlist as a cutlist E Stop stops playback and J Play as Sample plays the file with the sustaining and release returns the cursor to its position e loops repeating the specified number of times This button prior to playback appears only if you have defined a sample loop Play Normal plays from the gt cursor to the end of the file If there is a selection plays from the beginning of the selection to the end of the selection Current playback mode When you play a file from the playbar a small horizontal line appears beneath the selected Play button s icon ix This indicates Sound Forge s current playback mode which is the mode used when you click the transport bar Play button For more information see Transport bar on page 30 Changing the curren
168. cay time of the acoustic space is greater than six seconds Ha Tip There are spikes at the beginning and end of each test tone You should include the spikes in the recording to simplify the recovery of the impulse in the later stages of the process M Placing equipment When recording the test tone in an acoustic space you must determine where to place your playback system speakers microphones and recording system to produce optimal results Microphone placement is crucial to the quality of the impulse The distance between the speakers and the microphone is the perceived distance of audio processed with the impulse you create For example if you record the test tone with the speakers positioned 100 feet from the microphones all sounds processed with the resulting impulse sound as if they are originating 100 feet from the listener Setting levels After the devices are positioned you should begin playback of the test tone The test tone should be played as loudly as possible or practical to produce the best signal to noise ratio With the test tone playing at optimum volume set the levels on the recording device Recording devices levels should also be set as high as possible but not permitted to clip or distort Safe levels are determined by whether you are recording to an analog or digi
169. ch stop points to regions in the playlist When Sound Forge encounters a stop point during playback it repeats the corresponding region the number of times specified by the Count value and halts playback Creating a stop point 1 Select a region in the playlist 2 Right click the mouse and choose Stop Point from the shortcut menu A check mark appears adjacent to the command in the shortcut menu and a stop point indicated by a red circle appears in the playlist In the following illustration playback stops before the Sound editing just gets easier region Playlist Wow sound editing Add Delete Edit Replicate Create a stop point in the playlist S Playlist Wow sound editing Cnt Mame Start End 2 Wow 00 00 00 000 00 00 01 467 Silence 00 00 01 467 00 00 02 203 S 1 Sound editing just gets 00 00 02 209 00 00 04 272 44nd easier 00 00 04 373 00 00 09 815 End af Playlist Open Save As Copy onto Clipboard Treat as Cutlist Delete Eut Regine Deleting a stop point Right click a region in the playlist and choose Stop Point from the shortcut menu The corresponding check mark is cleared from the shortcut menu and the stop point is deleted from the playlist EM You can quickly add or remove a stop point from the playlist by selecting a region and pressing Deleting a region from the playlist You can delete regions from the playlist without affecting the audi
170. choose Open from the submenu EM Right click the Regions List and choose Open from the shortcut menu 2 Use the Open Regions Playlist dialog to locate an existing file 3 Specify the type of regions you want to import from the Files of type drop down list e Choose Playlist File sfl to import a Sound Forge regions playlist file e Choose Session 8 File prm to import a file that supports both Session 8 and Sound Forge regions e Choose Windows Media Script File txt to import a file that includes Windows Media script commands e Choose Wave File wav to import markers and regions from another audio file a 4u Note In Screenblast Sound Forge the only type of Regions List file you can import is Windows Media Script File txt 4 Click Open Copying the Regions List to the clipboard Editing a Regions List in a text editor allows you to make an annotated list that you can print for reference From the Special menu choose Regions List and then choose Copy onto Clipboard The list is copied to the Windows clipboard m Right click the Regions List and choose Copy onto Clipboard from the shortcut menu CHP 7 USING MARKERS REGIONS AND THE PLAYLIST CUTLIST 106 5 LL yg Using the playlist Once you create regions you can arrange them in the playlist Unlike the Regions List which displays its contents in alphabetical or chronol
171. cing difficulty previewing processing in real time decrease the Quality speed value 5 Drag the Response delay slider to the right Notice the audible change in the reverb s delay USING ACOUSTIC MIRROR AND WAVE HAMMER CHP 12 M 185 The Acoustic Mirror dialog The Acoustic Mirror dialog contains four tabs General Envelope Summary and Recover Each tab contains controls that allow you to precisely configure the effect as well as recover custom impulses Notice that the Acoustic Mirror dialog contains the preset and preview controls found in all of the Sound Forge process and effect dialogs For more information see Applying presets on page 145 and Previewing processed audio on page 146 General tab controls The following sections describe all controls located in the General tab Impulse The Impulse drop down list allows you to specify an impulse file from a list of those previously used Clicking Browse displays the Open Impulse File dialog and allows you to locate an impulse file from your local system or network Response width You can use the Response width slider to create some simple stereo expansion and stereo collapsing effects This control s default setting of 50 represents normal stereo operation and is recommended to maintain the stereo field of the impulse response A higher setting expands the stereo field but may result in an unnatural sounding effect Lowering this setting narrows the ster
172. ck the Start button You should use this option if your rewritable CD already has data on it Select your burning options Erase RW disc before burning If you re using a rewritable CD select this check box to erase the CD before you begin burning Close disc when done burning Select this check box to close the CD after burning Closing a disc allows your files to be played on an audio CD player a 4 Note You can close the disc using a separate step later For more information see Closing a CD on page 130 Re Eject disc when done Select this check box to eject the CD automatically when burning has completed Burn selection only Select this check box to burn only the audio within the loop region From the Drive drop down list choose the CD R RW drive that you want to use to burn your CD 5 From the Speed drop down list choose the speed at which you want to burn Max will use your drive s fastest possible speed decrease the setting if you have difficulty burning Click the Start button d Important Clicking Cancel after Sound Forge begins writing to CD renders the CD unusable MN E After Sound Forge writes the audio to CD the CD Operation dialog indicates whether the writing was successful 7 Click OK to clear the message CHP 8 RECORDING EXTRACTING AND BURNING 130 r Closing a CD Closi
173. cking is used to modify the operation of a normal click Dragging Holding down the left mouse button while moving the mouse pointer and releasing the mouse at the desired location Dragging is used to quickly move sections of data between windows as well as to adjust sliders scrollbars and faders Slow dragging Holding down the right and left mouse buttons while adjusting sliders and faders increases the resolution of the movement This is useful when making fractional adjustments to parameters ee Tip Once you are familiar with Sound Forge basics you may want to use mouse and keyboard shortcuts For more information see Shortcuts on page 257 rr a ae CHP 3 LEARNING THE SOUND FORGE WORKSPACE 24 Using the mouse wheel Sound Forge allows you to use your mouse wheel to navigate audio files The following table briefly describes the available mouse wheel functionality Wheel Up Zoom in horizontally Wheel Down Zoom out horizontally Ctrl Wheel Up Zoom in vertically Ctrl Wheel Down Zoom out vertically Shift Wheel Up Scroll left in 10ths of screen width Shift Wheel Down Scroll right in 1Oths of screen width Ctrl Shift Wheel Up Cursor left or current selection point left if there is a selection Ctrl Shift Wheel Down Cursor right or current selection point right if there i
174. cribed as ways of adding clipboard contents to the current data window As your audio editing projects become more elaborate you may discover the need for three more sophisticated paste operations crossfade overwrite and replicate Crossfading Crossfading is a variation on pasting that joins two selections of audio data that would be awkward or distracting if pasted together In crossfading the destination data decreases in volume fades out as the source data increases in volume fades in A crossfade is the audio equivalent of the filmmaker s dissolve Open the Voiceover pca and Musicbed pca files Select all data in the Voiceover data window Copy the selection The data is placed on the clipboard KR UU N gt Place the cursor at the approximate middle of the Musicbed data window This is where the crossfade will begin 5 From the Edit menu choose Paste Special and choose Crossfade from the submenu The Crossfade dialog appears w You can also display the Crossfade dialog by right clicking the data window and choosing Crossfade or by pressing Ctri F 6 From the Preset drop down list choose Normal crossfade and click OK 7 Play the Musicbed pca file Notice that the volume of the musicbed decreases while the voiceover volume increases Overwriting Overwriting allows you to replace the current selection with the contents of the clipboard Sound Forge overwrites with two basic guidelines e f the s
175. ction Applying compression and normalization simultaneously 1 From the Process menu choose Normalize The Normalize dialog appears 2 Select the Average RMS power radio button 3 Specify Apply dynamic compression in the If clipping occurs drop down list and click OK Converting mono stereo channels The channels setting indicates whether a file contains one mono or two stereo channels Sound Forge can convert mono files to stereo or stereo files to mono Converting from mono to stereo 1 Open the Voiceover pca file EE 4 Note This file is located in the same folder as the application Se 2 Right click the Channels status box and choose Stereo from the shortcut menu The Mono To Stereo dialog appears re 3 Select the Left Channel radio button and click OK Sound Forge places the aes Cancel i i Bight Channel mono data in the upper half of the data window left channel and silence in csi the right channel Help For more information see Specifying the audio destination on page 88 4 Play the file Wow sound editing just gets easier and easier plays in only the left channel 7 Tip If your sound card supports only mono data stereo files can be played by specifying the Sound Mapper as the playback device To do this choose Preferences from the Options menu Click the Wave tab and specify Microsoft Sound Mapper from the Playback drop down list
176. cy response of the impulse Notice that you can adjust the cutoff frequency and boost attenuation of each filter independently Convert mono to stereo Selecting the Convert mono to stereo check box converts a mono signal to stereo output If the impulse file is in stereo selecting this check box imparts a pseudo stereo effect on the mono input CHP 12 USING ACOUSTIC MIRROR AND WAVE HAMMER 186 r Quality speed The Quality Speed slider allows you to strike a balance between the quality and speed of the audio processing Lowering this value immediately affects the frequency response of the impulse The processed signal sounds dull and high frequencies sound unnatural At very low values the length of the impulse is shortened When this control is set to a high value the audio quality is excellent but the processing takes longer If you are experiencing difficulty previewing processing in real time decrease the Quality speed value However you must return this value to 5 prior to actually processing the file to output the highest possible quality Envelope tab controls The following sections describe all controls located on the Envelope tab Acoustic Mirror Funky saxophone riff x Preset Untitled nd Cancel Impulse E Acoustic Mirror Impulse Files Concert halls Morphy Recital Hall 30 Browse T Help Attributes 44 100 Hz 2 Channels 1 45 Seconds Author Copyright 1997 Sonic Foundry Inc Sa
177. d abbreviation On Off check box The Contents pane Located immediately below the Fields pane the Contents pane displays the current contents of the selected field Contents Tutorial sound file for Sound Forge Extended summary field contents CHP 6 CHANGING FILE ATTRIBUTES AND FORMATS 90 r Editing extended summary information 1 Select the field to be edited in the Fields pane Its contents display in the Contents pane 2 Enter the new information in the Contents pane and click OK Turning summary fields on and off Adjacent to each field in the Fields pane is a check box used to turn the corresponding field on and off when saving files in applicable formats M Note If a field is turned on but contains no information it is not saved with the file 7 Setting new default summary information Clicking the Default button in the Extended Summary dialog saves the text in the summary fields as a default setting Sound Forge uses this default summary information when you create a new file or when you click the Load button in the Properties dialog for an existing file H Tip The Creation date f
178. d file as timing spikes option No Do not use timing spikes This option specifies that no timing spikes are used This is the least desirable option as no timing information is used To use this option you must trim the recorded file so that the test tone starts and ends at the start and end of the file with no blank audio before or after This option should only be used if the timing spikes are lost in the recording or if you are certain that the play and record clocks are synchronized such as when using an ADAT Creating impulse files You can obtain impulse responses from anything that accepts test tone input and supports recording the output This includes physical spaces as well as electronic audio equipment Creating custom impulse files requires planning work and additional audio equipment ee ee Note Impulses derived from electronic devices that produce nonlinear effects such as overdrives distortion pedals pitch shifters harmonic enhancers chorus pedals or flange pedals cannot be modeled in Acoustic Mirror While they produce interesting effects the acoustic signature cannot be correctly replicated SS What you need to create custom impulses The equipment required to create custom impulses depends upon whether you want to create the impulse from a physical acoustic space or from a piece of equipment Regardless of the method you need a playback device that reproduces test tones and a recording device that has
179. d of the recorded file as timing spikes The recorded file must be trimmed so that the timing spikes occur at the very start and end samples of the file C Auto detect timing spikes The first timing spike must be present within First second of recorded File Do not use timing spikes The recorded test tone begins at the start of the recorded file General A Envelope Summary A Recover CPU 24 bit processing Selection 00 00 00 000 to 00 00 02 500 00 00 02 500 Selection Channels Both Su Recover t ab 3 Enter the name and path of your impulse file in the Recorded File box or click Browse and locate the file 4 Enter the name of the original test tone file in the Test file used box 5 Enter the desired name for the impulse response file to be created in the Impulse output box If necessary click Browse and specify the folder in which the impulse file will be saved 6 Select the Remove very low frequencies check box 7 If the recorded file was trimmed exactly to the start and end spikes using the procedure described previously choose Use start and end of the recorded file as timing spikes from the Impulse recovery mode drop down list For more information see Trimming the test tone on page 191 8 Click the Recover Impulse button to begin recovering the impulse After processing is complete you can open the impulse file in Sound Forge and perform any necessary trimming or editing For more information se
180. d type is horizontal zoom window This will allow you to zoom to an amplitude range e The third type is a combination of vertical and horizontal zoom This will allow you to zoom to a frequency and amplitude range 2 Right click the graph and choose Zoom Out Full to view the entire amplitude and frequency range 3 Right click the graph and choose Normalize dB to set the Spectrum Graph amplitude range equal to the maximum and minimum values in the graph Working with stereo files When viewing a spectrum graph for a stereo file an individual graph displays for each channel You can choose to set each channel s parameters independently or set both channels at once 1 2 Open a stereo file From the View menu choose Spectrum Analysis The Spectrum Analysis window appears containing two unique graphs Click the Sync button 16 to synchronize both displays so you can view the same region of the FFT in both channels When this option is disabled you can set each channel s attributes independently To see both channels in a single graph click the down arrow next to the Normal Display button amp amp and choose Single Graph Updating a spectrum graph Select the Auto Refresh button ER if you want the Spectrum Analysis display to refresh automatically updated when you change your selection in the data window When the button is not selected the display is not updated until you click the Refresh button
181. data in the active window Copy the selected data onto the clipboard Paste the clipboard contents into a new data window Crossfade data from the clipboard with the active window Preview Cut or Clear in the active window Play to cursor with pre roll Mix data from the clipboard with the active window Trim crop to the current selection Paste data from the clipboard into the active window Move cut the selected data onto the clipboard Repeat last process effect or tool Undo the last action Redo the last undone action Clear delete the selected data nothing is placed on the clipboard Note If the Treat as Cutlist command available in the Special menu Playlist Cutlist submenu is selected deleting a selection creates a region in the Cutlist window but does not remove the selection Insert a command marker at the current cursor position Insert a marker at the current cursor position Toggle Auto Snap to Zero on and off Insert show hide volume envelope Insert remove volume envelope Insert show hide pan envelope Insert remove pan envelope APPENDIX A n 259 Press Result Create a loop from the current selection Edit Sample dialog Stop or cancel the current action including playback Toggle drag and drop snapping on and off APPENDIX A SHORTCUTS Press gt cti Hath GAK a atje At E Ctri G End Ctri Home Ctri End Ctrl Page Up Ctri Page Down ctr P
182. data window s current status format pre roll and post voll values are measured in seconds RECORDING EXTRACTING AND BURNING CHP 8 123 Using remote recording mode Click the Remote button to put Sound Forge into Remote Recording mode In this mode the Record Remote dialog replaces the Sound Forge workspace The Remote Record dialog remains the topmost window regardless of the number of open applications Remote recording is particularly useful when using an application that controls the input source such as a mixer CD audio or MIDI sequencing Record Remote musicbed wav 44 100 Hz 16 Bit Stereo MME 2 Time recorded 00 00 00 000 Time left on drive Over 2 hours Back Start 00 00 000 B BASAL E I DC adjust syne Remote Record dialog on the desktop Asa edm Ego 10164M The Record Remote dialog is a condensed fully functional version of the Record dialog Record Remote musicbed_way 44 1 Hz 16 Bit Stereo Aim O gt BN SN H 6o Time recorded 00 00 00 000 Time left an drive Ower 2 hours Back Start 00 00 00 000 nee Help BE 5 48 33 30 Zl lZ 3 ee Remote Record dialog Accessing record features while in remote recording mode You can access all the features accessible in the Record dialog by right clicking the title bar of the Remot
183. data with the clipboard data Mix mixes a copy of the clipboard data with t the current audio file The mix start point is either the cursor point or the start or end of the selection in the destination data window Transport bar i E n je a E 7 Play Clipboard plays the audio on the clipboard Trim Crop removes all data from the file that is not currently selected This command has no effect if there is no selected data This command does not copy data to the clipboard Undo reverses the last edit operation Redo reverts the previously undone edit operation Repeat repeats the last operation This command can be used with most processing functions The previous operation s parameters are repeated To specify new parameters hold Shift and click this button Edit Tool selects the Editing tool Magnify Tool selects the Magnify tool Pencil Tool selects the Pencil tool Envelope Tool selects the Envelope tool The transport bar also displays by default and contains basic audio transport buttons Record records data to a new or existing data window Loop Playback toggles Loop Playback mode on and off Play All plays the entire file from beginning to end regardless of cursor position selection or playlist Play plays the file in current playback mode Play Normal Play Plug In Chainer Play as Cutlist or Play as Sample Pause pauses playback and maintains the cursor at its current
184. e To set the amount of data surrounding the cursor that will be used to calculate levels in the VU meters specify a value in the VU meter integration time box on the Other tab of the Preferences dialog to access the Preferences dialog choose Preferences from the Options menu The PPM scales use a fixed integration time Scale Integration time UK PPM 10 ms EBU PPM 10 ms DIN PPM 23 mS Nordic PPM 5 ms Showing labels Right click the meters and choose Show Labels from the shortcut menu to toggle the meter dB markings on and off Holding peaks and valleys Right click the meters to access the Hold Peaks and Hold Valleys commands in the shortcut menu e Choose Hold Peaks to display a marker on the meters indicating the highest reading e Choose Hold Valleys to display a marker on the meters indicating the lowest reading LEARNING THE SOUND FORGE WORKSPACE CHP 3 M Ch 39 Controls A major step in mastering Sound Forge is becoming familiar with the controls used to set and adjust feature parameters including faders sliders and envelope graphs Faders and sliders Faders and sliders are frequently used to edit effect and process parameters To use either control drag the control to the desired position and release 16 00 qe Fader 15 85 3 Drag to set value Normalize to 60 ta 0 dB Response width 0 to 100 a B 50 Slider Resetting fader and slider values Double click to return the control t
185. e The install utility setup exe located on the Sound Forge CD ROM creates the necessary folders and copies all files required to operate Sound Forge a Note Sound Forge requires Microsoft DirectX 8 0 or later and Internet Explorer 4 0 or later The setup program alerts you if either is not detected on your system and prompts their installation from the Sound Forge CD ROM Se 1 Place the Sound Forge CD ROM in your system s CD ROM drive AutoPlay launches the Setup menu SS 00 Ss Note If AutoPlay is not turned on click the Start button and choose Run Type D setup exe where D is the drive letter of your CD ROM drive MEmA 2 Click Install and follow the instructions in the dialogs to complete the installation Getting help within Sound Forge You can access two varieties of help within Sound Forge e Online help e Whats This help also referred to as context sensitive help Online help To access online help choose Contents and Index from the Help menu Press F1 Note To view online help Internet Explorer 4 0 or later must be installed on your system If you purchased the boxed version of Sound Forge Internet Explorer version 5 0 is included on your CD ROM veo INTRODUCTION CHP 1 17 Ej Sound Forge and Screenblast Sound Forge Online Help ICE x Toolbar s Hide Back Options Shortcuts Glossary Ta
186. e Record dialog Returning to the Sound Forge workspace Click the Back button to return to the Sound Forge workspace and the Record dialog CHP 8 RECORDING EXTRACTING AND BURNING 124 5 d Synchronizing with other devices Click the Sync Out button to configure synchronization options for recording in conjunction with other devices or applications that respond to MIDI SMPTE timecode Hecord Synchronization 2 X Record Synchronization dialog v Enable MTC SMPTE Output Synchronization Start 00 00 00 00 Pre Roll 00 00 00 00 Verifying the input and output devices Prior to attempting synchronized recording you must verify that the correct input and output devices are configured in Sound Forge 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the MIDI Sync tab 3 Verify that the correct input and output devices are selected in the Input and Output drop down lists and click OK Selecting the SMPTE format To configure the SMPTE format used in the Record Synchronization dialog choose Status Format in the Options menu and choose the desired format from the submenu Sending MTC SMPTE to an output device 1 Click the Sync Out button The Record Synchronization dialog appears 2 Select the Enable MTC SMPTE Output Synchronization check box The corresponding Star
187. e Trimming the impulse file on page 192 CHP 12 USING ACOUSTIC MIRROR AND WAVE HAMMER 192 93 LLL Trimming the impulse file After the impulse file is recovered it may still require minor trimming In general you should try to make the impulse response as short as possible to increase processing speed when using Acoustic Mirror Impulse files greater than 131 071 samples about 3 seconds in length require substantial processing time When possible trim the impulse response to less than 65 535 samples about 1 5 seconds In addition we recommend fading the tail of the impulse Of course this is not always an option when dealing with spaces that produce extended reverberations 1 Open the recovered impulse file in Sound Forge and play it 2 Delete any silence or low level noise that occurs before or after the actual audio data Typically there are between 900 and 1100 samples of data at the beginning of the impulse that should be removed 3 Save the trimmed impulse response file using the standard WAV format M Tip To prevent phase problems when mixing the dry and wet signals you may also want to verify the phase of the impulse file The file should begin by going positive above the centerline If the impulse file has a negative below the centerline phase choose Invert Flip from the Process menu ia Oe Adding summary information to your impulse file If you plan on sharing impulses with othe
188. e Voiceover pca file and verify that the waveform display is zoomed completely out 1 512 in this case m Mom eound odihna V L Silence Wow Sound editing just gets easier 1 And easier I 1 LI 1 alek T1 piee Tre Noo 00 00 00 000 The entire overview bar is bracketed Notice that the entire overview bar is bracketed indicating that the entire file appears in the data window NAVIGATING ZOOMING AND SELECTING CHP 5 71 2 Place the mouse pointer over the word Wow and click A small vertical marker representing the cursor appears in the overview bar lli Wow sound editing B xi Tes es 1 00 00 02 00 00 04 D DN D Silence Ns Sound editing just gets easier And easier 1 Ss aleh T pie Tisi NO U mu 00 00 01 044 Small marker in the overview bar 3 Create a selection containing the word Wow A shaded block sized in relation to the size of the selection within the entire audio file appears in the overview bar Ii Wow sound aditinn B x fee 00 00 02 00 00 04 L Sound editing just gets easier 1 And easier T 1 alal SS S Pees lajajo K A UO gt de 00 00 00 824 00 00 01 381 00 00 00 557 A shaded block in the overview bar 4 Click the Zoom In button twice The bracketed area in the overview bar becomes incrementally smaller as less of the waveform appears in the data
189. e audio file based on the dialog parameters Ti Drum Fill ox m 3g B m Regions based on y es mg 050032 JRegicRegiRegictR egion Uf rapid sound attacks I I ald 1 1 bee QT To No Lg zu 00 00 00 000 aaaea Note Sound Forge automatically adds all regions created using the Auto Region tool to the Regions List and playlist Inserting regions based on musical time intervals When you select the Build regions using the current tempo check box Sound Forge inserts regions according to the current beats per minute setting You can change a file s tempo information including the measures beats and beats per minute settings by choosing Edit Tempo from the Special menu For more information see Changing a file s beat values on page 66 1 Open the Musicbed pca file a Note This file is located in the same folder as the application SSS ee FSF 2 From the Tools menu choose Auto Region The Auto Region dialog box appears 3 Select the Build regions using the current tempo check box 4 Enter desired values in the Measures and Beats boxes e To create a region on every beat set Measures to O and Beats to 1 e To create a region at every measure set Measures to 1 and Beats to U 5 Click OK Sound Forge creates regions in the data window based on the Measures value the Beats values and the current beats per minute setting CHP 7 USING MARKERS
190. e feature is enabled When the video strip is animated the video strip always displays the frame that corresponds to the cursor position Press At e or amp to move the cursor one frame When frame animation is turned off the video strip always shows the frame that corresponds to the left edge of each image in the video strip Tip If you experience slow or stuttering video preview turn off animated video to reduce the load on your CPU aR Right click the video strip and choose Animate from the shortcut menu Copying the current video frame to the clipboard You can use the clipboard to copy the video frame at the current cursor position From the Options menu choose Video and then choose Copy Frame The current frame is copied to the clipboard EST Right click the video strip and choose Copy Frame from the shortcut menu CHP 16 WORKING WITH VIDEO 238 Previewing files with video If you are working with a media file that contains video you can use the Video Preview window for previewing You must have the Video Preview window displayed to preview the audio stream You can hide or display the Video Preview window by choosing Video Preview from the View menu To begin previewing the current data window click the Play All button Il on the transport bar sim To display the Video Preview window press alt 4 Video Preview window Video Freview E3 Copy Frame Copies the current frame to the clipb
191. e information see Single channel editing on page 44 CHP 3 LEARNING THE SOUND FORGE WORKSPACE 42 Selecting data in stereo files When editing a stereo file the waveform display is divided into three sections The mouse pointer location determines which channel or channels is selected e The upper quarter of the data window selects the left channel e The lower quarter of the data window selects the right channel e The middle half of the data window selects both channels 06 musicbed way at 00 00 00 00 00 05 ter channel only Both channels H iont channel only waa eaa 00 00 00 000 1 Open a stereo file 2 Select the Edit tool by choosing Tool from the Edit menu and Edit from the submenu EM Press Ctri D or click the Edit Tool button on the Standard toolbar 3 Position the tool near the top of the left channel and notice its appearance The tool displays as I This indicates that only audio data in the left channel will be selected 4 Position the tool in the middle portion of the data window and notice its appearance The tool displays as a standard cursor This indicates that it will select a mono file or both channels of a stereo file LEARNING THE SOUND FORGE WORKSPACE CHP 3 43 5 Position the tool near the bottom of the right channel and notice its appearance The tool displays as x This indicates that only audio data in the right channel will be selected Cursor s
192. e restored by performing a second Volume operation The initial Volume operation must be undone a ee Volume control The Volume dialog contains only one control Gain Gain Determines the new volume of a selection Negative decibel values decrease the selection s volume while positive decibel values increase the selection s volume a U H Note A value of Inf corresponds to mute 096 B BB PER CHP 10 PROCESSING AUDIO PROCESSING AUDIO CHP 10 169 ener en Applying Effects 1 1 m P ae Effects or plug ins can be used to improve the quality of the audio or to create special artistic effects Additional DirectX plug in effects both from Sony Pictures Digital and other third party vendors can also be used Adding an effect You can choose an effect from the Effects menu to apply to a file or just a portion of a file If you ve added an effect to the DX Favorites menu available only in the full version of Sound Forge you can select it from that location as well For more information see Organizing effects in the D X Favorites menu on page 177 1 Select the data you want to process If no data is selected Sound Forge applies the effect to the entire file 2 From the Effects menu or DX Favorites menu choose the desired effect The di
193. e selection appears in the destination window e An M appears in the box adjacent to the pointer i Wow sound editing at 00 00 00 00 00 02 00 00 04 L N Silence Wow Drag and drop mix indicator 00 00 01 475 4 Position the leading edge of the shaded region in the Voiceover data window where the mixing of the selection will begin 5 Release the mouse button The Mix dialog appears 6 Verify that both Volume levels are set to O dB and click OK lli Wow sound editing B x 2 00 00 00 00 00 02 00 00 04 1 V V V Silence Wow Sound editing just gets easier 1 And easier 1 1 Sas E Selection is mixed into Nog ope 00 00 01 475 the destination window Toggling the Mix Paste Crossfade functions An alternate way of specifying a mix paste or crossfade is the mouse toggle method 1 Open the Voiceover pca and Drumhit pca files 2 Select all audio data in the Drumhit data window 3 Drag the selection to the Voiceover data window e A shaded region representing the source selection appears in the destination window e A letter appears in the box adjacent to the pointer 4 Continue holding the left mouse button while clicking the right mouse button The letter in the box and the appearance of the selection region change to indicate the current drag and drop mode 5 Release the left mouse button The source audio data is pasted mixed or crossfaded into the dest
194. ease the mouse button USING MARKERS REGIONS AND THE PLAYLIST CUTLIST CHP 7 M 31097 Understanding the playlist display When you add a region to the playlist its appearance is similar to its appearance in the Regions List with the exception of the Count Cnt column Located to the left of the Name column the Count Cnt column displays the number of times the corresponding region plays before the playlist proceeds to the next region Playlist Example music bed Playlist intra O0 00 00 00 00 00 18 047 riff 00 00 18 04 00 04 33 02 verge UU UA 33 02 00 05 06 0 refrain 00 00 06 003 O0 0 36 09 bridge OO 0F 36 09 00 07 41 127 Play Count Region Name Start Time End Time Button Customizing the playlist display Like the Regions List you can specify what values are displayed in the playlist 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the Playlist tab 3 Specify a display from the Playlist display format drop down list and click OK The playlist display format updates Repeating a region during playlist playback You can specify the number of times a region repeats during playlist playback 1 Right click a region in the playlist and choose Edit from the shortcut menu The Edit Playlist dialog appears EM To display the Edit Playlist dialog double click a region in the playlist 2 Enter a new value in the Play count box and click
195. ec has a series of updated mini port drivers available for Windows 98SE and Windows Me on the Web After you download the file you must create a temporary directory or folder on the system and run the WIN95MPD EXE program Follow the directions in the readme txt file to update the drivers for the Adaptec SCSI card SAMPLING CHP 14 219 sw Looping Sound Forge is an excellent tool for creating loops and provides the perfect compliment to Sony Pictures Digital s revolutionary ACID line of loop based music creation tools Creating loop regions in files is useful only when you intend to transfer the files to a hardware sampler that supports the loop regions Loops A loop is a sample or region in an audio file that is repeated during playback Samples are finite and frequently very short in length Therefore they must be repeated or looped to create longer or sustaining sounds 4 Note Loops can also be used to repeat entire sections of music in Sound Forge although the playlist is better suited to this purpose Sustaining and release loops A sound envelope contains four elements attack decay sustain and release Attack Decay Sustain Release Typically the sustain portion of the envelope is looped to lengthen the duration of a sound This is referred to as the sustaining loop While sustaining loops are useful it is frequently necessary to create a second loop taken from later in the e
196. ecify the device s MTC output driver as Sound Forge s MIDI input port in the Preferences dialog s MIDI Sync tab Using Sound Forge to generate MTC for a MIDI sequencer Sound Forge can also be used as a tool to generate MTC for other devices to follow However it is important to understand that Sound Forge only generates MTC while playing a file or from a playlist Using Sound Forge to generate MTC involves two procedures e Configuring Sound Forge e Configuring the sequencer Configuring Sound Forge Open an audio file From the Options menu choose Preferences The Preferences dialog appears Click the MIDI Sync tab Specify the Sound Forge MIDI output that corresponds to the input port of the sequencer and click OK From the Options menu choose MIDI Triggers The MIDI Triggers dialog appears oO 01 U N From the Preset drop down list choose Reset all triggers to none This prevents other MIDI commands from creating additional triggers Click OK 8 From the Options menu choose MIDI In Out and choose Generate MIDI Timecode from the submenu A check mark appears adjacent to the command indicating that Sound Forge is ready to generate MTC N CHP 13 WORKING WITH MIDI SMPTE 208 j LLL Configuring the sequencer 1 Specify the sequencer s MIDI input port that corresponds to Sound Forge s MIDI output port 2 Set the sequencer s SMPTE offset time value as needed u
197. egions in the current data window Sound Forge can save the Regions List information as metadata in most file types You also have the option of saving the Regions List to an external playlist file Displaying the Regions List 1 Open the Voiceover pca file 2 From the View menu choose Regions List The Regions List for Voiceover pca appears EM Press Att 2 Working with the Regions List By default the Regions List displays the following information for each region in the current data window A small Play button H dedicated to the region The name of the region The region s start point The region s end point Regions List Regions Wow sound editing d And easier 00 00 03 639 00 00 05 000 Silence 00 00 00 000 00 00 00 742 Sound editing just gets easier 00 00 01 475 00 00 03 639 00 00 00 742 00 00 01 475 Play Button Region Name Region Start Region End Configuring the Regions List display If you do not wish to use the default display of the Regions List you can specify alternate display options 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the Playlist tab 3 Specify a display format from the Regions List display format drop down list and click OK The Regions List display format is updated Preferences 2 x General Display Editing File MIDI Sync Perform Playlist Previews status Toolbars Wave video ot
198. election is longer than the clipboard contents data is overwritten from the beginning of the selection for the length of the clipboard contents only The remainder of the selection remains in the data window e f the clipboard contents are equal to or longer than the selection data is overwritten for the length of the selection only CHP 9 EDITING REPAIRING AND SYNTHESIZING AUDIO 132 Overwriting a selection 1 Open the Voiceover pca file 2 Create a selection containing Wow 3 Copy the selection The data is placed on the clipboard li Wow sound editing Pm x i Wow sound editing B x 00 00 02 00 00 04 a 00 00 00 L V Vy y Silence Wow Sound editing just gets easier 1 LI 1 1 2 00 00 00 00 00 02 00 00 04 D V L L M owl Sound editing just gets easier And easier 1 aleli J2 LUSI lelle No O gt d 00 00 03 633 00 00 04 562 00 00 00 928 1 512 latrare N UO gt de 00 00 00 742 00 00 01 475 00 00 00 733 Copy the selection Create a second selection 4 Create a selection of approximately the same length containing the final and easier 5 From the Edit menu choose Paste Special and choose Overwrite from the submenu or right click the data window and choose Overwrite from the shortcut menu Sound Forge overwrites the selection with the clipboard contents i Wow sound editing
199. elects only the left channel Il musicbed way O 00 00 00 nat Toggling channel selections Cursor selects both channels Il musicbed way iain 00 00 00 Cursor selects only the right channel fy musicbed way LO O 00 00 00 Once you place the cursor or create a selection in a stereo file you can cycle through channel options left right both by pressing Tab Previewing channels The single channel selection option allows you to preview channels in a stereo file individually 1 Open a stereo file and select all data 2 Click the Play Normal button x The file plays in stereo 3 Press Tab The left channel is selected 4 Click the Play Normal button x Only the mono left channel plays 5 Press Tab The right channel is selected 6 Click the Play Normal button x Only the mono right channel plays CHP 3 LEARNING THE SOUND FORGE WORKSPACE Ay Single channel editing Stereo files are held together by the nature of their stereo format Because of this you cannot perform certain editing operations such as cut or paste on a single channel of a stereo file Channel lengths must remain equal in stereo files Frequently this issue can be side stepped by copying a single channel of a stereo file to the clipboard Once this mono selection is located on the clipboard you can do any of the following Paste it into a mono file Paste it into both channels of a stereo file Mix i
200. elope graphs 39 Envelopes adding points 180 adjusting 180 adjusting effect parameters 179 bypassing effect automation 179 copying to another data window 181 cutting copying and pasting points 181 effect automation 178 enabling effect automation 179 flipping 180 removing effect automation 180 setting fade properties 181 showing hiding effect automation 179 volume or panning 178 EQ 155 Error messages for Acoustic Mirror impulse files 196 Explorer window 47 Extracting audio from CD 48 Opening media 47 Previewing media 47 views 48 INDEX iv 5 Exporting to CLIE devices 67 to Net MD devices 67 Extended summary information 89 External MIDI devices 205 Monitors 239 Samplers 209 Extract Regions 103 Extracting audio proper use of software 130 Extracting audio from CD 127 Creating markers for each index change 127 Creating regions for each track 127 Fade 155 Graphic 155 In 156 Out 157 Fade properties envelopes 181 Faders and sliders 39 Fast Fourier Transform FFT 246 Files Attributes 83 Automatically naming 93 126 Channels 87 Converting 88 Creating from the playlist 109 Explorer window 47 Opening 46 opening 46 Playing 50 rendering 67 Sample rate 84 Saving 53 Finding and repairin
201. em Press Ctri T to toggle through the three audio tail data processing modes Note The Insert Tail Data and Mix Tail Data commands may not function when using third party reverb plug ins You can use the Insert Silence command to make room for the tails or apply the reverb in a new data window that has room for the tails and then mix the processed audio back into your souxce file CHP 11 APPLYING EFFECTS 174 r d Arranging plug ins on a chain You can arrange the order of plug ins in the chain in either the Plug In Chainer or the Plug In Explorer Note The order of plug ins in a chain can have a dramatic effect on the final product of audio signal processing rMM Sa Arranging plug in order in the Plug In Chainer In the Plug In Chainer window drag an effect to a new location in the chain Plug In Chainer XE TzCopyright avi Plug In Chainer XETzCopyright avi Untitled ipm gt Untitled l ipm fly Amplitude Modulation V Distortion L Dither fo c Distortion IZ Dither Hi Amplitude Modulation o k M Drag a plug in in the Plug In Chainer to a new location in the chain You can also change the plug in order by right clicking a plug in in the chain and choosing either BER Move Left or Move Right from the shortcut menu Arrangi
202. ended summary information 89 Views 80 Creating 81 Views toolbar 31 Vinyl Restoration 140 Volume 166 W Wave Hammer Compress tab 197 Displaying 197 Limit tab 199 What s This help 17 INDEX Windows Media files Markers and script commands 96 Workspaces 56 Writing toCD 128 Z Zero crossings Finding for loops 225 Preferences 79 Snapping current selection to 80 Snapping to 80 Zooming 72 Level ruler 74 Time ruler 73 Zoom ratio 73 Zoom tricks 76
203. eneral page When previewing lengthy impulse responses a setting of 1 or 2 may be necessary however the quality suffers This setting should always be returned to 5 prior to processing to maintain effect quality Increase the DirectX buffering size 1 Open the Acoustic Mirror dialog 2 Right click an empty area of the dialog outside of the four tabs and choose Configuration from the shortcut menu The Real Time Preview Configuration dialog appears 3 Reconfigure the Buffers to process per second and Total playback buffers controls Typically lowering the Buffers to process per second value and increasing the Total playback buffers value reduces gapping during real time previewing Close all memory intensive applications Real time previewing may be limited by any additional applications operating on the desktop To avoid this situation close all memory intensive applications prior to using Acoustic Mirror Add additional RAM to the system We recommend at least 32 MB of RAM to operate Sound Forge and its related tools Add a faster floating point arithmetic processor Many high speed processors are still lacking in speed when processing floating point arithmetic We recommend using high speed processors that provide exceptional floating point arithmetic for reliable real time previewing Impulses do not recover properly If you experience problems recovering custom impulse recordings verify each of the following e Verify that you
204. ents is used where appropriate i Wow sound editing domu 00 00 01 475 00 00 03 639 00 00 02 163 The clipboard contents are replicated CHP 9 EDITING REPAIRING AND SYNTHESIZING AUDIO 134 Repeating an operation Once you perform an operation on an audio file you can quickly repeat it with the same parameters by choosing Repeat from the Edit menu This allows you to reapply the same effect process or function to a different section of audio using the same parameters Note In the Edit menu the Repeat command displays in conjunction with the name of the previous function E Repeat an operation by doing any of the following e Hold Shift while choosing the command from its menu Press ctri 4 Y e Click the Repeat button 5 on the Standard toolbar Using drag and drop Once you are familiar with Sound Forge you can take advantage of using drag and drop to perform many common tasks Drag and drop operations make controlling Sound Forge faster and more intuitive and allow for increased editing power The three major drag and drop editing operations are paste mix and crossfade Dragging mono selections into stereo destinations When pasting mixing or crossfading a mono selection into a stereo file you can mix the selection to both channels by dropping it on the destination data window s center line Otherwise the selection is mixed into the left or right channel exclusively
205. eo field A setting of 0 is essentially mono Response delay The Response delay slider controls the time in milliseconds that elapses between the dry signal and the processed output This control can be used to create interesting effects and add new dimensions to an acoustic signature Configuring this control with a positive value results in the processed output following the dry output A negative value results in the processed output preceding the dry signal or a pre delay Pan left to right The Pan slider controls the balance between the left and right channels in stereo files The default value is 0 and indicates a typical center position Dry Out The Dry Out fader controls the amount of unprocessed signal mixed into the output Wet Out The Wet Out fader controls the amount of processed signal mixed into the output Apply envelope and limit decay to seconds When you select this check box the length of the impulse is limited to the time specified in the adjacent box Limiting the length of an impulse file shortens the decay of the reverberation and decreases the amount of processing required In addition selecting this check box results in the impulse fading according to the Envelope Graph configured on the dialog s Envelope tab For more information see Envelope Graph on page 186 Low shelf start frequency High shelf start frequency Acoustic Mirror offers high and low shelving filters to allow you to tailor the frequen
206. equently the case when working with audio experimentation with dither values yields the best results however keep the following information in mind CHP 10 Rectangular eliminates distortion resulting from conversion to a lower bit depth but the noise level is more likely to be dependent on the signal Triangular eliminates distortion products as well as any noise floor modulation but results in a slightly higher noise level The option typically works well in conjunction with noise shaping For more information see Noise shaping on page 152 Highpass Triangular behaves like triangular dither but shifts its noise into higher frequencies This is typically the best option when used in conjunction with noise shaping For more information see Noise shaping on page 152 Gaussian does not perform as well as Rectangular and Triangular dither but may be suitable for certain audio PROCESSING AUDIO 152 5 LLL Noise shaping Determines the aural positioning of quantization noise Using this control you can shift the noise into audio registers that are less perceptible to human hearing This lowers the perceived noise floor and creates the illusion of cleaner audio High pass contour noise shaping attempts to push all quantization noise and error into high frequencies Equal loudness contour noise shaping attempts to push the noise under an equal loudness type of curve Noise shaping dangers Noise shaping places quantization
207. er and do one of the s following i Peak Hange K VLI PPh Scale K Show VU PPM w Show Labels w Hold Peaks Hold Valleys Always on Top e Choose Peak Range from the shortcut menu followed by the desired range from the submenu E e Choose VU PPM Scale from the shortcut menu followed by the desired scale 39 from the submenu VU and PPM scales are most useful for displaying the average volume of the signal the meter represents the RMS average level during playback and their attack and decay are not as sensitive as the peak meter CHP 3 LEARNING THE SOUND FORGE WORKSPACE 8 9 PPM scales are useful for monitoring peak levels The meters use a fixed integration time 5 or 10 ms that is sensitive to increases in volume but the meters are less sensitive to decreases in volume than the VU scales which produces less meter activity and decreased eyestrain Displaying VU PPM meters Sound Forge provides peak and VU PPM peak program meters that you can use to monitor your audio levels You can toggle the display of the meter s VU PPM scale on and off Right click the meter and choose Show VU PPM from the shortcut menu Adjusting the VU meters sensitivity Unlike peak meters which read instantaneous changes in your audio signal the VU PPM meters read a portion of the signal and calculate the average level The size of the signal that the meters read is determined by the meters integration tim
208. er box This value determines the number that the sampler uses as its location reference when sending or receiving samples This number can be biased for specific samplers with the Sample bias option in the Sampler Configuration dialog For more information see Creating a sampler configuration om page 211 4 Begin the process of sending or receiving samples For more information see Sending and receiving samples on page 213 SAMPLING CHP 14 M 21 1 Creating a sampler configuration The Sampler Configuration dialog allows you to create new sample configurations that can be saved as presets and accessed from the Sampler dialog Creating new custom configurations requires you to specify the sampler and sample transfer mode However the process of creating a custom sampler configuration differs based on which transfer mode is used 1 From the Tools menu choose Sampler The Sampler dialog appears 2 Click the Configure button The Sampler Configuration dialog appears Sampler Configuration musicbed_ wav EE Preset Cancel Sampler model SMO or SDS capable sampler Hel MIDI P SCSI Sample bias D E o Hep MIDI Out MIDI In aia MIDI Output Devices aie MIDI Input Devices de MIDI Mapper im SB Live MIDI In DFBU dim Creative SAY Synth E SB AudioPCl EAV MIDI In im A SB Livel MIDI Synth m Sonic Foundry MIDI Router im B
209. ers 93 126 Automatic recording 115 Automatic retake 120 Adjusting pre post roll 122 Automating effect parameters 178 Automation effects 179 BICSF 271 INDEX i_i Bit depth Changing 84 Converter 150 For CD burning 128 Blinking status while recording 126 Burning CDs 128 proper use of software 130 Calculating loop tempo 233 Calibrating DC adjustment for recording 121 CD Adding tracks 128 Bit depth for burning 128 Burning 128 Closing the disc 130 Extracting audio from 127 Sample rate for burning 128 Changing the region order 105 Channel Converter 88 152 Convert to specified output channels only 153 Invert left channel mix 153 Invert right channel mix 153 New left channel 153 New right channel 153 Output channels 153 Using 153 Channel repair 138 Channels 87 CLIE devices exporting to 67 Clipboard copying cutlist to 111 copying playlist to 111 copying Regions List to 111 Clipped audio marking 95 Clipping indicators 37 Clips detecting 95 Closing a CD 130 Command descriptions 36 Command markers deleting 98 Editing 98 Inserting 97 Scott Studios 97 Commands for streaming media 96 Compression 86 INDEX Configuring Gap detection 126 Measures and beats format 66 MIDI devices 202 MIDI Keyboard 215 MIDI triggers 202 Plug ins on a chain
210. es slider to synchronize audio and video This setting affects synchronization for previewing on an external monitor only audio and video synchronization in the Sound Forge file is unaffected 4 Click Close to close the External Monitor dialog 5 Click OK to close the Preferences dialog Attaching video to an audio file Once you have edited an audio file to your satisfaction you can attach it to a video file and save it as a video file 1 Open the audio file you want to use For more information see Getting media files on page 46 2 From the File menu choose Properties The Properties dialog appears 3 Click the Video tab Properties musichbed wav General Summary Format ideo Display OF Cancel Apply The Video tab of the Properties dialog 4 On the Video page click the Attach button The Open dialog appears 5 Locate and select a video file you want to attach and click the Open button The Open dialog closes and you return to the Video page 6 Click Apply to attach the video file 7 To change the field order setting for the video file choose an option from the Field order drop down list The options are explained below Option Use None Progressive For video to be viewed on a computer monitor Lower Field First For DV output Upper Field First For output that is jittery or shaky or if specified by your hardware manual 8 To change the video s pixel aspect ratio choose an optio
211. es compressed sound files using the best possible quality something that cannot always be done in real time Compressed sound files saved with Sound Forge typically sound better than those recorded with audio compression After you save uncompressed audio data to a compressed format you should audition the file Sound Forge performs compression and decompression during opening and saving therefore the compressed file is not accurately represented until it has been reopened MICROSOFT AUDIO COMPRESSION MANAGER APPENDIX B 269 APPENDIX SMPTE Timecode 4 Pay Te id e NW vU X ao c ee N The Society of Motion Picture and Television Engineers SMPTE timecode may be one of the most misunderstood concepts among individuals within the music industry The problem with SMPTE timecode formats is that they may mean different things to people in the audio and video fields What follows is a brief description of each SMPTE timecode format M Q 7 Important When synchronizing audio to video it is crucial that the SMPTE timecode format used in the sequencer or digital audio workstation is the same as the SMPTE timecode striped onto the video This guarantees that the SMPTE times on the video screen and computer monitor synchronize during playback Oe SMPTE 25 EBU 25 fps Video SMPTE 25 EBU timecode runs at 25 fps frames per second and matches the frame rate used by European Broadcasting Unio
212. etch plug in This tool allows you to adjust the length of an audio file using a single control the Final length slider For more information on using the ExpressFX Time Stretch plug in click the Help button in the Time Stretch dialog Volume The Volume command alters the volume of an audio selection Volume Example music bed E E Preset HT j DK 0 00 dg Cancel 100 00 x Help Save As RIZ Preview Bypass Gain Inf to 20 dB selection Oto 434 753 434 770 Channels Mono Selection Volume dialog Increasing the volume of a selection 1 Open the Voiceover pca file 2 Create a selection containing the word Wow 3 From the Process menu choose Volume The Volume dialog appears 4 From the Preset drop down list choose 6 dB boost 200 and click OK The specified boost is applied to the selection 5 Play the file The Wow data clips and distorts upon playback Exercise caution when using the Volume command Unlike Normalize Volume performs no pre processing scans and offers no options for clipping audio data PROCESSING AUDIO CHP 10 167 i Wow sound editing Sound editing just gets easier 1 And easier 1 200 3 Preview Bypass Bain nf to 20 dB Selection 32 255 to 64 511 32 256 z Channels Mono Selection Audio following volume increase Note Once audio data is clipped it cannot b
213. eted and the envelope adjusts Delete all points Delete all envelope points by clicking the Reset Envelope button Displaying the waveform on an envelope graph Certain envelope graphs such as in the Graphic Fade dialog allow you to view the audio waveform on the graph If the selection is small the waveform automatically displays Otherwise selecting an option from the Show wave drop down list displays the waveform Displaying stereo waveforms The Show Wave drop down list allows you to specify how stereo files display in the envelope graph Graphic Fade musicbed way 2 x Preset fisys 6 dB exponential fade out lt Gain Cancel 100 Specify the channel to be displayed Show wave Mix channels ka S Left channel anl Right channel only k Help Save s pelete Preview Bypass Selection 00 00 11 8 Channels Bath Ox 25 50 75 10 Maximum Gain 100 0dB C 200 6 dB C 400 12 dB Reset Envelope Selection Stereo files When a data window displays a stereo file the upper half of the data window shows the left channel and the lower half shows the right channel Working with stereo files When playing editing or processing stereo files you can select the left channel the right channel or both channels However certain processing tasks cannot be performed on an individual channel of a stereo file For mor
214. evel Clicking Output returns you to the incoming signal display Attenuation meter This meter allows you to monitor the audio signal attenuation derived from the current settings Volume Maximizer tab The controls on the Volume Maximizer tab are used to limit the peak amplitude of an audio file or to boost the overall level without clipping the waveform and distorting the audio Sony Wave Hammer Example music bed Ei Preset Untitled m K Cancel IR Bypass Volume Maximizer Hel 0 0 dB 0 0 dB Use longer look ahead Save S pelete Preview FLERE IR Bvpass Threshold Output level v Real time 60 to 0 dB 30 to 0 dB Release time 0 to 1 000 ms ka 100 0 Input Compressor Volume Maximizer f CPU X 24 bit processing Selection 00 00 00 000 to 00 00 09 858 00 00 09 858 Channels Mono Selection Volume Maximizer tab Threshold The Threshold fader is used to adjust the audio level at which the volume maximizer activates Audio with levels higher than the Threshold value are affected while audio at levels lower than this value pass through the volume maximizer uninterrupted Output level The Output level fader allows you to determine the level to which peaks above the Threshold setting are boosted or cut Release time The Release time slider allows you to determine how soon after falling below the threshold the audio signal attenuat
215. f 2 or 3 is good for high end audio applications e A value of 4 results in professional quality audio but requires substantial processing Apply an anti alias filter during resample Selecting this check box applies an anti aliasing filter during the resampling process Remember that the maximum frequency that can be represented by a sample rate is one half of the sampling rate the Nyquist frequency Therefore high frequencies cannot be accurately represented when downsampling The anti aliasing filter prevents high frequencies from becoming low frequency distortion Ma M Tip It is also advisable to apply an anti aliasing low pass filter to an audio file prior to resampling to a lower sample rate Re Set the sample rate only do not resample If the Set the sample rate only check box is selected the playback rate is changed without resampling the data This means that the pitch of the original file is not preserved For this reason this option is only useful for quickly converting between two similar sample rates Reverse The Reverse command reverses the audio selection 1 Open the Musicbed pca file 2 From the Process menu choose Reverse The reversed audio data displays in the data window Example music bed nl x lj Example music bed
216. f impulse files that contain directional cues To achieve optimal results using these impulse files the original file should be mono and playback should be monitored using headphones To begin convert the mono file to stereo by replicating the mono signal in each channel After the audio is converted to stereo choose an impulse file from the HRTF Impulses folder You will notice that the HRTF Impulses folder is further divided into Left and Right directories Opening the desired folder displays the available impulse files all of which are named based on their elevation up or down and azimuth left or right angles in degrees The following table provides some examples File Name Impulse positioning OEOOOL Straight ahead OEO90L Far left OEO90R Far right 9OEOO0L Directly above your head OE180L Directly behind you 20E120L Below behind and to your left SS Note Refer to Readme doc in the HRTF Impulses folder for more information m T USING ACOUSTIC MIRROR AND WAVE HAMMER CHP 12 n 1 98 Troubleshooting Acoustic Mirror The following sections describe problems that may be encountered when working with Acoustic Mirror Stuttering during real time previewing It is not uncommon to experience problems when previewing Acoustic Mirror s processing in real time The following sections contain several suggestions to remedy the situation Lower the Quality speed setting Lower the value of the Quality speed control on the G
217. f the playback cursor and Show the record counter while recording check boxes and click OK Turning off the play output meters Sound Forge s play meters use a small amount of processing overhead during playback However if you detect dropouts during playback and previous fixes have failed try turning off these meters From the View menu choose Play Meters The check mark adjacent to the command is cleared indicating that the play meters are turned off Turning on passive updating for video and time displays Passive update options lower the priority of redrawing the video and time displays during playback When these options are turned on the displays update only if there is ample time Frequently this goes unnoticed and enabling these options minimizes playback overhead with little or no inconvenience Turning on passive updating for time displays From the Options menu choose Time Display and choose Passive Update from the submenu A check mark appears next to the command to indicate that this option is turned on OPTIMIZING FOR SOUND FORGE CHP 2 M 7o21 Turning on passive updating for video displays From the Options menu choose Video and choose Passive Update from the submenu check mark appears next to the command to indicate that this option is turned on CHP 2 OPTIMIZING FOR SOUND FORGE 22 OPTIMI
218. frame in the video strip To move the cursor by single frames press Alt or Att Viewing frame numbers Sound Forge allows you to display frame numbers on each frame in your video strip which can assist you in positioning your audio As you zoom in more tightly each frame in the strip represents one frame in the video Frame number 1 Open a video file and display the video strip 2 From the Options menu choose Video and then choose Number Frames A check mark appears next to this option on the menu when the feature is enabled and a small box with a number appears at the bottom of each frame The small black arrow marks the exact position of the frame EN Right click the video strip and choose Number Frames from the shortcut menu 3 Using the data window s zoom ratio controls zoom in out on the waveform several times and observe the numbering of the video frames Tip Select a frame number format by choosing Preferences from the Options menu and selecting an option from the Frame numbering on thumbnails drop down list on the Video tab OO I WORKING WITH VIDEO CHP 16 NNN Animating the video strip During playback of a video file the video strip can display animated or still frames This can visually aid in editing and positioning your audio to match the video From the Options menu choose Video and then choose Animate Video Strip A check mark appears next to this option on the menu when th
219. ft shifts the current selection EM Properties dialog NN to the left so the current start point becomes the end point Shift Selection Right shifts the current selection to the right so the current end point becomes the start point Edit Tempo calculates the musical tempo beats per minute based upon the current selection current selection the opposite end of the file Halve Selection divides the current selection in half Selection Grid Lines toggles the selection grid line display on off FP i Double Selection doubles the size of the K Rotate Audio moves the current selection to CHP 3 LEARNING THE SOUND FORGE WORKSPACE LI e Tempo window The ACID Loop Creation Tools toolbar also contains a Tempo window that appears to the right of the toolbar buttons This window calculates and displays the ACID project s tempo as if the current selection represents a complete measure Play Device toolbar The Play Device toolbar allows you to choose a playback device on the fly Microsoft Sound Mapper Play Device drop down list Play Device drop down list Choose a playback device from the drop down list Use the Play Device drop down list as a shortcut for choosing Preferences from the Options menu and choosing a Playback device on the Wave tab ToolTips Hovering the mouse pointer over a button or status bar box for longer than one second displays a small text box adjacent to the pointer
220. g By default Sound Forge records into the active data window If this is not where you want to record use one of the following methods to prepare for recording e To record into a different data window click the Window button and choose a data window from the Record destination window drop down list Click OK to return to the Record dialog OT To record into a new window click the New button in the Record dialog and specify the attributes sample rate bit depth and channels for the new file Click OK to return to the Record dialog 4 From the Device drop down list choose the device to use for recording 5 From the Mode drop down list choose a recording mode For more information see Choosing a recording mode on page 119 6 Drag the Threshold slider control to set the audio level at which you want recording to begin Sound Forge monitors the audio levels until they reach the level you choose and then begins recording 7 Drag the Release slider control to set the amount of time the audio level should be below your Threshold level before Sound Forge stops recording 8 Select the Automatically rearm after record check box if you want Sound Forge to be able to immediately record again after your initial threshold recording Sound Forge will return to monitoring audio levels after each recording if this check box is selected 9 Select the Prerecord buffer check box and type a value in the edit box to maintain a set amount of time
221. g Oe diae 156 dde Te OUEL 4 2 sr ED Pep pc s ped tdi eni eei Las 157 Insert SI IeliCO bv armas epit debated s dieta aque pede ciae arts dE 157 Inserting silence into d WG s sce diu dE agre irs ERI ORE ASSES RE IU LOI uc peu 157 INSEE Silence COMMONS cece oe ue ud qu tee hehe Ea bad qi deque duda dde 157 verw Ei To REIR RC TER EE PE ieee a TA 158 uM tara ee ke ea N ta Sean Tea a See INE ae tees ee 158 Muting an audio selection deus wy eke Sete bt em drap a End le abut we d tx PUES ee 158 INOMMANZG 5 in vacwaadog ade ba a read d aka a et ra Rc Fa OA BOE SM perd eure 158 INOFMIAIIZING ZAUICITO sadn tate ee he ge P Pei T RD ar ober Ded psu ea E iE 159 INormalize Controls seid alea steam c a pie eicere ea deg duse M dex 159 lP atVEXDalid vue icueriomkzeedxacueverebkawaceRaCua E og dde eiusd 161 Creating d Dali svi raik dE DUREE IRI pPELEE DO pU Eu rd le Pe a eas 162 Creating a CUSION Dalle i is iios adiens tied i cata hed dde deduc id Lu dd Eqs E 162 l am Exparid CoOPtFOlS ideae at acea credis a ROO db ete nies RUE e Ee o EC m de dc ac aie 163 ReESAMIDIG m LR rM 163 DOWNSaln pin AUO 222 Cmm 164 WUpsampiNg audios ee TP 164 Hesample CoDLFOlS ise icon ace eec aree Qc UL ARE ERROR pac aces fear kee deed Rad fear Oa E CR do 164 HOVOlSQ a sux a ES dV CEU el cy EC CRM Eie CI ee BIAS CR upon o Md 165 o miootBnba i6O s s saco dcs p aor cog hoe oUR Dr opua do OX EOS IR IR HU SUR ol a Rn 165 TABLE OF CONTENTS _________ 9 Swap ChabltiTeS
222. g audio glitches 137 Fine tuning selections Keyboard methods 79 Mouse methods 79 Flipping envelopes 180 Floating windows 26 FM synthesis 142 Format conversion 88 Frame animation 236 Frame numbering 236 G Gap detection 126 Generating MTC with Sound Forge 207 INDEX Getting Media 46 Glitches Finding 137 Repairing by copying the other channel 138 Repairing by interpolating audio 139 Repairing by replacing with preceding audio 139 Repairing with the Pencil tool 140 Go To 69 Graphic fade 155 Creating a custom fade 156 Resetting the envelope 156 Showing the waveform 156 Halving doubling loops 231 Hard disk defragmentation 19 Hardware setup External monitor 239 MIDI SDS 216 SCSI SMDI 216 Help On the Web 17 Online 16 What s This 17 Hiding Data window elements 28 Docked windows 26 Effects plug ins 176 Video strip 235 Holding peaks valleys 38 Impulse files Adding summary information 192 Creating 189 Equipment needed 189 Equipment placement 190 Head related transfer functions 194 Recording the test tone 190 Recovering from an acoustic space 189 Recovering from an electronic device 190 Recovering the impulse 191 Setting levels 190 Transferring the test tone 190 Trimming impulse files 192 Trimming the test tone 191 Using in creative ways 193 Initiating MIDI playback 203 Inserting Command markers 97 Silence 157 Installing Sound Forge 1
223. g hee be ua dme dana ole e ec e log Ow elt eL doa Rao am ew te s 75 WSING ZOOMING SNOMCUlS oin dd abad Sibi E OR Dea Cbr aC dede dog Nc oM COME e RR a wend 76 Using the Mag EOOl uaa xo o se ated n ariete Ret Sage ret bud Rao Rd es Ee 76 Selecting audio using start and end values nssaa anana nannan 78 Using the Set Selection dialog llllleeeeeeleeee eee eee eens 78 Selecting audio during playback lt nne 79 Fine tuning a selection 0000 eee eee eee eens 79 Adjusting a selection with the mouse e e e cece es 79 Adjusting a selection with the keyboard 0 00 cece ees 79 Restornng ccs elle cs Sede Sana hag EE TIT 0 0 0 Lo TETTE 80 Understanding SNapDING ss 25 65 444 xD eae eee OR ae Fe ee ee ES 80 Snapping to time CIVISIONS soiree rara re boc Oe A Lh NE rapa a a fs ded e m dh Rees 80 Shaping to zero rosslli8iS vas whee ae eee eee PD dota site dre DER od x op ad a EA Od 80 Snapping the current selection to time divisions or zero crossings 0 00 ee eee ees 80 Disabling Auto Snap to Zero at high magnifications a an lt e ees 80 Creating and using views lt e e e ehh 80 Displaying the Views toolbar a 5 95 95 o od ud Ecc e s drs ar ee de oa bs aite 81 Creating VIEWS 2 4 dais nir pb cited dodge ed te debi dd s b EA HR depo du OU Peeters 81 Changing File Attributes and Formats 83 Ediung Mle at mpules cud un bathe bbs o oe OH i war eh ew
224. g on the MIDI Keyboard lt iua Rhe d nonse wee deno E eS EIE edi Eas 214 Configuring the MIDI Keyboard output port and channel LL 215 Troubleshooting the MIDI Keyboard irri 215 SDESCIPVING IDs afa so Sak dese ce brace nt Bow Dod aa ta d der E RR RU Gta EE RE 215 Generating Chords 3549 us cider em o xad attested wards dele aie iuto dapib agde 215 Setting up MIDI SDS hardware x nnn 216 Troubleshooting MIDI SDS with open loop x cece eee eee 216 Setting up SCSI SMDI hardware suut te co ORC ERE AUR Deo M ee XR ied 216 Troubleshooting SCSI SMDI eeeeeee I Rh hn 217 Coniicurig S6cl1DSs iuis datant qu rie Eme eara da dac ados ad aued aeq d E 217 Periodic transter Tallures 5er eSRRUODUPV DEVI See hee Dh intra see sei bed oes 217 Sampler is recognized but does not transfer reliably 2 000 cece eee eee ees 217 Eoo eo RE E EE TTE T IL TII 219 TABLE OF CONTENTS LOODS tH THU lcm 219 Sustaining and release lOODS i e ed dt 44 Ese Kad ee mace ee dede s cs ox edess 219 Creating a sustaining OOD sterse adc xe N R R R R RR RE RR RR au Bide Ba dau ine Wa UR 220 Creating a sustaining loop with a release loop e nn 221 LOODING Tecnnidbile9s s oe ice drea et tee iterate a ias a bith adparet eed 222 Match endpoint amplitudes iux v BEE Nia a Woe Wes dec Sac dra pax EO EO RE i EE RAUS 222 Match endpoint waveform slope 0 00 cece eee eee eee eee hh hn 222 Matc
225. ge For example to determine the noise amplitude of a file run Statistics on a region of noisy silence The Root Mean Square of the sample values relative to the RMS value of a maximum amplitude square wave the loudest possible recording On short intervals this value relates to the volume level of the audio file If used on a large selection with large volume variation this value becomes less meaningful The sum of all sample values in the selected region divided by the number of samples If this value is not zero it usually indicates a DC offset in the recording process The number of times per second that the waveform fluctuates from a negative to a positive value This value can be used as a rough estimate of the frequency of the audio data for very simple waveforms Creating a new data window 1 From the File menu choose New The New Window dialog appears New Window DK Sample rate 2 000 to 192 000 Hz Bit depth Channels Cancel 16 bit Mona T Stereo Help 11 13 42 Maximum editing time New Window dialog 2 Complete the New Window dialog e From the Sample rate drop down list choose a sample rate e From the Bit depth drop down list choose a bit depth e Select the desired Channels radio button For more information see Editing file attributes on page 83 3 Click OK A new data window with the specified attributes appears a Tip Sound Forge automatically names new
226. ging the edge of the selection to a new location 1 Open a file and create a selection in the waveform 2 Position the mouse pointer over one of the selection edges The pointer displays as a bi directional arrow 3 Drag the selection edge to a new position fj Example music bed i Example music bed 00 00 10 00 00 15 00 00 10 00 00 15 E NM Inf i 6 0 ans a aT a ruo af a e SSS Pios olfalo No JU gt 00 00 10 634 00 00 12 887 00 00 02 252 NH O gt i 00 00 10 634 00 00 15 139 00 00 04 504 Drag the edge of the selection to a new position 4 Release the mouse button The selection updates Adjusting a selection with the keyboard Using the keyboard you can quickly and accurately select data or update a selection For more information see Selecting data on page 261 CHP 5 NAVIGATING ZOOMING AND SELECTING 80 r Restoring a selection If you lose a selection while editing you can restore it by choosing Toggle Selection from the Special menu or by pressing Backspace y Understanding snapping If when extendin a selection the end oints seem to jump to a different OSition an auto snap option is turned On Snapping to time divisions Auto Snap to Time ensures that all start and end points reside on whole time divisions To turn this option on choose Auto Snap to Time from the Options menu A check mark appears adjacent to the command to indica
227. gt Overwrite the selection Note If any of the selection data remains it is because the length of the clipboard contents was less than the length of the selection A Replicating Replicating allows you to overwrite a selection with several copies of the clipboard contents When replicating you must specify whether Sound Forge uses partial copies of the clipboard contents or only complete copies e Allowing Sound Forge to use partial copies of the clipboard content completely overwrites the selected area e Forcing Sound Forge to use complete copies of the clipboard content prevents a portion of the selection from being overwritten unless the selection length is an exact multiple of the length of the clipboard contents EDITING REPAIRING AND SYNTHESIZING AUDIO CHP 9 133 Replicating a selection 1 Open the Voiceover pca file 2 Create a selection containing Wow 3 Copy the selection The data is placed on the clipboard i Wow sound editing B x a 00 00 00 00 00 02 00 00 04 L L L wow Sound editing just gets easier 1 And easier 1 Create a second selection 5 From the Edit menu choose Paste Special and choose Replicate from the submenu The Replicate dialog appears 6 Select the Copy partials radio button and click OK Sound Forge overwrites the selection with multiple copies of the clipboard contents A partial copy of the clipboard cont
228. gure Sound Forge to snap to positive slope negative slope or either slope zero crossings 1 From the Options menu choose Preferences and click the Editing tab 2 From the Snap to zero crossing slope drop down list choose the desired slope and click OK Selecting audio during playback Sound Forge allows you to create selections during playback using the Mark In and Mark Out commands These commands place temporary markers in the data window which are then used to create the selection While you can place these markers by choosing Mark In and Mark Out from the Special menu the keyboard equivalents are more useful 1 Play the audio file in the current data window 2 During playback press 1 where the selection will begin 3 Press 0 where the selection will end Sound Forge creates a selection using the in and out points you identified Fine tuning a selection After creating a selection you may discover that the start or end point has not been positioned properly In cases like this you can try to reselect the data but it can be difficult to accurately create selection points For this reason Sound Forge provides a number of tools designed to help you fine tune selections If you find that the selection jumps unexpectedly as you fine tune it snapping may be turned on For more information see Understanding snapping on page 80 Adjusting a selection with the mouse You can fine tune selection start and end points by drag
229. h endpoint SOUNGIEVEIS 4 433 43 lt 222 Avold very short IOODS ac sete ena ac dica e tie teenie o A EQ CUR UAM REL Rv dca i 223 EditiDg JOODSs a ead qoaa dava ade Sade pu Ma dece ae ow KO ur ao vae eee 223 Editing a loop without the Loop Tuner lt lt e e nre 223 Editing a loop with the Loop Tuner lt lt lt e rr 223 Crosstading lOODS ayuu EE E EA ie RS RIS Ou a eda su ia REA d E 226 Using the Crossfade Loop tool i 2x rt hh ee et be ee ed a dees 227 Creaung loops TOF ACID uu ucc ato stri Doe pte Re o E Done deeem et 228 Creating an ACID one shot Tile i sc i sis ou p EGG dk oie Rx bed aa 228 Creating an ACID eel eh s LEER ERROR d de dd addam a hava Baty 228 Creating an ACID 2 0 disk based file teens 229 Creating an ACID beatmapped file llleeeeeeeee III n 230 Using the ACID Loop Creation Tools toolbar nnna annaa aaan 230 Editing JOopS TOF ACID isa oa bien ei ela peti eb da oem a coo aoo RR RC atn 231 Ha lving or doubling 90D 2 52 95 a Patras ede due T RES k Ira ds AG RSERSIE RIT RES 231 Shifting a selection left or right e oen E EPIS eee bea Phat IA dub PLISX 231 FIOL e e AUCH OS cadmas dt T C tite Bb Ue 232 Setting COP TEPO 3 4 V c oe ee Ecke eae ee eee a bah bag deca ac d ee 233 Saving OOD DOIDIES 33a Sind ood dato dao Sak hee ew be BE eee 233 Working with Video leere Re 23b Viewing VIdeo x03 lt lt 235 Using th video SUID 9 CERE GE eA RRR EERE
230. haracter lL PG Insert new tene sequence at End of file DTMF MF Tones Dialog 2 Enter the phone number to be generated in the Dial string edit box including pause characters r Note Sound Forge ignores unknown characters S 3 Use the Amplitude fader to set the peak level of the waveform 4 Select the Tone style to generate radio button corresponding to the tone to be generated e DTMF Dual Tone Multi Frequency signals are used by standard push button telephones and are generated using combinations of 679 770 852 941 1209 1336 1477 and 1633 Hz sine waves MF signals are used internally by the telephone networks and are generated with a combination of 700 900 1100 1300 1500 and 1700 Hz sine waves 5 Specify the output length in seconds of each tone in the Single tone length box 6 Specify the length in seconds of silence between tones in the Break length box 7 Specify the pause length in seconds to be inserted for a pause character in the Pause length box 8 Select the Fade the edges of each tone check box to help prevent glitching 9 Specify the pause character in the Pause character box 10 Use the Insert new tone sequence at drop down list to specify where the generated tone is placed in the audio file 11 Click OK CHP 9
231. he cursor position in a ToolTip right click the sonogram and choose Show Notes from the shortcut menu 22 050 Use the cursor to display musical note equivalent 10 455 75 0 dB at FHS 6 364 k Bers 4182 2 091 Freg 0 Br ps n 561 00 00 01 101 00 00 01 628 00 00 02 156 00 00 02 683 00 00 03 211 00 00 03 738 mm i Right click the Spectrum Analysis window and choose Show Statistics from the shortcut menu to toggle the display of the Statistics area at the bottom of the Spectrum Analysis window Updating a sonogram A sonogram updates in the same method as a spectrum graph For more information see Updating a spectrum graph on page 249 Monitoring an input and output source Click the Real Time Monitoring button to turn real time spectrum analysis on or off Click the down arrow next to the button and choose Monitor Input to monitor the device selected in the Record drop down list on the Wave tab of the Preferences dialog to access the Preferences dialog choose Preferences from the Options menu Real time output monitoring is not available in sonogram display mode When you click the down arrow next to the button and choose Monitor Output from the menu a cursor is displayed in the sonogram to indicate the play position Tuning a sonogram It is frequently necessary to experiment with the control parameters in the Spectrum Settings dialog to produce the best possible sonogram For more information see
232. he data windows pictured above display the Loop Tuner in the bottom half of the window For more information on the Loop Tuner please see page 223 EE Fee Match endpoint sound levels The overall amplitude or loudness approaching the loop s endpoints should be as similar as possible to prevent distracting glitches Unfortunately it is frequently difficult to avoid this problem particularly with rapidly decaying source material For more information see Viewing loop amplitude on page 225 00 00 00 095 00 00 00 030 S wey he A xe E 1240 te 1218 2128 St eb top Ne A xe 1249 xe dge 428 2125 J E 7i Non matching amplitude Matching amplitude LOOPING CHP 15 223 Avoid very short loops If the loop is shorter than 50 ms 1 20 Hz the pitch of the loop may not equal the sample pitch Pitch tuning a loop is accomplished by creating short loops with a length equal to 1 frequency For example a sample of pitch 440 Hz corresponds to A5 on the keyboard meaning the loop can be pitch tuned 2 27 ms However pitched loops do not sound like the original sample y Editing loops The loop you initially create in any situation is rarely perfect Frequently loops require some degree of editing before they are usable Editing a loop without the Loop Tuner Once you create a loop you can quickly edit its beginning and end and subsequently its length by dragging the markers to a new location
233. he full version of Sound Forge or the Screenblast version If you are working with the full version of Sound Forge three options appear in the EO submenu Graphic Paragraphic and Parametric Each of these options launch the appropriate XFX effect For more information on using the XFX EQ effects refer to the Sound Forge online help from the Help menu choose Contents and Index If you are using Screenblast Sound Forge two ExpressFX options appear in the EO submenu Simple EO and Graphic EQ Simple EQ allows you to boost or attenuate the signal in three general ranges bass mid and treble as well as configure the mix of dry and wet signals ExpressFX Graphic EQ allows you to boost or attenuate the signal at ten pre determined frequencies as well as configure the output gain Fade Graphic fade Graphic fade allows you to create custom fade envelopes to apply to audio data You can use up to sixteen envelope points to create complex graphic fades Creating a graphic fade 1 Open the Musicbed pca file 2 Select the last half of the audio approximately 5 seconds 3 From the Process menu choose Fade and choose Graphic from the submenu The Graphic Fade dialog appears 4 From the Show wave drop down list choose Mono source The Musicbed pca waveform displays in the graph For more information see Show wave on page 156 5 From the Preset drop down list choose 6 dB exponential fade out The fade s envelope displays in relat
234. he impulse Once you have recorded your test tones they must be processed and converted into impulse responses The following sections describe the typical impulse recovery procedure Trimming the test tone 1 Open your test tone file the room processed output test tone in Sound Forge 2 Locate the first timing spike and delete all audio before it Cut as close to the beginning of the timing spike as possible but do not delete the spike itself 3 Locate the second timing spike and delete all data from the start of the second spike to the end of the file Again cut as close to the start of the timing spike as possible You should now have an audio file with a spike at the beginning a test tone and silence 4 Save the test tone file Naming configuring and recovering the impulse 1 From the Effects menu choose Acoustic Mirror The Acoustic Mirror dialog appears 2 Click the Recover tab Sony Acoustic Mirror Funky saxophone riff Preset untitled z pes OR aie Cancel This page is used to create your own impulse file from a test tone that you have recorded and saved to a sound file It does not affect processing of normal sound files Help Recorded file Browse Test File used K Browse Impulse output NENNEN Browse Preview v Remove very low frequencies Recover Impulse Bypass IV Realtime Save As pelete Impulse recovery mode Use the start and en
235. he record input meters in much the same way you do with other meters in Sound Forge For more information see Meters on page 57 Setting the record level The values displayed above the record meters are useful for maximizing the input level during recording It is particularly important to record input signals as loud as possible when planning to decrease the bit depth This maximizes the dynamic range However the input signal must never exceed the range of values that can be recorded digitally When the input signal exceeds the safe digital recording range the waveform peaks are clipped resulting in audible digital distortion 1 Open the Record dialog 2 From the Device drop down list choose the device to use for recording 3 Apply the input signal to be recorded The meters display levels relative to the signal 4 Slowly increase the level of the input signal until the peak value is the 6 dB range If the peak reaches O dB the wave is clipped and a Clip indicator appears above each meter If clipping occurs decrease the level of the input signal until the record level is maximized without clipping Scaling the record meters Like the play meters the record meters can be scaled to various dynamic ranges by right clicking the meters and choosing Peak Range or VU PPM scale from the shortcut menu and then choosing the desired range from the submenu For typical recording situations the 42 to O dB range is the most practical Ho
236. heck box plays the preview in an infinite loop CHP 10 PROCESSING AUDIO 14 8 5 Reactive previewing Selecting the Reactive previewing check box allows you to update previews in real time by manipulating the dialog s controls a 4 Tip You can temporarily suspend reactive previewing by pressing Shift eS Bypassing a process while previewing You are also able to A B test an effect by using the Bypass check box to switch between previewing the processed and unprocessed audio file e When you select the Bypass check box Sound Forge plays the unprocessed audio file when you click the Preview button e When you clear the Bypass check box Sound Forge plays the processed audio file when you click the Preview button Graphic Fade Wow sound editing ki Gain Cancel 100 lt Preset Sys 3 dB exponential Fade out b Help 75 S Save As Preview ih ELI r Delete 50 Bypass The Preview button and Preview the Bypass check box Bypass 0x 25 50 75 100 Maximum Gain 100 OdB C 200 6dB C 400 12 dB Show wave Mono source Se Reset Envelope Selection 00 00 00 000 to 00 00 05 000 00 00 05 000 ae Channels Mono hee Sound Forge processes The remainder of this chapter describes the functions loca
237. her Regions List display Format Playlist display format Specify a Region List display format start and End Start and End Start and T edt start and End IV Sort the Regions List alphabetically Playlist pre roll 0 0 to 300 0 seconds 2 000 c oem USING MARKERS REGIONS AND THE PLAYLIST CUTLIST CHP 7 M 105 Changing region order 4 By default the Regions List displays regions in alphabetical order by name but you may also specify an alternate order 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the Playlist tab 3 Clear the Sort the Regions List alphabetically check box and click OK Saving a Regions List file You can save a file s Regions List to an external file This offers the flexibility of using multiple Regions Lists for the same audio file 1 From the Special menu choose Regions List and choose Save As from the submenu EM Right click the Regions List and choose Save As from the shortcut menu 2 Use the Save As Regions Playlist dialog to specify a folder and filename 3 Click Save Opening a Regions List file Importing a Regions List file offers the flexibility of using multiple Regions List files for the same audio file Opening a new Regions List file clears the current Regions List Make sure you have saved the current Regions List before continuing 1 From the Special menu choose Regions List and
238. his chapter also discusses file summary information Editing file attributes When you open or create a file its attributes display in the first three boxes of the status bar at the bottom of the main screen The file attributes are sample rate bit depth and channels mono or stereo 441D0Hz 16bit Mono 00 00 09 712 9089 4 MB attributes in the status bar Sample rate Bit Channels File length Free storage depth available You can edit audio file attributes in the Properties dialog or in the status bar Editing attributes in the Properties dialog You can edit file attributes in the Properties dialog 1 From the File menu choose Properties The Properties dialog appears Sn You can also access the Properties dialog by doing any of the following e Double click a format box eRight click the waveform display and choose Properties Press Alt Enter 2 Click the Format tab 3 Edit the file attributes as needed and click OK Properties Drum Fill General Summan Format video Display Sample rate 2 000 to 192 000 Hz 44 100 Bit depth 16 bit Channels Mono T Stereo O K Cancel Apply Edit attributes in the Properties dialog Editing attributes in the status bar You can quickly edit individual file attributes by right clicking the status value to be changed and choosing a new value from the shortcut menu CHP 6 CHANGING FILE ATTRIBUTES AND FORMATS 84 jp Changing the s
239. ia file in a specific data window drag the media file from the Explorer window to the data window CHP 4 GETTING STARTED By Extracting audio from CD The Explorer window allows you to easily extract audio from a CD into a data window Each audio track on the CD is extracted into a separate data window 1 Use the Explorer window to browse to and select your CD drive The CD s audio tracks display in the right pane of the Explorer window 2 Select the track s you want to extract 3 Drag the track s to the main Sound Forge workspace Sound Forge begins extracting the selected tracks into individual data windows 4 To stop the extraction process you can click the Cancel button on the status bar to stop the whole process or on the individual data windows to stop extracting a specific track a r Tip To extract a single audio track into a new data window double click the track in the right pane of the Explorer window Using Explorer views You can control the information that is displayed in the Explorer window by clicking the Views button El and selecting a view These options are explained below Item Description TreeView Displays all of the available drives and folders that you may choose from to find files Region View Displays
240. ial and choose Paste to New from the submenu Sound Forge creates a new window containing the clipboard data in a single step Cutting Cutting allows you to remove a section of audio data from a data window and store it on the clipboard until you paste or mix it into another file When deciding between cut and copy consider the following e Copying data has no effect on the original file e Cutting data modifies the original file Cutting data from a window 1 Create a selection containing the second Wow there should be two if you are following the examples in Voiceover pca 2 From the Edit menu choose Cut Sound Forge removes the selected data from the file and places it on the clipboard SER Click the Cut button X or press ctri x 3 Click the Play All button 71571 Wow Sound editing just gets easier and easier plays back GETTING STARTED CHP 4 59 i Wow sound editing Create a selection 00 00 04 2 00 00 00 00 00 02 C L y how Sound editing just gets easier alef l 0 Phs Jo ale V 1 And easier 1 Nd O gt de 00 00 01 462 00 00 02 205 00 00 00 743 Cut the selection i Wow sound editing B x at 00 00 00 00 00 02 00 00 04 N V L Silence Sound editing just gets easier 1 And easier 1 1 1 25 6 0 12 0 Inf Selection is removed from the data window and placed on the clip
241. ically adding and organizing plug ins Sound Forge can automatically add all che plug ins on your computer to your DX Favorites folder and organize them by the first word in the plug in name usually the company name This replaces any menu structure you may have created with a rebuilt DX Favorites menu 1 From the DX Favorites menu choose Recreate by Plug In Name Sound Forge prompts you to confirm the reorganization of the DX Favorites folder 2 Click Yes to continue Sound Forge creates folders and organizes the plug ins based on the first word in the names of the plug ins Using the Preset Manager Once you have created custom presets for effects or effect chains you can use Sound Forge s Preset Manager to back up transfer or delete custom presets from any of the effects processes tools and plug ins installed in Sound Forge The Preset Manager also functions as a standalone application meaning that you can use the Preset Manager outside of Sound Forge to manage ACID and Vegas presets as well To display the Preset Manager choose Preset Manager from the Tools menu In the Preset Manager choose Contents and Index from the Help menu for instructions on how to manage your presets CHP 11 APPLYING EFFECTS iJj gm Effect Parameters When you add an effect that supports automation to the Plug In Chainer a list of the effect s automatable parameters is displayed on the right side of the window You can use these controls to add
242. ield ICRD is always filled with the current date fov new files C Saving summary information You can save files containing summary information that have been edited in Sound Forge with or without summary information 1 From the File menu choose Save As The Save As dialog appears 2 Select the Save metadata with file check box and click OK r Note If you save to a file type that doesn t support metadata this check box is unavailable l Including additional embedded information Some file formats allow non text data such as embedded bitmaps and metafiles to be embedded in files If you use Sound Forge to edit a file containing data created in another application Sound Forge tracks the embedded data and places it back in the file when it is saved in its original format Saving additional embedded information To save additional embedded information choose Save As from the File menu and select the Save metadata with file check box If the file type does not support metadata Sound Forge prompts you to save the metadata in an external file with an sfl extension Removing additional embedded information To save a file without additional embedded information choose Save As from the File menu and clear the Save metadata with file check box CHANGING FILE ATTRIBUTES AND FORMATS C
243. ies as needed For help on the different settings click the What s This Help button and click a control or click a control and press Shift F1 When you are finished editing the template properties click the OK button Saving custom templates You can save a custom template to use again by entering a template name in the Template box in the Custom Template dialog and clicking the Save Template button 18 Deleting custom templates You can delete a custom template by selecting the template from the Template drop down list in the Custom Settings dialog and clicking the Delete Template button Saving all open audio files Choosing Save All from the File menu automatically prompts you to save all open audio files on the current workspace E aaas Note Pressing while choosing the Save All command automatically saves all open files without prompting you to approve each save ann CHP 4 GETTING STARTED BG LLL d Saving files as a workspace To accommodate complex editing scenarios Sound Forge allows you to save the entire workspace as an alternative to saving individual files Workspaces are saved as Sound Forge Workspace SFW files When you open a workspace file Sound Forge restores all files to their previous sizes positions and magnification Sound Forge also restores each file s current cursor position custom views and plug ins in the Plug In Chainer For more information see Creating and using view
244. ift P Ctri Shift P Ctrl Shift gt ctrl shift Shift numeric keypad Shift numeric keypad Ctrl Shift numeric keypad Ctrl Shift numeric keypad Shift T Shift Z Shift Tab Un i es ET EI Ed A d or Backspace Shift L APPENDIX A 2061 Selecting data To select from cursor to Show the Set Selection dialog Select from the cursor to the next previous screen pixel Select from the cursor to the next previous sample Select from the cursor to the next previous video frame Select from the cursor to the first sample visible in the waveform display Select from the cursor to the last sample visible in the waveform display Select from the cursor to the first sample in the data window Select from the cursor to the last sample in the data window Select from the cursor to 10 of the current view prior to the cursor position Select from the cursor to 10 of the current view past the cursor position Select 100 of the current view prior to the cursor position Select 100 of the current view past the cursor position Select 10 pixels past the cursor position If regions loops or markers exist in the file this keystroke selects to the next region loop or marker boundary Select 10 pixels prior to the cursor position If regions loops or markers exist in the file this keystroke selects to the previous region loop or marker boundary
245. ight chamel mi IZ Convert to specified output channels only no custom mixing Selection 00 00 00 000 to 00 00 05 000 00 00 05 000 M Channels Mono 3 a Channel Converter dialog PROCESSING AUDIO CHP 10 MC 153 Using the Channel Converter 1 Open the Voiceover pca file Notice that this is a mono file 2 From the Process menu choose Channel Converter The Channel Converter dialog appears 3 From the Preset drop down list choose Mono to Stereo 10096 and click OK The mono file converts to stereo with equal levels mixed to the left and right channels i Wow sound editing Iof x 00 00 00 00 00 02 00 00 04 T L L Silence Wow Sound editing just gets easier 1 And easier 1 1 1 5 0 Inf allal sz lalajo No O d 00 00 00 000 The file is converted to stereo Channel Converter controls The following controls are located in the Channel Converter dialog Output channels These radio buttons determine the number of channels mono or stereo in the output file New left channel pane The following three controls are located in the New left channel pane of the Channel Converter dialog Control Description From left Determines the amount of the original left channel data mixed into the new left channel From right Determines the amount of the original right channel data mixed into the new left channel Invert left channel mix Selecting the Invert left channel mix check box reverses
246. imes to minimize distortion This mode is useful for getting loud and clear audio during mastering Normalize peak value to The selection s peak amplitude level is normalized to O dB thereby allowing the O dB maximum possible constant gain without clipping the selection However less gain is applied than would be necessary to achieve the Normalize to RMS level Ignore saturate Audio is permitted to clip and distort Stop processing Audio peaks that will result in clipping force the normalize function to cease processing and alert you that clipping will occur at the current level Note When normalizing stereo audio normalization is computed on the loudest sample value found in either channel and identical gain is applied to both channels If a single channel is selected in a stereo file normalization processes only that channel _ Pan Expand Pan Expand allows you to create panning effects and stereo compression expansion in selections e a Note The Expand option is only available in the full version of Sound Forge CHP 10 PROCESSING AUDIO 162 LL Creating a pan A pan is used to control the apparent position of a sound between the left and right channels of a stereo file 1 Open the Musicbed pca file 2 For users of the full version of Sound Forge from the Process menu choose Pan Expand The Pan Expand dialog appears For use
247. in a buffer when Sound Forge is armed for recording A safety buffer helps to ensure you won t miss a perfect take if you set the threshold a bit too high When the prerecord buffer is enabled Sound Forge starts recording when the audio input reaches the threshold level and commits the sound data in the buffer to disk For example if you set a 15 second buffer recording effectively begins 15 seconds before the input reaches the set threshold level 10 Click the Arm button amp m Sound Forge is armed for recording to begin when audio levels reach your set threshold 11 To end audio monitoring and recording click the Stop button d 12 Click the Close button to close the Record dialog RECORDING EXTRACTING AND BURNING CHP 8 117 Triggering by MIDI timecode Note You can specify a MIDI input port in the MIDI Sync tab in the Preferences dialog from the Options menu choose Preferences For more information see Synchronizing with other devices on page 124 1 From the Special menu choose Transport and then choose Record from the submenu EM Click the Record button on the transport bar or press cti R 2 From the Method drop down list choose Automatic MIDI Timecode 3 Choose the destination data window for your recording By default Sound Forge records into the active data window If this is not where you want to record use one of the following methods to prepare for recording e To record in
248. ination data EDITING REPAIRING AND SYNTHESIZING AUDIO CHP 9 NNa Creating new windows with drag and drop Drag and drop also allows you to create a new data window from a selection 1 Open the Voiceover pca file 2 Create a selection containing Wow 3 Drag the selection to an empty area of the Sound Forge workspace and drop it Sound Forge creates a new data window containing the selection data with the attributes of the original file d Finding and repairing audio glitches Glitches are commonly the result of analog audio editing analog to digital transfer or electronic noise Sound Forge provides you with a tool for locating audio glitches and three distinct tools for repairing them channel interpolate and replace In addition you can repair audio glitches manually using the Pencil tool Locating glitches The Find tool allows you to quickly locate glitches specific volume levels or silence in a file The Find tool s glitch algorithm locates glitches by examining the file for instances where the waveform matches the specified threshold slope and sensitivity criteria The cursor then moves to the location of the glitch to allow you to repair it This tool only locates one glitch at a time Therefore it may be necessary to execute this command several times on a file to locate all glitches Open any audio file containing glitches From the Tools menu choose Find The Find dialog appears From the Find drop down
249. ing procedure m Upsampling audio 1 Verify that the file created in the previous procedure is the active data window 2 From the Process menu choose Resample The Resample dialog appears 3 From the Preset drop down list choose Resample to 48 000 Hz with anti alias filter and click OK The audio is resampled at 48 000 Hz 4 From the File menu choose Save As Save the resampled file with a new name and close it 5 Open the new file and view its Properties dialog Notice that the sample rate is higher 48 000 Hz and the file size is larger 6 Play the file Notice that resampling to a higher sample rate produces an audio quality at 48 000 Hz that is indistinguishable from the quality at 8 000 Hz Resample controls The following controls are located in the Resample dialog New sample rate Determines the sample rate in Hz at which Sound Forge resamples the file ammm Tip Processing is quicker when downsampling by an even multiple such as when going from 44 kHz to 22 kHz S PROCESSING AUDIO CHP 10 _ mMM 165 Interpolation accuracy The Interpolation accuracy value determines the complexity of the interpolation method used during resampling Interpolation accuracy is most apparent in high frequencies but the audible difference between the values is subtle and often undetectable without the use of test tones e A value of 1 is suitable for general purpose audio e A value o
250. ing them together This method can produce a smooth motion blurred image Interpolate Deletes one field and uses the remaining field to interpolate the deleted lines This produces sharper images than Blend Fields but can introduce jagged motion or stair stepping artifacts Allow pulldown removal when If you want Sound Forge to automatically remove pulldown fields when opening 24 fps opening Z4p DV progressive scan DV video files select this check box To open your 24p DV video files as 29 97 fps interlaced video 60i clear this check box Framenumberingon This drop down list determines how the frame information is displayed on the video thumbnails strip when you have frame number display enabled To display frame numbers choose the Frame number option To display timecode choose the Media timecode option External monitor device Allows you to identify an external video device with which Sound Forge can communicate This video device is used to display previews on an external monitor Important Sound Forge automatically adds pulldown when you preview Z4p video on an external monitor Note This option is available only in the full version of Sound Forge Saving a video file 1 From the File menu choose Save As The Save As dialog appears 2 From the Save as type drop down list choose a video file format 3 Name the file in the File name box Save As a x Template Default Template uncompressed m Custom Descrip
251. ion to the waveform in the graph Graphic Fade Example music bed 2 x Preset ETE 6 dB exponential fade out Cancel ENT Full volume at start of selection d 3 Save As a Delete Preview 25 Bypass 0x Zero volume at end of selection Ox 25 50 75 100 Maximum Gain 1009 0dB C 200 6 dB 400 12 dB Show wave Mono source __Reset Envelope The fade envelope Sane TRE hs to 00 00 09 858 00 00 09 858 SERE displays on the graph Musicbed pca with a 6 dB exponential fade out CHP 10 PROCESSING AUDIO 156 LLL Creating a custom graphic fade 1 Open the Musicbed pca file 2 Select the first half of the audio approximately 5 seconds 3 From the Process menu choose Fade and choose Graphic from the submenu The Graphic Fade dialog appears 4 From the Show wave drop down list choose Mono source The Musicbed pca waveform displays in the graph For more information see Show wave on page 156 5 Edit the fade envelope using the following controls e Click the envelope to create a new point e Drag a point to move it to a new position e Double click or right click a point to delete it e Right click an envelope segment and choose a new fade type from the shortcut menu For more information see Envelope graphs on page 39 6 Click OK Sound Forge applies the custom graphic fade to the selected audio Graphic
252. ion is interrupted Use longer look ahead When you select the Use longer look ahead check box the volume maximizer scans farther ahead in the incoming audio to determine the amount of limiting that is needed This results in limiting being applied before the threshold surpassing audio actually occurs However the pre limiting effect fades that occur prior to attacks of this option may be distracting CHP 12 USING ACOUSTIC MIRROR AND WAVE HAMMER 200 3 Input Output meter This meter allows you to monitor the level of the incoming and outgoing signals When an Input button appears the meters are displaying the incoming signal level Clicking Input toggles the button to an Output button and displays the outgoing signal level Clicking Output returns you to the incoming signal display Attenuation meter This meter allows you to monitor the audio signal attenuation derived from the current settings USING ACOUSTIC MIRROR AND WAVE HAMMER CHP 12 201 CHAPTER s E Working with MIDI SMPTE This chapter describes using Sound Forge in conjunction with internal and external MIDI devices Note MIDI SMPTE features are only available in the full version of Sound Forge NN What is MIDI The musical instrument digital interface MIDI is a set
253. ion on the waveform Viewing selection status When a selection exists the selection status boxes in the bottom right corner of the data window contain values These values indicate the start end and length of the selection No selection Selection Cursor Position Beginning Value End Value Selection Length Selecting the status format You can display status values in any format supported by Sound Forge For more information see Selecting status formats on page 64 CHP 4 GETTING STARTED BQ Sp Viewing selection statistics Choosing Statistics from the Tools menu displays a Statistics dialog showing information about the current selection or if there is no selection on the entire file The following table describes all statistical categories displayed in the Statistics dialog Cursor position Sample value at cursor Maximum minimum sample position and sample value RMS power Average value DC Offset Zero crossings The cursor position in samples from the start of the audio file The actual number stored by a single sample The maximum allowed sample value is often referred to as 100 or O dB The maximum and minimum sample values and the locations in samples where they Occur These values may help determine if clipping will occur in the audio file These values can also be used to determine the noise level of a signal for use with Noise Gate a built in XFX plug in installed with the full version of Sound For
254. ion to the left of the current selection From the Special menu choose ACID Looping Tools and choose Shift Selection Left from the submenu a Click the Shift Selection Left button on the ACID Loop Creation Tools toolbar or press 4 Creating a new selection to the right of the current selection From the Special menu choose ACID Looping Tools and choose Shift Selection Right from the submenu as Click the Shift Selection Right button on the ACID Loop Creation Tools toolbar or press 5 CHP 15 LOOPING 232 Rotating audio You can move the beginning of a loop to the end or the end of a loop to the beginning by rotating the audio From the Special menu choose ACID Looping Tools and choose Rotate Audio from the submenu a Click the Rotate Audio button 1 on the ACID Loop Creation Tools toolbar or press Note If the selected audio does not originate from the start or end of a loop Rotate Audio has no effect Rotating the audio has different effects depending on what is selected e If no audio is selected Rotate Audio transfers the first 25 of the loop to the end of the loop hi Voices Pad lel x ili Voices Pad Fl x KA J mue 00 00 00 000 gt 00 00 00 000 Using the Rotate Audio function with no selection e f audio is selected from the start of a loop Rotate Audio transfers the selection to the end of the loop i Voices Pad Pm x ii Voices Pad
255. irror 190 Time ruler 73 Time Stretch 166 Timecode SMPTE 269 Toolbars 29 ACID Loop Creation Tools 35 230 Customizing 29 Displaying 29 Effects 34 Levels 35 Navigation 31 Play Device 36 Process 33 Regions Playlist 32 Standard 30 Status Selection 32 Tools 35 Transport 30 Views 31 Tools Crossfade Loop 226 Find 137 Magnify 76 Pencil 140 Sampler 210 Tools toolbar 35 ToolTips 36 Total buffer size 19 Transport bar 30 Triggered playback 201 Triggered region playback 203 Triggers 201 Resetting 203 Trimming audio 60 Using Auto Trim Crop 149 INDEX x gt Trimming impulse files for Acoustic Mirror 192 Troubleshooting Acoustic Mirror 195 MIDI Keyboard 215 SCSI SMDI 217 System performance 19 21 Tuning a sonogram 252 U Undo Redo 61 Unity note 214 Updating Displays 20 Sonograms 252 spectrum graphs Refreshing spectrum graphs 249 V Video 235 243 Attaching video to audio 240 detaching from audio file 241 External monitor 239 Frame animation 236 Frame numbering 236 previewing 238 Saving 242 Video preview window 238 Video strip 235 Video files working with 49 Video frame copying current 237 Video Preview window settings 239 Video strip animating 237 copying current video frame 237 hiding 235 showing 235 Viewing ext
256. isplay of the selection vertically and horizontally in the data window Formatting the level ruler You can configure the level ruler to display in decibels or percent by right clicking the ruler and choosing Label in Percent or Label in dB from the shortcut menu Using custom zoom settings You can create two custom time zoom settings for quick access to time magnification levels that you use frequently Creating custom zoom settings 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the Display tab 3 Select time magnification settings from the Custom zoom ratio 1 and Custom zoom ratio 2 drop down lists 4 Click OK Zooming to custom settings From the View menu choose Zoom Time and choose a custom zoom setting from the submenu Click a Custom Zoom button amp or on the Navigation toolbar or press 1 or 2 on the numeric keypad CHP 5 NAVIGATING ZOOMING AND SELECTING j e Using zooming shortcuts Zooming to a selection 1 Create a selection If no selection is created this function is not available 2 Right click the waveform and choose Zoom Selection from the shortcut menu Sound Forge calculates the minimum zoom ratio that allows the full selection to display in the window then zooms and centers the selection in the data window To reverse this function right click the waveform choose Zoom and choose Out Full from the submenu Zoomi
257. ist 1 Create a command and complete the Command Properties dialog 2 Click in the Template box and enter a name for the template 3 Click the Save Template button W M Tip Sound Forge saves your metadata command templates in the cmdtemp xml file in the Sound Forge program folder You can edit this file directly to modify your templates L Moving the cursor to a command marker Click the command marker to place the cursor at the current command marker position Deleting command markers 1 Place the mouse pointer on the command marker The pointer changes to a hand icon dh 2 Right click to display a shortcut menu 3 From the shortcut menu choose Delete The command marker is removed USING MARKERS REGIONS AND THE PLAYLIST CUTLIST CHP 7 M M M 99 Using regions Regions identify ranges of time and provide a way to subdivide an audio file A region is defined as the area between two region tags Regions can function as semi permanent time selections that can be saved with the file You can add regions to the playlist and use regions to create new files Inserting regions Sound Forge offers multiple methods of inserting regions including a menu command drag and drop a time ruler shortcut and a keyboard shortcut The fo
258. kers for both streaming media and Scott Studios files e Note While streaming media files can be played on any hard drive or CD ROM they require a special streaming media server provided by your ISP to stream properly across the Internet EE ee Important Windows Media Player 9 will ignore metadata commands unless the Run script commands when present check box is selected on the Security tab of the player s Preferences dialog Be sure to instruct your audience to select this check box before playing your file l T Defining streaming media commands In a streaming media file command markers can be used to display headlines show captions link to Web sites or any other function you define Some command types are exclusive to either the Windows Media files or RealMedia files Command Player type Description URL Windows Media Indicates when an instruction is sent to the user s internet browser to change the and RealMedia content being displayed With this command you enter the URL that displays at a specific time during the files playback Text Windows Media Displays text in the captioning area of the Windows Media Player located below the video display area You enter the text that displays during playback Note To view captions during playback in Windows Media Player 9 choose Captions and Subtitles from the Windows Media Player Play menu and then choose On if Available from the s
259. l and choose Pencil from the submenu e Click the Pencil Tool button in the Standard toolbar e Click the Edit Tool Selector in the top left corner of the data window until the Pencil tool appears 4 Drag to draw a new waveform section The new section is integrated into the original waveform replacing the section containing the glitch Repairing audio using Vinyl Restoration plug in Sound Forge includes an ExpressFX plug in called Vinyl Restoration that you can use to remove surface noise from old recordings For more information on this plug in please see the Sound Forge online help file accessible from the Help menu by choosing Contents and Index EDITING REPAIRING AND SYNTHESIZING AUDIO CHP 9 141 Synthesizing audio Sound Forge allows you to generate custom tones and waveforms for use in your audio projects Generating DTMF MF tones You can use Sound Forge to generate standard dial tones used by telephone companies 1 From the Tools menu choose Synthesis and choose DTMF MF Tones from the submenu The DTMF ME Tones dialog appears DTHFZHF Tones Sound 2 Preset Dial string 123456 75904600 fi 224567 C9 04600 4 Cancel Help Tone style to generate i DTMF C ME Single tone length 0 007 to 2 seconds 0 200 E Break length 0 001 to 2 seconds 0 1 UU S 12 0 dB 25 12 gt Save Ag mefete did T Pause length 0 001 to 5 seconds 0 200 S cae IZ Fade the edges of each tone Pause c
260. lection is updated or the dialog is initially opened To update values click Scan Levels Scan Levels Peak 0 1 dD HMS 17 1 dB Noncurrent Peak and RMS levels PROCESSING AUDIO CHP 10 161 If values have never been calculated two dashes display Click Scan Levels to calculate values Scan Levels Peak RMS Nonexistent Peak and RMS levels aasa Note If the RMS level never reaches the Ignore below threshold a value of 96 dB displays If this occurs decrease the Ignore below threshold level and rescan UUUUU e y Use current scan level do not scan selection When you select the Use current scan level check box Sound Forge uses the current scan levels without initiating a new scan This is useful when applying scan levels from a different selection or file to the current selection thereby allowing identical gains to be applied to multiple files This option can also be used to scan a selection of an audio file containing the loudest or most constant levels and then apply that scan to normalize the entire file If clipping occurs The If clipping occurs drop down list is used to specify how the normalize function handles clipping that may occur when an audio file is processed using the RMS option This list provides four options Option Description Apply dynamic Audio peaks that will result in clipping are limited below O dB using non zero attack and compression release t
261. leeeeeeeee hh rrr 125 Configuring gap detection 322 lt teed Rus sabe aut oe cafus aeneus dedo ie dace brat af de dein 126 Automatically labeling windows and regions e e e ees 126 Changin DIMMING STAS 1ssacn cect bdo Scobaset Brand dcarantnaae sees Savas sr basdiet eus cbe dare t ste E ET 126 TABLE OF CONTENTS sss 7 Extracunad audio Jrorm CS tices cess dacs cae Si se a i CC see re Asal 127 Previewing CD Tracks amata ur hia oaa RE qe savas ane sea REMNNMETA bas zb ERN ES 128 Refreshing the Extract Audio from CD dialog ccc ccc eens 128 sisiguiiaronte Sc P ieee Pee yea aon a baie Wea 128 Correcting the sample rate for CD burning e e e eee eee eee 128 VVFIEING MONG tracks toa CD an sn REL ERE DP pU de ada id ew aon dite ba t 128 Adding tracks to q E 2 4 52 ie Mie a a uti TT 128 Gleis a C E DIR C peenerpETC TERCER 130 Proper USE Ol SOMWadle sed uar tex vbau PEE aa CE REUNIR ERR us 130 Editing Repairing and Synthesizing Audio 131 Crossfading overwriting and replicating e es 131 CroSsladinG 2 2 35 223 Sopa ee be DOS bL cud Seed a a aed aie 131 RT an ied dod uidere mete spp UN DESDE ea ee te De hee e Mario aie 131 HepliCalfig xoi in vewatena aims guo aUa na eer ERE a I a E uid tuse zs Bue eres quate 132 Repealing an operatori ss ac deiet ck daa NEXU IRR tac eo Mea ER Ee 4 Ova ees e 134 Lema dragesancdseroDis sa 59 Eod dt ACA EROR ae a atras a R
262. lence in audio files Note You cannot insert silence into a single channel of a stereo file Insert Silence Example music bed 7 x Total samples En be inserted 44700 Maximum length allowed For insert 00 10 00 000 Insert Silence dialog Inserting silence into a file 1 Open the Musicbed pca file 2 From the Process menu choose Insert Silence The Insert Silence dialog appears 3 From the Preset drop down list choose 2 second standard CD pause length at start of file and click OK Sound Forge inserts two seconds of silence at the start of the file Insert Silence controls The following controls are located in the Insert Silence dialog Insert Determines the length of the silent section At Allows you to specify where the silence is inserted in the audio file CHP 10 PROCESSING AUDIO 158 Invert Flip The Invert Flip command inverts the audio selection at its baseline in effect reversing its polarity Inverting a file while creating no audible difference is occasionally useful for matching sample transitions when executing certain pastes mixes or loops 1 Create a selection in the data window 2 From the Process menu choose Invert Flip Sound Forge inverts the selection IMute The Mute command forces the selection to a volume of Inf dB silence Muting an audio selection 1 Create a selection in the data window 2 From the Process menu choose Mute Sound Forge mutes the selecti
263. les 271 ADOUTIRCAM TES ui act itd uod ait aub oth Sale E pale ea ES LAE pda ex irr Ee 271 About BICSF and EBICSF files llleeeeeeee Rn 271 CODORIFPIEI TIE SE sois Etat enisi nat arate quen Se See ease a TN UNUM LE CLIE E EUIS 271 BICSE and EBIGSF 1 tasr ted ddoteblios dh dtes Geta indonesia dde hen eile ate a tpa 271 IRCAM CSOUND and MTU files civica so e RC eee eae ede ARE ENDE ERO I RA CR EE Rea xn 271 Saving MI TERR I EE TESTE TEE TTL VI aaa nee es 272 Tse d eer oer eo tre ake ee r TABLE OF CONTENTS 15 CHAPTER Lj eee Introduction m iV ve dP ENT Mm A ae ww Introducing Sound Forge EJ Thank you for purchasing Sound Forge and for your continued support of the Sony Pictures Digital family of products Sound Forge provides you with the powerful features you have come to expect as well as a number of new features designed to make digital audio editing quick and easy Sample files Throughout the manual you will find references to six sample audio files The manual directs you to use these files as you experiment with different Sound Forge features These files are installed in the same folder as the application Drumhit pca Fill pca Loop pca Musicbed pca Saxriff pca Voiceover pca The files are in Perfect Clarity Audio PCA format a Sony Pictures Digital proprietary lossless audio compression format Full version of Sound Forge versus Screenblast Sound Fo
264. les Help Select template Template Defaut Template Custom Template description gt Description Riender 44 100 Hz 16 bit Stereo PCM audio About P P wave file oben lt Summary Select saving metadata option gt Save metadata with file Free space Select video options zd p d video S fill output frame do nat letterbox 3 247 5 MB v Fast video resizing Save as type The Save as type drop down list allows you to choose any format supported by Sound Forge Recent The Recent drop down list allows you to access frequently used folders Template The Template drop down list provides a list of standard templates for saving your files Select a template from the list or click Custom to customize the settings For more information see Creating custom templates on page 29 Description The Description box displays the attributes of the selected template Save metadata with file Select the Save metadata with file check box to save marker region playlist sampler loop and summary information with the file If the file type selected in the Save as type drop down list doesn t support metadata Sound Forge prompts you to save the metadata in an external file with an sfl extension For more information see Using Markers Regions and the Playlist Cutlist on page 91 Adding summary information on page 89 and Saving loop points on page 233 Stretch video to fill output frame do not
265. les Number of samples Numbered starting with zero Time Hours minutes seconds and milliseconds hh mmi ss sss Seconds Seconds and fractions of seconds sssss sss to three decimal places Time amp Frames Hours minutes seconds and frames hh mm ss ff Absolute Frames Frames and fractions of frames Numbered starting with zero to three decimal places Measures amp Beats Measures beats and quarter beats measures beats quarters SMPTE Film Sync 24 fps SMPTE at 24 frames per second for hh mm ss ff synchronizing with film SMPTE EBU 25 fps Video SMPTE at 25 frames per second for hh mm ss ff European Broadcasting Union SMPTE Non Drop 29 97 fps Video SMPTE at 29 97 frames per second hh mm ss ff SMPTE Drop 29 97 fps Video SMPTE at 29 97 frames per second using hh mm ss ff dropped frame numbers SMPTE 30 30 fps Audio SMPTE at 30 frames per second hh mm ss ff For more information see SMPTE Timecode on page 269 GETTING STARTED CHP 4 CNO Experimenting with status formats You can experiment with the Voiceover pca file to see how status formats affect values in the status display boxes 1 Open the Voiceover pca file 2 From the Options menu choose Status Format and choose Samples from the submenu 3 Select all data in the Voiceover pca window by choosing Select All from the Edit menu Notice the selection status boxes U 220 506 220 507 e The first selected sample is sample 0 e The last selected sample is 220 5
266. lied to the input data prior to analysis This option influences the sharpness of peaks in an FFT graph and the leakage into neighboring frequencies e Choose Rectangle to apply no window This results in a very sharp peak but high leakage e Choose Triangular also referred to as a Bartlett or Parzen window to apply a window that results in less leakage than the rectangle window e Hamming Hanning and Blackman windows are commonly used in audio applications e Choose Blackman Harris to obtain the least sideband leakage of the six options The major drawback of Blackman Harris is rounded graph peaks Slices displayed The Slices displayed value determines the number of FFT slices created for the selection When displaying multiple slices in the spectrum graph slices are displayed chronologically forward or backward based on whether you have the Forward or Backward radio button selected Set sonogram resolution The Set sonogram resolution value determines the number of FFT samplings used in a sonogram This keeps the processing time and graph resolution constant Increasing this value increases the horizontal graph resolution but requires more processing time When this check box is cleared the resolution value is determined by the length of the selection and the FFT overlap value Display range r Note These options are
267. list choose Glitch RF OU N gt Adjust the Threshold slope fader to configure the minimum slope that constitutes a glitch e A high value detects only glitches with steep slopes e A lower value detects glitches with both steep and more gradual slopes 5 Adjust the Sensitivity fader to determine the sensitivity of the detection algorithm e A high value results in any part of the waveform with a slope greater than the Threshold slope being detected as a glitch e A lower value forces the algorithm to verify that the slope is indeed a glitch and not simply a portion of the smooth waveform 6 Click OK Sound Forge locates the first glitch in the file and marks its location with the cursor Ha Tip If you can hear glitches that the Find tool does not locate decrease the Threshold slope and increase the Sensitivity l N Locating additional glitches using the same settings Once you have configured the settings in the Find dialog you can find the next glitch in the file without viewing the Find dialog To find the next glitch using the current settings hold while choosing Find from the Tools menu or hold while clicking the Find button 3 on the Tools toolbar Using the Shift key in this way is not limited to finding glitches You can hold Shift and choose any command from a menu to repeat the comm
268. litude fader to determine the output gain that is applied to the current operator after the amplitude envelope MM Note If the operator is a modulator this control along with the envelope determines the amount of frequency modulation applied to the carrier If the amplitude of a modulator is high harsh audio may result N EDITING REPAIRING AND SYNTHESIZING AUDIO 144 r Generating simple waveforms The Simple Synthesis tool is used to generate simple waveforms of a given shape pitch and length Simple Synthesis Sound 2 3 xl Preset luntitied S 42 0 dB Cancel 25 12 94 waveform shape Sine r Help Length 0 001 to 600 0 seconds 1 000 S o r Save 5 Start Frequency 0 01 to 22 050 Hz 60 00 S _Save As Delete INS ES End Frequency 0 01 to 22 050 Hz od 0d E log Sweep Preview Salve Insert new waveform at End of File Simple Synthesis dialog 1 From the Tools menu choose Synthesis and choose Simple from the submenu The Simple Synthesis dialog appears 2 From the Waveform shape drop down list choose a shape to specify the shape of a single period of the current operator s waveform 3 In the Length box specify the length in seconds of the generated waveform 4 In the Start Frequency box specify the frequency of the waveform 5 If you want to sweep a range of frequencies select the End F
269. llowing sections briefly describe the methods of creating regions To work through these procedures use the Fill pca file This file is located in the Sound Forge folder Inserting regions using menu commands 1 Open the Fill pca file 2 From the View menu choose Regions List The Regions List displays For more information see Using the Regions List on page 104 3 Create a selection containing the final drum hit near the end of the waveform display 4 From the Special menu choose Insert Region The Insert Marker Region dialog appears Insert Marker Region Drum Fill BEEN fost drum hit r E Cancel Tvpe C Marker Region Help Start 0 00 01 213 7 hrimnise xxx z ay Name the region End 0 00 01 892 Play looped Length 0 00 00 678 Input Format Time New region is added to the Regions List F Cetemm ti to ley 1 Note to bo Glu cs Automatic Labeling 5 Enter a name for the region in the Name box and click OK The selection appears in the Regions List Regions Drum Fill H In addition notice that region tags now display in the data window These tags indicate the region s name and position within the original file Drum Fill B x at 00 00 last drum hit 1 ae E Region tags in m data window last drum hit I No Lg gt 0 00 00 00 000 CHP 7 USING MARKERS REGIONS AND THE PLAYLIST CUTLIST 100
270. lly resize the window to fit the current video file Double click the title bar again to resize the window to half its previous size This smaller size window allows for faster video frame previewing Using an external monitor Sound Forge provides the option of viewing video on an external monitor To use this feature you must have an OHCI compliant IEEE 1394 DV interface and a device to convert the DV signal to video such as a DV camcorder deck or media converter a Note Sound Forge automatically adds pulldown when you preview 24p video on an external monitor 1 From the Options menu choose Preferences and click the Video tab Click the External Monitor button ElEx Monitor on the Video Preview window 2 From the External monitor device drop down list select the appropriate device CHP 16 WORKING WITH VIDEO 240 LL 3 Click Properties and adjust the following settings as needed e f your source media does not conform to DV standards choose a setting from the If project format is invalid for DV output conform to the following drop down list Sound Forge adjusts the video to display properly on your external monitor e f your audio is not synchronized with your external monitor you can configure an offset for your hardware Drag the Sync offset fram
271. ludes automatable parameters The plug in s controls are displayed and a list of the effect s automatable parameters is displayed on the right side of the Plug In Chainer 2 Select the Enable check box to apply an automation envelope to your audio signal or clear the check box to ignore it When the check box is cleared an effect automation envelope is ignored and the effect s initial state is used for the duration of the data window Bypassed envelopes are drawn with a dashed line in the data window CHP 11 APPLYING EFFECTS 180 r Removing effect automation envelopes Click the Automate None button 8 in the Plug In Chainer to remove all automation envelopes for the selected plug in Choose Empty Chain or another preset from the Chain Preset drop down list at the top left corner of the Plug In Chainer to clear the plug in chain and remove all effect automation envelopes Adjusting envelopes When the Envelope tool on the main workspace is selected you can add remove select or adjust envelope points on effect automation envelopes The Edit tool 14 allows you to add remove or adjust envelope points but you cannot select envelope points with the Edit tool By default a new envelope will contain a single envelope point If you want to adjust the overall level of an envelope drag the envelope up or down A floating ToolTip will show you the envelope s current setting If an envelope has multiple points you can
272. m 1 From the Tools menu choose Synthesis and choose FM from the submenu The FM Synthesis dialog appears 2 Specify the length in seconds of the generated waveform in the Total output waveform length box 3 Use the Configuration slider to configure the arrangement and number of operators used to generate the waveform For more information see Specifying the number and arrangement of operators on page 143 4 Modify individual operators as needed For more information see Modifying an operator on page 143 5 From the Insert waveform at drop down list choose a position to determine where the generated waveform is placed in the file 6 Click OK EDITING REPAIRING AND SYNTHESIZING AUDIO CHP 9 M 143 Specifying the number and arrangement of operators CHP 9 Dragging the Configuration slider changes the graphical representation of the arrangement and number of operators used to generate the waveform When configuring your waveform keep the following guidelines in mind The outputs of horizontally joined operators are simply mixed The outputs of the bottom operators are mixed to form the final output Mixing unique simple waveforms is referred to as additive synthesis Operators joined vertically are FM carrier modulator pairs The bottom operator is the carrier and the top operator is the modulator Operators without other operators directly above are si
273. m Hit 00 00 00 000 Sustaining Loop 1 Release Loop I Arrange the sustaining and release loops in the data window I I I I I I I I I L 4 Click the Play as Sample button in the playbar The entire file plays with the snare hit repeated ten times followed by the cymbal crash five times CHP 15 LOOPING 222 LLL Looping techniques Depending upon the source material creating a natural sounding loop can be a difficult task Many factors beyond your control may produce distracting pops and glitches thereby calling unwanted attention to the loop Although looping skill is largely the product of practice and experimentation there are some guidelines to consider IMatch endpoint amplitudes One of the easiest ways to minimize the occurrence of glitches when creating loops is to select loop endpoints that have an amplitude of zero These points are known as zero crossings For more information see Finding zero crossings on page 225 IVlatch endpoint waveform slope Another technique for reducing loop glitches is to avoid matching loop endpoints where the waveform slope does not match If the waveform slope changes drastically a pop plays when the sample is looped scalenoteF2 wav i scalenoteF2 wav Ste wtp top ee D e B 204 ze de 1202 1202 34 3 Stp wtp do em 5 e f 2047 e Ox 470 342 Non matching slope Matching slope ee 4 Note T
274. m the destination The destination has no control over how the data is sent and cannot ask for information to be repeated This lack of feedback makes open loop transfers prone to error MIDI channel EN The Open Loop check box in the Sampler Configuration dialog IZ Send request when retrieving samples Wait for request when sending samples If the Open loop check box is cleared the communication protocol is referred to as closed loop A closed loop allows information to flow in both directions Using closed loop transfers the source sends data in small packets and the destination upon receiving the packet either retains the data or discards the packet and requests the data to be resent Using closed loop protocol the source does not send the next packet of data until the destination requests it This makes closed loop transfers more reliable than open loop transfers In addition to being less reliable open loop transfers are slower than closed loop transfers especially when sending samples using the Sampler Tool This is due to intentional delays placed between data packets to compensate for varying sampler speeds Closed loop transfers typically guarantee the most efficient timing between packets If possible avoid using an open loop to receive samples from a sampler The Sampler Tool cannot control the flow of data packets and there is a high probability that data will be missed Ha M M
275. mand in the shortcut menu and the playlist function is restored USING MARKERS REGIONS AND THE PLAYLIST CUTLIST CHP 7 111 Saving a playlist cutlist file You can save a file s playlist cutlist to an external file This offers the flexibility of using multiple playlists for the same file 1 From the Special menu choose Playlist Cutlist and choose Save As from the submenu m Right click the playlist cutlist and choose Save As from the shortcut menu 2 Use the Save Regions Playlist dialog to specify a folder and filename 3 Click Save Opening a playlist cutlist file Importing a playlist file offers the flexibility of using multiple playlists for a file Opening a new playlist file clears the current playlist Make sure you have saved the current playlist before continuing 1 From the Special menu choose Playlist Cutlist and choose Open from the submenu m Right click the playlist cutlist and choose Open from the shortcut menu 2 Use the Open Regions Playlist window to browse to an existing regions file 3 Specify the type of file you want to import from the Files of Type drop down list e Choose Playlist File sfl to import a Sound Forge regions playlist file e Choose Session 8 File prm to import a file that supports both Session 8 and Sound Forge regions e Choose Windows Media Script File txt to import a file that includes Windows Media script commands e Choose Wave File wav to import markers and regi
276. mation see Arming to record on page 119 8 Click the Record button 19 in the Record dialog 9 Click the Stop button to stop recording 10 Click the Close button to close the Record dialog Specifying a punch in location at the time of recording 1 Click the Record button 9 in the transport bar The Record dialog appears 2 From the Method drop down list choose Normal 3 Choose the destination data window for your recording By default Sound Forge records into the active data window If this is not where you want to record use one of the following methods to prepare for recording e To record into a different data window click the Window button and choose a data window from the Record destination window drop down list Click OK to return to the Record dialog OT To record into a new window click the New button in the Record dialog and specify the attributes sample rate bit depth and channels for the new file Click OK to return to the Record dialog 4 From the Device drop down list choose the device to use for recording 5 From the Mode list choose Punch In record a specific length 6 Enter values in the Start End and Length boxes for the punch in location in the data window A Tip Click the Selection button for more options in creating a punch in selection For more information see Selecting audio using start and end v
277. me box type the name you want to use for your rendered MP3 file 3 In the Choose Sony device drop down list choose the CLI device to which you want to transfer your file 4 In the Choose MP3 template drop down list choose the audio settings you want to use for your file 5 Click the Export button Sound Forge renders your MP3 file and transfers the file to your device CHP 4 GETTING STARTED 68 j LLL Recovering files after a crash If Sound Forge terminates improperly you can recover all open and unsaved audio files not opened in read only mode When Sound Forge opens a file it automatically creates temporary files that it uses to save any changes made to the file The original file remains unchanged until it is saved If Sound Forge terminates improperly the temporary files remain on your hard drive and can be used to recover any unsaved changes made prior to the crash a Tip You can specify the folder used to store temporary files by choosing Preferences from the Options menu and designating a Temporary files and record folder location on the Perform tab nnn T Recovering files Crash Recovery i x Files that b d Click the Recover button to restore the changes and undo history B for the files listed in the Files that can be recovered list Cancel Deleting recovered files Help Click the Cancel button to delete the temporary files The original Your last editing session terminated improperly Click
278. menu and Contents from the submenu Recycling clipboard contents Once audio data is on the clipboard you can paste or mix it into an infinite number of windows Data remains on the clipboard until you replace it with new data CHP 4 GETTING STARTED 58 Pasting Once audio data is on the clipboard you can paste or mix it into an existing data window or use it to create a new data window Pasting data in an existing data window 1 Move the cursor to the beginning of the Voiceover pca file by clicking the Go To Start button WI in the playbar For more information see Playbar on page 28 2 From the Edit menu choose Paste Sound Forge inserts the clipboard data into the file and the data for Wow appears on the left side of the waveform SEN Click the Paste button H or press v i Wow sound editing 2 00 00 00 00 00 02 00 00 04 N N L L Silence Wow Sound editing just gets easier 1 And easier 1 1 L 1 25 6 0 12 0 Inf 12 0 2 5 Clipboard contents Ui S TSS E are pasted Into N J mo Ce the data window 3 To confirm that the data has been pasted into the file click the Play All button 1 Wow Wow Sound editing just gets easier and easier plays back Pasting in a new data window To use data from the clipboard to create a new data window go to the Edit menu choose Paste Spec
279. mple waveform generators e When three or more operators are stacked the top operator modulates the operator below it which modulates the following operator and so on Modifying an operator 1 2 Select the Current radio button corresponding to the operator to be modified Use the envelope graph to modify the amplitude of the operator over time For more information see Envelope graphs on page 39 3 From the Operator shape drop down list choose a waveform shape 4 Specify the frequency of the operator in the Frequency box a Tip If Frequency is set to 0 00 a DC zero frequency waveform is produced regardless of the waveform specified R a a Note When you choose Filtered Noise from the Operator shape drop down list Frequency determines the high frequency content of the noise M R Use the Feedback slider to determine the amount of the operator s output that is used to modulate itself If the operator is also being modulated by another waveform the feedback path and the modulator output are mixed together to modulate the carrier Use the Amp
280. mpulse into Preset Clicking this button creates a link between the current preset and the selected impulse file along with encoding the impulse information You can use the Preset Manager to share presets and the accompanying impulse files between computers without losing information For more information see Using the Preset Manager on page 177 Summary tab controls The Summary tab provides information about the impulse file The following section describes all controls located on the Summary tab Impulse This control is identical to the Impulse drop down list on the General tab For more information see Impulse on page 185 Dry Out This control is identical to the Dry Out fader on the General tab For more information see Dry Out on page 185 CHP 12 USING ACOUSTIC MIRROR AND WAVE HAMMER 188 y Wet Out This control is identical to the Wet Out fader on the General tab For more information see Wet Out on page 185 Quality speed This control is identical to the Quality speed check box on the General tab For more information see Quality speed on page 186 Recover tab controls The Recover tab is used in creating your own impulse files For more information see Creating impulse files on page 189 The following section describes all controls located on the Recover tab Recorded file The Recorded file box allows you to select the file containing the test tone recorded in the field You can enter the path directl
281. n EBU television systems SMPTE 25 EBU format is used for PAL DV D1 video projects SMPTE Drop Frame 29 97 fps Video SMPTE Drop Frame timecode runs at 29 97 fps and matches the frame rate used by NTSC television systems North America Japan SMPTE Drop Frame format is used for NTSC DV D1 video projects Both SMPTE Drop and SMPTE Non Drop run at 29 97 fps In both formats the actual frames are not discarded but they are numbered differently SMPTE Drop removes certain frame numbers from the counting system to keep the SMPTE clock from drifting from real wall clock time The time is adjusted forward by two frames on every minute boundary except 0 10 20 30 40 and 50 For example when SMPTE Drop time increments from 00 00 59 29 the next value is 00 01 00 02 SMPTE Non Drop Frame 29 97 fps Video SMPTE Non Drop Frame timecode runs at a rate of 29 97 fps This leads to a discrepancy between real KK wall clock time and the SMPTE time because there is no compensation in the counting system as there is in SMPTE Drop Frame SMPTE Non Drop format is used for NTSC D1 video projects that are recorded on master tapes striped with Non Drop timecode APPENDIX C SMPTE TIMECODE 2705 LLL SMPTE 30 30 fps Audio SMPTE 30 is an audio only format and runs at exactly 30 fps SMPTE 30 is commonly used when synchronizing audio applications such as multitrack recorders or MIDI sequencers This fo
282. n Tools toolbar The ACID Loop Creation Tools toolbar provides quick access to the commands used to create and edit files for ACID 1 From the View menu choose Toolbars The Preferences dialog appears with a list of available toolbars 2 Select the ACID Loop Creation Tools check box and click OK Tempo Window Selection Grid Lines Rotate Audio Shift Selection Right Shift Selection Left Halve Selection Double Selection Edit Tempo Edit ACID Properties LOOPING CHP 15 231 Editing loops for ACID Sound Forge provides a number of tools to prepare audio for use in ACID Halving or doubling a loop These commands allow you to quickly change the size of a selection 1 256 Ia a e gt ak p 00 00 00 476 00 00 00 766 00 00 00 290 Loop Half loop Double loop Halving a loop From the Special menu choose ACID Looping Tools and choose Halve Selection from the submenu w Click the Halve Selection button 4 on the ACID Loop Creation Tools toolbar or press Y Doubling a loop From the Special menu choose ACID Looping Tools and choose Double Selection from the submenu a8 Click the Double Selection button i on the ACID Loop Creation Tools toolbar or press Shifting a selection left or right The shift selection commands allow you to quickly create a new selection adjacent to the current selection while maintaining the size of the original Creating a new select
283. n from the Pixel aspect ratio drop down list The pixel aspect ratio should be based on the destination and use of the final media file 9 Click OK to close the Properties dialog Note The file must be saved in a video file format to permanently attach the video For more information see Saving a video file on page 242 N WORKING WITH VIDEO CHP 16 __ _ l 241 Detaching video from an audio file You can use Sound Forge to detach the video stream from a media file 1 Open the media file you want to use For more information see Getting media files on page 46 2 From the File menu choose Properties The Properties dialog displays 3 Click the Video tab 4 On the Video page click the Detach button 5 Click OK The video stream is removed and the video strip is hidden Setting video options Video file properties The video properties for a file affect how Sound Forge displays video and renders video when you save the file In most situations you can leave these settings at their default values However you can adjust the video properties of a file as needed 1 From the File menu choose Properties 2 Click the Video tab 3 Choose a setting from the Field order drop down list This setting affects how Sound Forge displays the video and renders the video when you save the file None progressive
284. n operates Loop the Loop Play Loop through Post Loop or Play as One Shot 6 Preview and tune the crossfade until you cannot detect the loop transitions 7 Click OK CHP 15 LOOPING pp p m 95 A M ln M Creating loops for ACID Sound Forge is an excellent tool for creating and editing loops to be imported into any of the ACID family of products You can use Sound Forge to create four different types of files for ACID One shot file Loop file ACID 2 0 disk based file ACID 3 0 or later beatmapped file Edit ACID Properties musicbed wav EI E One Shot o Loop Cancel Root note For transposing Don t transpose Number of beats 55 to 422 55 E C ACID 2 0 Disk Based Tenpo ten to 240 bom 120 000 C ACID Beatmapped Root mote for EGET Sp GI TIT Dont transpose x x Tempo tuta Soi Gon 120 000 Downbeat rs E isamplesii U Help Play PEE Play looped Edit Acid Properties dialog Creating an ACID one shot file One shots are files that do not stretch with tempo or change pitch to match the key of the ACID project This behavior makes one shots particularly suited for audio such as cymbal crashes sound effects and short vocal lines 1 Open the Voiceover pca file 2 Create a selection containing the Wow and drag it to the workspace new data window is created containing the Wow audio dat
285. n use the Loop Tuner to fine tune loop points in three ways e To move loop points by small amounts use the Loop Start Position and Loop End Position arrow spinners Clicking the up or down arrow increments the loop point by one sample e To move loop points by larger amounts use the mouse to drag the spinner up or down e To move loop points by very large amounts use the mouse to drag the ruler at the top of the Loop Start or Loop End display Click the arrow spinners to Drag the ruler to move move by one sample by large amounts 47942 E 27 100 00000012 Locking loop length The Lock Loop Length button allows you to freely move the start and end points of a loop without altering its length When the button is selected any editing that moves a loop point affects both loop points thereby keeping the loop length constant Clicking the Lock Loop Length button a second time turns this feature off and allows loop points to be edited independently with no regard for the loop s original length M Q Note The Lock Loop Length button has the same function as the Lock Loop Region Length command in the Options menu ee d Crossfading loops You can use the Crossfade Loop tool to loop audio from difficult source material It allows you to crossfade the end of a loop with the beginning of the loop in order
286. n when a user selects About This Presentation from the RealPlayer s shortcut menu or Properties from the Windows Media Player shortcut menu Note When rendering Windows Media files copyright information is based on the settings on the Summary tab of the Sound Forge Project Properties dialog or the Index summary tab of the Custom Template dialog The summary information from the Project Properties dialog will be used if information has been specified in both places To view this information during playback choose Now Playing Options from the Windows Media Player View menu and select the items you want to display Displays the RealMedia file you specify when users click the RealPlayer video display or Properties from the Windows Media Player shortcut menu Displays the Web page you specify when users click the RealPlayer video display Jumps to the time you specify when users click the RealPlayer video display Defining Scott Studios data commands For WAV files using Scott Studios data command markers can be used to define information about the WAV file Command Description SCOTT EOM Calculates when the next queued clip starts playing in a Scott Studios system For more information please refer to your Scott Studios documentation SCOTT Cue In Sets the beginning of a file in a Scott Studios system without performing destructive editing For more information please refer to your Scott Studios documentation Inserting command markers
287. nds have a rapidly changing spectrum a large analysis size can blur the time changing frequencies of a sound For example when performing FFT analysis of an audio file sampled at 44 100 Hz using an analysis size of 4096 almost 100 milliseconds 44 100 4096 of sound are analyzed If the sound is not constant for those 100 milliseconds it is impossible to focus on the instantaneous spectrum at smaller time intervals This is the trade off between time resolution and frequency resolution encountered when analyzing audio signals Spectrum Analysis allows you to perform precise FFT analysis and displays the resulting data in two graphical formats the Spectrum Graph allows real time monitoring of playback or input while the Sonogram displays a playback cursor for real time preview Both formats make it easy to navigate data and read audio frequency and position Using a spectrum graph In the spectrum graph the horizontal axis represents frequency in Hertz Hz while the vertical axis represents amplitude in decibels dB Displaying a spectrum graph 1 Open an audio file 2 Select the portion of the waveform you want to analyze The sound or note you want to analyze should be in the center of the highlighted area 3 From the View menu choose Spectrum Analysis The Spectrum Analysis window displays Spectrum Analysis x 2048 m BlackmanHanis w i A By ts l adea o a a2 3 alala pD o T Te T p JR 1 LALRL LL mdi i
288. ne indicates the loop tempo based on the current Beat Length value Loop tempo displays in the Tempo pane ACID Loop Creation Tools ZA be ie i3 ri r di 125 665 olalde es ff N gt J mue 00 00 00 000 00 00 01 892 00 00 01 892 Saving loop points To save loop information with the file select the Save metadata with file check box in the Save As dialog For more information see Save metadata with file on page 54 CHP 15 LOOPING LOOPING CHP 15 235 CHAPTER pose Working with Video E E 8 ba m j i Luo Lo CR Sr a wt aun Sound Forge supports opening and saving Microsoft Audio and Video Interleave AVI Windows Media Video WMV QuickTime MOV and MPEG video files Using Sound Forge you can edit a video file s audio track with single frame accuracy Viewing video You can view the video portion of a file in the data window s video strip and in the Video Preview window Sound Forge also supports viewing video on an external monitor Using the video strip Though Sound Forge does not perform video editing the video strip display allows you to navigate video files Right click the Edit Tool Selector to view the video strip YE LITE moy gt v Status Ez KE ES v Time Ruler sith X39 38 M o e LS A L T Video strip NZ o TN WE 7 IT 7 Iw P H 1 d b 7 1 n AE i asd 1 v Time Zoom 00 00 00 00 00 02 00 00 04 WO N AL
289. needed you can select different parts of the audio in the data window to preview different sections before applying the effect chain You can also click the Bypass button to temporarily bypass the effect For more information see Bypassing effects on page 174 M ar Tip You can also click the Play Plug in Chainer button on the data window to preview the effects chain Use the Play Normal button to bypass the effects 6 If the effect changes the duration of a sound for example Reverb or Simple Delay choose how Sound Forge processes the audio tail created by the effect For more information see Selecting the processing mode for audio tail data on page 173 M O Note The Insert Tail Data and Mix Tail Data commands may not function when using third party reverb plug ins You can use the Insert Silence command to make room for the tails or apply the reverb in a new data window that has room for the tails and then mix the processed audio back into your souxce file 7 Click the Process Selection button to apply the effect chain sem Press Ctri Shift P CHP 11 APPLYING EFFECTS 172 yg Adding plug ins to a chain You can add plug ins to a chain in the Plug In Chainer in several ways Adding a plug in to a
290. ng Ctrl R Title bar EFF E TE BE r Record to Recording attributes Recording attributes 44 700 Hz 16 Bit Stereo Close m e new window Recording method pethoa sete RE 4 Remote S Remote recording Recording device L peyice microsoft Sound Mapper F etan H Set selection Recording mode Mode vuttiple takes creating Regions 0 00 14 000 E hrimn sc xxx Window Meters and meter reset Sync Qut DC adjust Galibhabe Leht Right Punch in spinners za a TS Transport bar am 9 B KI KM A co Recording time Time recorded OO 00 04 780 Time left on drive Over 2 hours Pre post roll Review pre post roll 0 to 30 seconds o oo H o o H Prerecording buffer Prerecord buffer 0 to 30 seconds 0 000 A Note The Record dialog shown above is from the full version of Sound Forge If you are using Screenblast Sound Forge not all of the controls displayed above will be available to you O77 lt CHP 8 RECORDING EXTRACTING AND BURNING 114 jp 2 From the Method drop down list choose Normal 3 Choose the destination data window for your recording By default Sound Forge records into the active data window If this is not where you want to record use one of the following methods to prepare for recording e To reco
291. ng plug in order in the Plug In Explorer You can drag an effect to a new location in the chain in the Plug In Explorer in the same way you can in the Plug In Chainer In addition you can rearrange the chain by selecting a plug in and clicking the Shift Plug In Left button or the Shift Plug In Right button to move it forward or backward in the chain To access the Plug In Explorer click the Add Plug Ins to chain button in the Plug In Chainer window Bypassing effects You can bypass single effects or all effects in a chain while previewing the file Bypassing a plug in on a chain To bypass a plug in clear its check box in the Plug In Chainer window A bypassed plug in does not process the audio signal i a Untitled allowing you to preview the effect of the remaining plug ins c v Distortion L Dither Hi Amplitude Modulation Bypassed plug in Note You can bypass multiple plug ins You can also bypass the plug in by right clicking a plug in in the chain and choosing Bypass from as the shortcut menu Bypassing the plug in chain To bypass the entire chain click the Bypass button in the Plug In Chainer window Click the Bypass button again to restore the chain s processing of the audio zm Press CY B APPLYING EFFECTS CHP 11 175 yg Removing plug ins from a chain To remove a specific plug in from a chain select it and click the Remove Selected Plug In button F Sound
292. ng the CD allows you to listen to it in an audio CD player However you cannot add tracks to a CD once it is closed 1 From the Tools menu choose Burn Track at Once Audio CD The Burn Track at Once Audio CD dialog appears 2 From the Action drop down list choose Close Disc 3 If desired select the Eject disc when done check box to eject the CD automatically when the disc has been closed 4 Click the Start button Sound Forge begins closing the CD and displays a progress meter in the dialog After Sound Forge closes the CD the CD Operation dialog indicates whether the closing was successful 5 Click OK to clear the message Proper use of software Sound Forge software is not intended and should not be used for illegal or infringing purposes such as the illegal copying or sharing of copyrighted materials Using Sound Forge software for such purposes is among other things against United States and international copyright laws and contrary to the terms and conditions of the End User License Agreement Such activity may be punishable by law and may also subject you to the breach remedies set forth in the End User License Agreement RECORDING EXTRACTING AND BURNING CHP 8 131 CHAPTER Editing Repairing E and synthesizing Audio This chapter introduces some of Sound Forge s advanced editing repair and synthesis features Crossfading overwriting and replicating Earlier in this manual paste and mix were des
293. ng the window Right click the level ruler and choose Zoom Window from the shortcut menu Sound Forge calculates the maximum zoom level that allows the loudest portion of the selection to display in the window and adjusts the entire sound file To reverse this function right click the level ruler and choose Zoom Out Full from the shortcut menu Zooming out full To quickly display all data in a data window right click the waveform choose Zoom and choose Out Full from the submenu This command sets the zoom ratio and zoom level to the lowest values required to display all data in the window To reverse this function go to the View menu choose Zoom Time and choose Normal from the submenu Zooming in full To quickly set the zoom factor to its maximum magnification right click the waveform and choose Zoom In Full from the shortcut menu The maximum magnification available is 24 1 in the full version of Sound Forge and 1 1 in Screenblast Sound Forge To reverse this function right click the waveform and choose Zoom Normal from the shortcut menu Optimizing time and level ruler scaling To optimize both the time ruler and level ruler display of a selection double click the level ruler Double clicking the level ruler a second time restores both displays to their default levels Using the Magnify tool The Magnify tool provides an additional way to magnify a section of an audio file You can access the Magnify tool in three ways
294. ntitled imi rop down li Normalize RMS to 16 dB music 1 1 O Normalize RMS to 6 dB loud S Het Normalized file U UO EG 7 ij Example music bed Attack te oon ms 200 Save As z3 Delete Release time li tsou msi 1200 J Use equal loudness contour Preview Normalize to G belo Bypass 60 to D dB blaf is D de Scan Levels If clipping occurs Apply dynamic compression Z Bees p Jo se current scan level donot scan selection Selection 0 to 434 769 434 770 ares Channels Mono Si i Note The Normalize dialogs pictured above are from the full version of Sound Forge If you are using Screenblast Sound Forge not all of the controls pictured above will be available to you M MM M Mi us Normalize Controls The following controls are located in the Normalize dialog Normalize using Peak level A This radio button normalizes the audio file using the maximum instantaneous sample values detected A constant gain is then applied to the audio yg Normalize using Average RMS power loudness This radio button normalizes the audio file using the detected average RMS value of the audio file This is helpful for matching the apparent loudness of a number of individual recordings For more information see Scan settings area on page 160 CHP 10 PROCESSING AUDIO 160 5
295. nu choose Extract Audio from CD Sound Forge identifies the system s CD ROM drive s The Extract Audio from CD dialog appears If the system is equipped with multiple CD ROM drives you must select the desired drive from the Drive drop down list near the bottom of the dialog Extract Audio from CD E Cancel U Audio 00 02 00 4 22 22 4 20 22 0z Audio 04 22 22 O82460 04 02 39 neem O3 Audio 08 24 60 13 10 67 04 46 07 Pla UA Audio 13 10 67 16 42 65 03 31 73 d O05 Audio 16 42 65 21 08 70 4 25 05 Ub Audio 21 08 70 en 3 32 4 28 37 OF Audio 25 37 32 29 38 47 04 01 15 UD Audio 29 38 47 33 27 20 03 45 48 OF Audio 33 27 20 37 12 65 03 45 45 d ihe La tear im EH 32 d md a PERE Create regions for each track Create markers for each index change Drive Lite On LTN4835 48x Max PDO 10 01 Speed Mas Configure Eject Selected length 04 20 22 Extract Audio from CD dialog 3 From the Action drop down list choose the method you want Sound Forge to use for extracting the CD audio Read by track Use this option to select the tracks you want to extract from the CD Each track is extracted into a unique data window Read entire disc Use this option to automatically extract all tracks on the disc The entire CD is extracted into a single data window Read by range Use this option to extract audio from a specified range of time Type appropriate values in the Start and End or Length bo
296. nvelope This allows you to reproduce longer more complex sounds such as a piano chord struck with the sustain pedal depressed This second type of loop is referred to as the release loop CHP 15 LOOPING 220 r d Creating a sustaining loop 1 Open the Drumhit pca file and create a selection containing the snare hit at the beginning of the waveform D use Offa Nog zx 00 00 00 000 00 00 00 139 00 00 00 139 Create and preview the selection 2 With the Loop Playback button E selected in the transport bar click the Play Normal button 1 on the playbar to preview the loop 3 From the Special menu choose Insert Sample Loop The Edit Sample dialog appears RU Press L 4 In the Edit Sample dialog select the Sustaining radio button The controls in the middle pane of the dialog activate 5 Select the Loop count radio button Infinite loop Loop count 1 ta 333 E Select the Loop Count radio button and enter a loop count value 6 Enter a value of 10 in the Loop count box and click OK The data window displays the appropriate tags in the ruler to specify the loop s start and end points The Play as Sample button appears on the playbar fy Drum Hit Loop start and end tags e a arming Loop 7 Click the Play as Sample button 4 on the playbar The looped snare selection repeats ten times before the cymbal crash LOOPING CHP 15 _ UMMA d Creating a sustaining
297. o be downloaded into memory and played at varying pitches to simulate a musical instrument Using an unsupported internal sampler If you have an internal sampler not directly supported by the Sampler Tool you have two options e Use the MIDI SDS transfer protocol e Use an open loop transfer a IM 4 Note If you have a Windows compatible internal sampler contact the manufacturer about supporting SDS in Windows drivers l N Configuring the Sampler Tool Configuring the Sampler Tool is fairly straightforward especially if the desired configuration exists in the list of presets 1 From the Tools menu choose Sampler The Sampler dialog appears Sampler musicbed_ wav E E Configuration Untitled Send Sample Logical send recerve sample number 0 to 15 383 Get Sample Actual sendrecerve sample number Configure Sampler SMDI of SDS capable sampler Channel 1 Send Request Help Output Input MIDI unity nate C4 60 Fine tune cents The Sampler dialog 2 From the Configuration drop down list choose the desired configuration If the desired configuration is not listed you must create it in the Sampler Configuration dialog For more information see Creating a sampler configuration on page 211 3 Enter a value in the Logical send receive sample numb
298. o Samples 207 872 to 221 184 Waveform display Spectrum graph Data displayed in the frequency domain whether in the form of a spectrum graph or sonogram depicts the amplitudes and frequencies of sine waves that if mixed would sound much like the original audio Since it is relatively easy to remember what a sine wave sounds like at a specific frequency it is possible to imagine what simple waveforms sound like by examining their spectrum Learning to read the frequency components of a sound in conjunction with their corresponding amplitudes makes it possible to determine the fundamental frequency of a sound as well as its overtones Similarly you can identify unwanted noise thereby allowing filtering to be applied where needed CHP 17 USING SPECTRUM ANALYSIS 246 r Fast Fourier Transform A Fourier transform is computationally intensive and for this reason it is common to use a technique called a Fast Fourier Transform FFT to perform spectral analysis The FFT utilizes mathematical shortcuts to reduce the processing time at the expense of putting limitations on the analysis size The analysis size also referred to as the FFT size indicates the number of samples from the audio signal used in analysis and also determines the number of discrete frequency bands When a large number of frequency bands are used the bands have a smaller bandwidth and this provides for more accurate frequency readings However since complex sou
299. o Windows Clipboard Default Sets the Video Preview window background color to the system default color 1 background Black background Sets the Video Preview window background color to black White Sets the Video Preview window background color to white background Integral stretch When selected the Video Preview frame will only be stretched by integral amounts Turning this setting on usually provides faster drawing Display square Compensates for any spatial distortion due to non square pixel aspect ratios when viewed on a pixels computer monitor External monitor Sends the preview out to an external monitor This only functions if your hardware supports this feature If you have not configured your external monitor settings clicking this button displays the Video tab of the Preferences dialog allowing you to choose your external monitor device Important Sound Forge automatically adds pulldown when you preview 24p video on an external monitor Note This option is available only in the full version of Sound Forge Passive Update Reduces the overhead needed to update the Video Display window The Video Display is updated when the processor is idle Show Toolbar Toggles the display of the toolbar at the top of the window Show Status Bar Toggles the information display at the bottom of the window Resizing the Video Preview Double click the title bar of the Video Preview window to automatica
300. o file by right clicking the region and choosing Delete from the shortcut menu EM To delete a region from the playlist select the region and press Delete Creating a new file from the playlist CHP 7 After you have auditioned and arranged all regions in the playlist Sound Forge can create a new file based on the playlist arrangement To create a new file from the playlist right click the playlist and choose Convert to New from the shortcut menu Note If the original file has both audio and video components such as an AVI file the new file created from the playlist contains the audio portion only USING MARKERS REGIONS AND THE PLAYLIST CUTLIST 110 Sp Configuring the playlist as a cutlist When trimming lengthy recordings configuring the playlist as a Talst Won E cutlist can sometimes decrease editing time In Play as Cutlist mode Sound Forge plays the original file but ignores all regions placed on the cutlist Click the Play as Cutlist button 5 1 on the playbar to enter Play as Cutlist mode Add elete Edit Beplicate Stop Port Treating the playlist as a cutlist Pre rall Playback 1 From the View menu choose Playlist The Playlist window pa appears Payee ony ohite Wiper 2 Right click the playlist and choose Treat as Cutlist from the Conver to MEN shortcut menu A check mark appears adjacent to the Treat as Cutis command in the shortcut menu and the
301. o its default value Fader and slider shortcuts There are numerous keyboard shortcuts available when using faders and sliders A v e and change the value in small increments Page Up and change the value in larger increments and set the control to its maximum and minimum values respectively Hover the mouse over the fader or slider control and move the mouse wheel to change the value in larger increments Press while using the mouse wheel to change the value in small increments Envelope graphs Envelope graphs are used to configure the shape of frequency or amplitude envelopes applied to audio waveforms Envelope point Envelope v Smooth gain to minimize distortion on steep slopes Show wave vi channels 9 Reset Envelope Time axis Amplitude or frequency axis CHP 3 LEARNING THE SOUND FORGE WORKSPACE py Understanding the envelope graph To use the envelope graph you must first understand what it represents In the previous example the horizontal axis represents time with the leftmost point representing the start of the selection and the rightmost point representing the end of the selection The vertical axis represents either amplitude or frequency depending upon the operation Moving an envelope point 1 Drag an envelope point to a new position 2 Release the mouse button The point is repositioned and the envelope adjusts Moving multiple envelope points 1 Starting in an unused area
302. o redo edit operations even prior to your last save operation You can undo any edit operation by choosing Undo from the Edit menu You can redo any undone edit operation by choosing Redo from the Edit menu 4 Important The ability to undo past save is available only in the full version of Sound Forge and is disabled by default To enable this functionality choose Preferences from the Options menu click the File tab and select the Allow Undo past Save check box When this option is enabled Sound Forge will retain your undo redo history until you close the file or exit Sound Forge Click the Undo 4 button on the Standard toolbar or press Ctri Z Click the Redo button on the Standard toolbar or press Ctrl Shift Z CHP 4 GETTING STARTED 62 yg Using the Undo Redo History window The Undo Redo History window may seem confusing at first but you will find it invaluable once you have mastered it This window allows the audio file to be auditioned in various versions by undoing redoing multiple operations To display the Undo Redo History window choose Undo Redo History from the View menu SR Press Alt 7 Note The undo redo history for an audio file is retained until you close the file or exit Sound Forge If you want to retain undo redo history indefinitely you should work with a Sound Forge project frg file Undo Play Undo AR edo ew sound editing buttons
303. oard ii S Ew Manitor Sets up previewing on an external monitor Nu A 320240 320x240 15 000 tps Frame 00000149 Frame Rate Current Display Size Original Frame Size Frame Number Button Description External monitor Sends the preview out to an external monitor This only functions if your hardware supports this feature If you have not configured your external monitor settings clicking this button displays the Video tab of the Preferences dialog allowing you to choose your external monitor device For more information on configuring your external monitor settings see page 242 Important Sound Forge automatically adds pulldown when you preview 24p video on an external monitor Note This feature is available only in the full version of Sound Forge Copy frame Copies the contents of the frame to Windows Clipboard WORKING WITH VIDEO CHP 16 M 239 Changing the Video Preview settings The Video Preview window can be configured in a number of ways to make it more useful The Video Preview window can be used on a separate monitor if your video hardware supports this feature docked at the bottom of the workspace or floated freely on the screen You can quickly access settings for the Video Preview window using the shortcut menu Right click the Video Preview window to adjust the following options Option Description Copy frame Copies the contents of the frame t
304. of commands or a language that music software and hardware use to communicate The most common way to utilize MIDI is to have a device such as a MIDI sequencer generating and sending MIDI commands to another device such as a synthesizer MIDI triggers You can use numerous internal and external devices to generate MIDI commands and trigger audio playback in Sound Forge Playback versus triggered playback Procedures in this section use the Sound Forge MIDI Keyboard as the MIDI device for triggering audio playback For more information see Using the MIDI Keyboard on page 214 Simple playback When you click the Play button in the transport bar or playbar the audio file in the active data window plays and you hear the audio MIDI is not involved Triggered playback When the MIDI keyboard triggers playback of the same file the following occurs e The MIDI Keyboard transmits MIDI commands to the MIDI router e The MIDI router transmits the MIDI commands to Sound Forge s MIDI input port e The audio file plays n Note In the case of triggered playback MIDI commands may come from any software or hardware device that generates MIDI 758 CHP 13 WORKING WITH MIDI SMPTE 202 Triggering file playback Using the MIDI Keyboard or any other MIDI device to trigger audio playback in
305. of the envelope graph drag the mouse to create a selection box containing all points to be moved 100 5 a mmn BU 5 MN DN T 1 1 A K Select the envelope points Dx alg 50 TE 100 3 2 Release the button The selected envelope points are displayed with a white square center 3 Drag any of the selected envelope points to the desired position The pointer displays as a multi directional arrow and the selected points move together 4 Release the mouse button The entire envelope graph adjusts EA iini SM Reposition multiple envelope points TA 28 0 3 11 0 dB at 00 00 44 536 0x eb BU 2 TB 100 5 tla Changing the fade curve between two points To change the type of fade between two envelope points right click an envelope segment and choose a fade type Linear Fade Fast Fade Slow Fade Smooth Fade Sharp Fade and Hold from the shortcut menu Selecting or clearing all envelope points Press Ctr A to select or clear all envelope points LEARNING THE SOUND FORGE WORKSPACE CHP 3 41 Adding an envelope point 1 Hover over the envelope Place the pointer on the envelope and double click to add a point 2 Double click the mouse A point is added to the envelope graph and can be positioned as needed For more information see Moving an envelope point on page 40 Deleting an envelope point Right click the point to be deleted and choose Delete from the shortcut menu The point is del
306. og The following sections explain the role of each control in audio spectrum analysis Spectrum Settings EE Preset Untitled b U FFT size 2 048 v Lem FFT overlap 0 to 99 9 75 E Smoothing window Elackman Harris Slices displayed 1 to 64 E B G ERS Backward v Set sonogram resolution 1 to 10 000 samplings 0 amp Display Range L Both C ren C Bight Syne graphs v Logarithmic graphing Normal display only Freg Min 0 to 95 9 kHz 20 E Max 0 001 to 96 kHz 22 050 E Ceiling 149 to 0 dE E Floor 150 to 1 dB 150 E Monitor Settings v Hold peaks during monitoring 1 to 60 seconds 3 E v Maintain last monitored view Spectrum Settings dialog FFT size Choose a value from the FFT size drop down list to determine the size in samples of the analysis window and number of discrete frequencies analyzed Higher FFT size values produce higher frequency resolution at the expense of lower time resolution and slower processing FFT overlap The value in the FFT overlap box determines the amount of overlap between FFT analysis windows Lower values decrease the number of distinct analysis functions performed which also decreases processing time Higher values provide more analysis but result in slower processing CHP 17 USING SPECTRUM ANALYSIS 254 j Smoothing window Choose a setting from the Smoothing window drop down list to determine the window function app
307. ogical order the playlist displays and plays its regions in a user specified arrangement In addition you can rearrange and audition regions endlessly in the playlist without performing a destructive edit when you save the file As with the Regions List Sound Forge can save the playlist information as metadata in most file types You also have the option of saving the playlist to an external playlist file Displaying the playlist 1 Open the Voiceover pca file 2 From the View menu choose Regions List The Regions List window for Voiceover pca appears 3 From the View menu choose Playlist The Playlist window for Voiceover pca appears EM To display the Playlist window press at 3 Playlist wow sound editing Cnt Mame End of Playlist Playlist Notice that the file contains regions but the playlist is empty You must add regions to the playlist before arranging them Adding regions to the playlist You can add regions from the Regions List to the playlist using commands or drag and drop You can also add regions to the playlist directly from the data window Adding regions to the playlist using commands 1 Select a region in the Regions List 2 From the Special menu choose Playlist Cutlist and choose Add from the submenu Sound Forge adds the region to the playlist Adding regions to the playlist using drag and drop 1 Select a region in the Regions List 2 Drag the region into the playlist 3 Rel
308. oller you should turn off the Always ask for Region and Loop names option This allows Sound Forge to label these units with defaults and prevents playback from being interrupted by dialogs 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the General tab 3 Clear the Always ask for Region and Loop names check box and click OK CHP 13 WORKING WITH MIDI SMPTE 206 9 LLL Sound Forge and MIDI timecode synchronization MIDI timecode MTC is a method of using SMPTE timing signals to synchronize multiple devices Although MIDI timecode is typically used to synchronize audio and video it can also be used to synchronize playback devices Sound Forge also has the ability to synchronize to external MTC or generate MTC for other devices to follow For more information see SMPTE Timecode on page 269 With Sound Forge you can also specify start times of regions in the Regions List to synchronize digital audio with additional timed events For example if a MIDI sequencer generates SMPTE timecode Sound Forge can synchronize to it with its own SMPTE timecode and initiate region playback at specified times MTC synchronization versus Note On MIDI triggering Synchronizing to MTC is similar to synchronizing to other MIDI events and can be used in many of the same situations The major advantage of MTC synchronization is that it allows for accurate SMPTE start times to be specified within Sound Forge However
309. on ij Example music bed i Example music bed B x Dues aee NH J 00 00 02 856 00 00 04 643 00 00 01 787 00 00 00 000 Create a selection in the data window Selected audio is muted Normalize The Normalize command maximizes the overall volume of a file without introducing clipping When you normalize a file Sound Forge scans the entire file and applies a constant gain to raise the file s level to a specified value Normalize Sound Preset i DE l Cancel Mormalize using Peak level C Average AMS power loudness 0 00 dB Help 100 00 3 Attack time 1 to 500 ms 200 Save Bs Release tinme Ni toys tel 200 Delete Use equal audness contour Preview Normalize to lanare bela Bypass LEU to dB rate boy WEF Scan Levels IF clipping occurs Apply dynamic compression ds i E Wee curent scan level fda not scan selection Selection Oto 34 713 94 720 Channels Mono Selection Normalize dialog PROCESSING AUDIO CHP 10 15 Normalizing Audio 1 Open the Musicbed pca file ilj Example music bed B x Pre normalized file 2 From the Process menu choose Normalize The Normalize dialog appears 3 From the Preset drop down list choose Normalize to 16 dB and click OK The file is normalized and its overall loudness increased Specify Normalize Preset fiUnited 2 to 16 dB from the Preset U
310. on The Set Selection dialog appears Sn Press ctri Shift D 2 From the Input format drop down list choose the format to be used for creating the selection The values in the Start End and Length boxes change to reflect the specified format 3 Configure the selection by entering appropriate values in the Start and End or the Start and Length boxes 4 If you are working with a stereo file choose Left Right or Both from the Channel drop down list 5 Click OK Using the Set Selection dialog The following sections briefly describe additional controls located in the Set Selection dialog Set Selection Example music bed E x Selection K Custom Cancel Start 00 00 00 000 hrm SG REE Help End 00 00 00 000 Play Length 00 00 00 000 Z Play looped Channel Both m Snap ero Input Format Time Snap Time Set Selection dialog Play Clicking Play plays the current selection Play looped Selecting the Play looped check box allows you to play the selection in Looped Playback mode Snap Zero Clicking Snap Zero forces the Start and End values of the selected area to the next zero crossing Snap Time Clicking Snap Time forces the Start and End values of the selected area to a whole time division as designated by the markings on the data window s time ruler NAVIGATING ZOOMING AND SELECTING CHP 5 7G Zero crossing preference When using a Snap Zero command you can confi
311. on Decrease level magnification Zoom to selection if a selection exists otherwise Zoom In Full Zoom normal zooms to default zoom ratio set in Preferences Display custom zoom ratio 1 Display custom zoom ratio 2 Pan data window up if zoomed in vertically Pan data window down if zoomed in vertically Switch cursor to opposite end of selection Set Mark In at the current cursor position Set Mark Out at the current cursor position Play or stop the contents of the data window in default mode Play all Play Pause Switch play mode between Play Normal Plug In Chainer Play as Sample and Play as Cutlist Pause playback and leave the cursor at the current position Stop or cancel the current action including playback Toggle looped playback Preview cut skip selection on playback with pre roll Play to cursor with pre roll Toggle playback scrolling on and off Toggle smooth playback scrolling on and off Generate MIDI timecode Trigger from MIDI timecode Record dialog keyboard shortcuts Result Open Record dialog Start recording Play Reset clip indicators Stop recording or playback Go to the start of the file Insert a marker while recording APPENDIX A Press Ctrl H P Ctrl Shift P Ctrl B Ctrl HS Ctrl T Ctrl HE Ctrl Delete Ctrl Tab Ctrl Shift Tab Ctrl H Regions List Press pacebar nter D ct D gra
312. on by appending a numerical value to a user specified prefix 1 Open an audio file and create several regions in it 2 From the Tools menu choose Extract Regions The Extract Regions dialog appears and all current regions appear in the Regions to extract pane 3 Select the regions to be extracted Extract Regions muziched wav x Regions to extract Extract Cancel MM Heb Pa _ Select all All Destination folder C Program Files Sony Sound Forge Browse File name prefix muziched IZ Use long file names for destination file names Start ile counter mader ito asel jo E Extract Regions dialog 4 If the path in the Destination folder box is not appropriate click the Browse button and browse to the desired destination folder 5 Enter the desired prefix in the File name prefix box 6 If desired clear the Use Long File Names for destination file names check box and enter an appropriate numeric value in the Start file counter index box Note Clearing the Use Long File Names for destination file names check box forces file names to conform to the 8 3 naming convention 7 Cllick Extract CHP 7 USING MARKERS REGIONS AND THE PLAYLIST CUTLIST 104 Using the Regions List The Regions List contains information pertaining to all r
313. ons from another sound file 4 Click Open Copying the playlist cutlist to the clipboard Editing a playlist cutlist in a text editor allows you to make an annotated list that you can print for reference From the Special menu choose Playlist Cutlist and then choose Copy onto Clipboard The list is copied to the Windows clipboard m Right click the playlist cutlist and choose Copy onto Clipboard from the shortcut menu CHP 7 USING MARKERS REGIONS AND THE PLAYLIST CUTLIST USING MARKERS REGIONS AND THE PLAYLIST CUTLIST CHP 7 113 CHAPTER 9 gonis AC a hr v a Pact E av 7 This chapter describes recording audio in Sound Forge extracting audio from a CD and writing audio to a CD Recording Extracting and Burning Recording audio Sound Forge has two central methods for recording manual normal and automatic In normal recording you choose your settings and control your recording session while you re sitting at your PC With automatic recording you can choose your settings and set your trigger parameters for recording automatically whether you re at your PC or not Recording manually You can record into an existing data window or create a new window at the time of recording 1 From the Special menu choose Transport and choose Record from the submenu The Record dialog appears You can also open the Record dialog by clicking the Record button 9 on the transport bar or n pressi
314. onstitute clipping 4 Click the OK button Sound Forge scans the selection and adds a marker whenever there are a number of sequential samples determined by the Clip Length setting with the same value above the Threshold setting e O Tip Use Detect all clip related plateaus from the Preset drop down list to detect clipped peaks that may exist in your file after decreasing the levels in the file You can then use the Pencil tool or the Clipped Peak Restoration tool in the Sony Pictures Digital Noise Reduction plug in to restore the clipped peaks SV Using markers to create regions Once you have placed markers in a waveform you can use them to create regions For more information see Inserting regions based on marker positions on page 102 CHP 7 USING MARKERS REGIONS AND THE PLAYLIST CUTLIST 96 r Using command markers in streaming media files Command markers add interactivity to media streamed over the Internet by inserting metadata into streaming media files As your file plays any number of other actions can be programmed to occur These commands are a part of the Windows Media Audio Windows Media Video and RealMedia streaming formats Most frequently these actions add text or open a related Web site Command markers can also indicate when an instruction function occurs in a WAV file being used in a radio broadcast environment Scott Studios data The following two sections define the mar
315. oting MIDI SDS with open loop Open loop transfers while not recommended for sending or receiving samples can assist you in troubleshooting SDS hardware setup problems If the Sampler Tool does not transfer data to or from the sampler select the open loop option and attempt single cable transfers If open loop transfers are successful but closed loop transfers are not any of the following may be the cause e The sampler does not support closed loop transfers handshaking One or more of the MIDI cables or connections is faulty e The MIDI card is not receiving MIDI input send or sending MIDI output receive Interrupt conflicts are common for MIDI input Setting up SCSI SMDI hardware To use the SCSI SMDI protocol with an external sampler that supports the SCSI SMDI protocol under Windows 98SE Windows Me Windows 2000 or Windows XP only a compatible SCSI adapter is needed The computer and sampler must be powered down prior to connecting or disconnecting SCSI cables to prevent damage to the computer and or hardware SAMPLING CHP 14 cH ON 217 Troubleshooting SCSI SMDI A brief description of some common problems encountered with SCSI and samplers follows Conflicting SCSI IDs When connecting devices on a SCSI chain each device must have a unique device identifier ID SCSI allows for up to eight unique ID values numbered 0 to 7 Typically device ID 7 is used for the internal SCSI controller card leaving ID O through
316. our audio signal peak program meters provide faster response times to volume increases than VU meters VU PPM meters are especially helpful when you re mastering comparing two audio files VU PPM readings will help take the guesswork out of matching levels VU PPM readings should fall near the O or reference mark 0 VU is merely a reference level and your signal may exceed O VU To prevent clipping keep an eye on your peak meters Peak levels should never exceed O dB To accommodate louder or softer intensity material you can use the Other tab in the Preferences dialog to calibrate the VU PPM meters to their associated levels on the peak meters and adjust the VU meters sensitivity to access the Preferences dialog choose Preferences from the Options menu Resetting clipping indicators When audio levels are too high clipping can occur A red indicator appears at the top of the meter to show when audio is clipping Click to reset the indicator or right click the meters and choose Reset Clip from the shortcut menu Click the clipping indicator to reset it Clipping indicator Play Meters x zi Clip You can also detect and mark clipped audio using the detect clipping tool For more information see Detecting and marking clipping on page 95 Scaling meters Meters can display a peak range and a VU volume unit PPM peak program p Reset Clip scale To change the meter s display levels right click the met
317. ow lj Wow sound editing m x a 00 00 00 L V V V Silence Wow Sound editing just gets easier 1 And easier 1 LI 1 2 5 00 00 02 00 00 04 Status boxes 6 0 4b 00 00 02 275 2 5 alSa T ble ff Nd gt e f only the first box contains a value there is no selection e f all three boxes contain values a selection has been created Clear the selection by clicking anywhere in the data window For more information see Viewing selection status on page 51 GETTING STARTED CHP 4 51 Playing in Loop Playback mode You can play an entire file or a selection in Loop Playback mode In Loop Playback mode Sound Forge plays the audio in a continuous loop Click the Loop Playback button on the transport bar to turn Loop Playback mode on and off RU Press Q Playing a selection You can play specific portions of audio data by creating selections in the waveform display 1 Drag the mouse within the data window Notice that the waveform is selected as the mouse is dragged 2 Click the Play button Only the selection plays i Wow sound editing at 00 00 00 00 00 02 00 00 04 E o Sound editing ust gets easier em easier Selection statis boxes 00 00 00 743 00 00 01 474 00 00 00 731 12 0 2 5 N I I L a l alJs ft 512 ME No OF gt sda 00 00 00 743 00 00 01 474 00 00 00 731 Create a select
318. p down when zoomed in vertically Displays the current location in the data window as well as ruler tags Right click to display the time ruler shortcut menu Drag to scroll the data window Indicates the position of region end points loop end points and markers Right click a tag to display the ruler tag shortcut menu Drag to edit a tag s position Double click anywhere within a region to select it Toggles through the Edit Magnify and Pencil tools Right click to display a shortcut menu that allows you to display or hide data window elements Contains audio transport buttons including Go to Start Go to End Stop Play Normal Open Play Plug In Chainer available only in the full version of Sound Forge Play as Cutlist and Play as Sample For more information on the playbar please see page 28 Displays the beginning end and length of a selection If no selection exists only the cursor position displays Double click the leftmost box to display the Go To dialog Double click either of the other two boxes to display the Set Selection dialog Right click to display the status format shortcut menu Displays a graphical representation of an audio file The horizontal axis represents time and the vertical axis represents amplitude Right click within this display to open the waveform display shortcut menu Scrolls forward backward through an audio file to display sections of the file not visible in the current area of the waveform display
319. p s start and end points appears in the lower right corner of the Loop Tuner Start Loop Amplitude End Loop Amplitude Although it is dependent upon the specific waveform a good rule of thumb is that the closer these two amplitude values are the more natural the resulting loop sounds Finding zero crossings The Loop Tuner s zero crossing finders are used to locate zero crossings adjacent to the current loop tag location Pa Pe ye M aa on ra e sema LEER Loop End Zero Crossing Right Loop Start Zero Crossing Right Loop End Zero Crossing Left Loop Start Zero Crossing Left The Loop Tuner contains two zero crossing finders for each of the loop points e The left button in each pair locates the zero crossing to the left of the current location e The right button in each pair locates the zero crossing to the right of the current location To use the finders click the desired button By experimenting with different locations and repositioning the start and end points you can create seamless loops You can also configure the zero crossing finders to locate positive slope crossings negative slope crossings or all zero crossings Configuring the zero crossing finders 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the Editing tab 3 From the Snap to zero crossing slope drop down list choose the desired slope and click OK CHP 15 LOOPING 226 Fine tuning loop points You ca
320. particularly useful when recording in Multiple takes creating Regions mode or Create a new window for each take mode For more information see Choosing a recording mode on page 119 Right click the Record dialog and choose Automatic Labeling from the shortcut menu to access the Automatic Labeling dialog For more information see Customizing automatic labeling on page 93 Changing blinking status The Recording and Pre Roll messages located to the right of the mini transport bar in the Record dialog can display within a flashing or solid red frame To toggle between the blinking status settings right click the Record dialog and choose Blinking Status from the shortcut menu A check mark displays adjacent to the command to indicate that the frame is configured to flash RECORDING EXTRACTING AND BURNING CHP 8 C 127 Extracting audio from CDs CHP 8 Sound Forge allows you to extract 44 100 Hz 16 bit stereo data from CD Tip Double click a cda file in the Explorer window or drag it to the workspace to extract a CD track without opening the Extract Audio from CD dialog available only in the full version of Sound Forge You can also extract audio from the Open dialog by choosing CD Audio cda from the Files of type drop down list in the Open dialog A Insert a CD in the CD ROM drive From the File me
321. pecified position in the data window CHP 5 NAVIGATING ZOOMING AND SELECTING 70 pS d Previewing audio with pre roll Many audio editing operations depend upon accurate placement of the cursor in the data window The Pre roll to Cursor command allows you to preview audio data leading up to the current cursor position This command is extremely useful when recording punch ins For more information see Recording a specific length punch in on page 117 Sound Forge designates a 1 5 second pre roll However you can change this value if necessary For more information see Configuring cut pre roll and post roll lengths on page 59 1 Place the cursor anywhere in the data window 2 From the Edit menu choose Pre roll to Cursor Sound Forge plays the audio leading up to the cursor and stops at the cursor a Press Ctri Shift K Using the overview bar When navigating or editing a file the overview bar changes to reflect the current position in the file Title bar iG Wow sound editing Overview bar 1 Time ruler The overview bar represents the length of the entire file zoomed out to its maximum position By observing the overview bar you can determine the following e The section of the audio file currently displayed in the data window e The location and size of a selection in relation to the audio file and data window e The current cursor location Understanding the overview bar 1 Open th
322. ple when you play a 60 Hz tone the speaker vibrates at 60 Hz but also outputs lower level audio at multiples of 60 Hz 120 180 etc The impulse recovery method greatly minimizes these low frequency distortions however inexpensive tweeters often display substantial high frequency distortion that can disrupt the recovery process When possible use high quality components and do not overdrive the speakers Error message explanations The following sections briefly describe error messages that may be encountered when using Acoustic Mirror The selected file is not a valid test file The file specified in the Test file used box is not a test tone file included on the Sound Forge CD ROM The level of the first spike is low Do you wish to use it as a timing spike This typically means that no actual timing spike was detected Verify that the first spike is within one second of the start of the recorded file If the recording is noisy and the spike is not very pronounced you can aid detection by muting the audio immediately before and after the spike An error occurred reading the test tone file Either the test tone file was not found or is not a valid test tone file Always use a test tone file provided on the Sound Forge CD ROM The selected Recorded file is much smaller than the test tone size This may indicate that the test tone or the recorded file specified in the Recover tab is not correct Verify that the length of the recorded file
323. pper from the Windows Control Panel APPENDIX B MICROSOFT AUDIO COMPRESSION MANAGER 268 9 LLL The Sound Mapper functions as follows When faced with a sound file recorded at an unusual sample rate such as 22 257 Hz and a sound card that supports 22 050 Hz the sound file normally cannot be played The sample rate of the file must be changed to 22 050 Hz before it can be played back but changing the sample rate without resampling causes a pitch shift However the Sound Mapper plays this file without resampling by mapping the sound to the best format possible and performing the resampling in real time In addition the Sound Mapper plays compressed sound files even on sound cards that do not support compression directly A file compressed with Microsoft ADPCM or The DSP Group s TrueSpeech plays on any sound card without first decompressing the file The Sound Mapper can under the right circumstances record compressed sound files Compressing sound data can be computationally expensive and the amount of time required is dependent upon the specific compression algorithm and how it is implemented Decompressing sound data is typically faster than compressing the same sound data It should be noted however that Sound Forge does not play and record compressed sound files directly Rather Sound Forge performs all compression and decompression while opening and saving the files This limitation is fairly insignificant and Sound Forge sav
324. ptimizing for Sound Forge 00 sese 19 Defragmenting your hard drive lt eee eee eens 19 increasing total buffer size rcs sents eb oes EDU EC CY o Pic a d ae 19 Increasing preload SIze eee eens 20 Turning off the playback cursor and record counter 20 Turning off the play output meters lees Rn 20 Turning on passive updating for video and time displays 20 Turning on passive updating for time displays e nes 20 Turning on passive updating for video displays 00 ccc eee cece eee eeee 21 Learning the Sound Forge Workspace 23 ISIN tae TOUS Cs ase acacia c ba careo wu nod e abd ci Rp DATUR RS e n EAD d 23 Using the mouse wheel ulcere nnn 24 TABLE OF CONTENTS 2 y Thema SCFeeLbl iac s veka E de ees bears CX eS eee Feed 24 Main screen components nananana e e bee oie bie bbe hee gad ig aie teed Lee eae 24 Floating and docking WINGOWS 0000 0 cece ee eee ees 25 IMG Gala WINDOW s su ac aid e ae A CR Oe SOC CE Sai a a de ch 27 Displaying data window components ccce nnns 28 Rio MESTRE RS CUTE oats es uso Cod we Cae ere ynaneie TTT 28 TOO ES a vao dates oe aed dad qu en aos aS S dar Rb ADR E 29 Docking a toolDl x53 1h EE UR cb ded ea eee ae eet i cm c ao eae eee SY 29 FOGA LOOM MENTRE TA TIT OO E sce CTS UTE 29 Displaying atoolbar 3 suu p aaro Rea ek Vie ete NOH EO CP Sw EROS Apa baw
325. r Sound Forge users we recommend adding summary information and BMP images to your files Open the impulse file in Sound Forge From the File menu choose Properties The Properties dialog appears Click the Summary tab Enter the appropriate information in each box Click the Picture button The Open Picture dialog appears Locate the desired image and click Open The image is linked to the impulse file Click OK Note If you are using a palletized display setting 256 colors or less and attach a bitmap to an impulse file the bitmap colors are distorted when viewed in Acoustic Mirror This is because Sound Forge converts the bitmap using the default palette at the time of attachment which is not optimal For this reason you should set the display settings to at least a 16 bit palette prior to attaching bitmaps to impulse files N OOA UN USING ACOUSTIC MIRROR AND WAVE HAMMER CHP 12 Properties Bob s Java Hut storage room approx 12 00 EJ ES General Summary Format Video Display Title Bob s Java Hut storage room approx Extended Subject impusefle Load Engineer Richard Morgan Copyright 2000 Sonic Foundy Inc Comments Impulse file recorded in the storage room of Bob s Java Hut in Minneapolis on a Friday night after closing E Picture ENF N Properties di
326. r dialog 3 Click the Browse button located next to the Impulse field and locate the Acoustic Mirror Impulse Files folder on the Sound Forge CD 4 Double click the folder Several impulse subfolders display 5 Double click the Large venues folder Several impulse files display 6 Double click Stadium Camp Randall 50 yrd line sfi Sound Forge adds this impulse file s acoustic signature to the Saxriff pca file and returns you to the Acoustic Mirror dialog 7 Cllick Preview The processed file plays and the sax riff is virtually placed in a football stadium sized venue 8 Select or clear the Bypass check box to toggle between the processed and unprocessed audio Adjusting the acoustic signature Once you add an acoustic signature to a file you can use the controls of the Acoustic Mirror dialog to precisely configure the reverb effect More importantly you can preview configuration changes as quickly as you make them 1 Open a file and display the Acoustic Mirror dialog 2 Verify that the Real time check box is selected 3 From the Impulse drop down list choose the desired impulse file and click Preview The processed audio file plays Notice that all dialog controls are set to their default values 4 Drag the Dry Out fader up Notice the audible change in output as the balance between the Wet Out and Dry Out values changes Tip If you are experien
327. r exactly as it was in the original data window or click to position the cursor where you want the envelope to start APPLYING EFFECTS APPLYING EFFECTS CHP 11 183 CHAPTER E T ill E Using Acoustic Mirror and Wave Hammer This chapter is designed to familiarize you with Sound Forge s Acoustic Mirror and Wave Hammer effects Acoustic Mirror is a powerful digital signal processing tool that allows you to add environmental coloration to your existing recordings Wave Hammer is an audio mastering tool that features a classic compressor and volume maximizer Note Acoustic Mirror and Wave Hammer are only available in the full version of Sound Forge NO E What ts Acoustic Mirror Acoustic Mirror represents an advance in reverb technology in that it incorporates the acoustical responses of a given environment or venue into your audio files You may never play Carnegie Hall but that does not mean that your recordings can t sound like it Taking this concept even further Acoustic Mirror allows you to simulate the signal response of vintage musical equipment Imagine the money you ll save not having to buy those paired U 47s The acoustic signature Acoustic Mirror creates its effects through the use of the environment s acoustic signature or impulse response These acoustic signatures are saved as impulse files and given the extension wav or sfi Acoustic Mirror includes an extensive library of high quali
328. rce side and used to record the stereo image For proper playback on most systems MS recordings must be converted to standard left right orientation To convert an MS recorded track to a left right track in Sound Forge first ensure that the center channel is in the left track and the side channel on the right The MS mix function is then used to set the width of the stereo image for the converted track Output gain Determines the amount of gain applied to the signal following pan expand processing Show wave The Show wave drop down list provides several settings for drawing the current selection s waveform on the envelope graph This function is available only for small selections Reset Envelope Clicking the Reset Envelope button clears all but the two original envelope points e For the Pan modes these two points prevent unintended panning e For the Stereo expand and Mix Mid Side modes these two points prevent unintended expansion Resample The Resample command allows you to change the sampling rate of a file without altering its pitch or Hesample Example music bed d Preset ration ae Cancel e Resampling to a lower sample rate results in less Mew sample rate 2 000to 192000 H3 22050 G frequent samples and a decreased file size but adds am A i E 4 Interpolation accuracy 1 to 4 Medium ul High 2 aliasing noise to the audio For more information see Saves Apply an anti alias filter du
329. rd into a different data window click the Window button and choose a data window from the Record destination window drop down list Click OK to return to the Record dialog 20 e To record into a new window click the New button in the Record dialog and specify the attributes sample rate bit depth and channels for the new file Click OK to return to the Record dialog 4 From the Device drop down list choose the device to use for recording 5 From the Mode drop down list choose a recording mode For more information see Choosing a recording mode on page 119 6 If necessary set a start time duration or end time for your recording By default Sound Forge will begin recording at the current cursor position To record to a different cursor position use one of the following methods Type a new cursor position in the Start field If you chose the Punch In recording option in the Mode drop down list you can also type values in the End or Length fields to define your recording period 201 e Click the Go To button and change the cursor position Click OK to return to the Record dialog For more information see Setting the cursor position on page 69 7 Click the Arm button 4m to have recording begin as soon as possible after you click the Record button 91 Arming Sound Forge prior to recording opens the wave device and loads all recording buffers in order to minimize the amount of time between clicking the Record button
330. re information see Choosing a recording mode on page 119 6 Set the timer a Click the Add button to create a timer setting The Record Timer Event dialog is displayed b Type a name in the Name field to create a name to identify the preset c Choose a setting from the Recurrence drop down list to indicate whether you want to record one time only or repeat the selected recording day and time at a regular interval d Use the Start date Start time and Duration boxes to indicate when you want to start and stop recording e Click OK to close the dialog and return to the Record dialog 7 Click the Arm button 4m Sound Forge is armed for recording to begin when your timed events occur CHP 8 RECORDING EXTRACTING AND BURNING 116 8 To end timed recording click the Stop button Ll 9 Click the Close button to close the Record dialog Triggering by a set threshold When you re using threshold triggered recording you can choose to record continuously set a buffer size and Sound Forge will record to fill the buffer discarding the oldest data as new data is recorded If you want to save data from the buffer you can save it to disk 1 From the Special menu choose Transport and then choose Record from the submenu EM Click the Record button on the transport bar or press cti R 2 From the Method drop down list choose Automatic Threshold 3 Choose the destination data window for your recordin
331. reason you should always experiment with the Dither and Noise shaping controls to determine the optimum settings for each file PROCESSING AUDIO CHP 10 S 15 Converting a hies bit depth RF OU N 2 Open the Musicbed pca file From the Process menu choose Bit Depth Converter From the Bit depth drop down list choose the desired bit depth If necessary use the Dither drop down list to specify the type of dither used to mask the quantization noise the results from lowering a file s bit depth For more information see Dither on page 151 If desired use the Noise shaping drop down list to specify any noise shaping to be applied to the file For more information see Noise shaping on page 152 r Note When increasing a file s bit depth set the Dither and Noise shaping controls to None and Off respectively Ojnnnn M Dither This control allows you to specify the randomness of the dither generated noise used to mask quantization distortion resulting from conversion to a lower bit depth You can select from several shapes each roughly describing the pattern that would be produced if you plotted a graph with the dither amplitude on the X axis and the probability of the dither values on the Y axis As is fr
332. requency check box and specify an ending frequency in the box Select the Log Sweep check box if you want to sweep the range logarithmically when the check box is cleared the sweep is linear 6 Use the Amplitude fader to set the peak level of the waveform aaa Note When you choose Noise in the Waveform shape drop down list the amplitude is affected by the specified cutoff frequency ESS S aoooaaaa S x_ 7 From the Insert new waveform at drop down list choose a position to determine where the waveform is placed in the data window 8 Click OK EDITING REPAIRING AND SYNTHESIZING AUDIO CHP 9 145 CHAPTER oM er 10 L c uw This chapter provides descriptions of processing presets and previews as well as an overview of all functions in the Sound Forge Process menu J Processing Audio v Applying presets Many Sound Forge dialogs contain drop down lists of presets used to quickly apply processes and effects Presets are especially useful when learning Sound Forge as they allow you to hear the results of processing as well as view the control settings used to produce these results 4 Note All information regarding presets in this chapter is applicable to DirectX Plug Ins effects from Sony Pictures Digital ES T Using presets 1 Open the Voiceover pca file 2 From the Process menu choose Fade and choose Graphic from the submenu The Graphic Fade dialog appears
333. rge This manual is provided to assist users of the full version of Sound Forge as well as Screenblast Sound Forge users For this reason product features exclusive to the full version of Sound Forge are identified throughout the manual using the following icon d In addition Screenblast Sound Forge only issues are identified and described where appropriate Shortcuts As experienced users of Sound Forge products know there are often several methods of executing a command including menus shortcut menus and keystrokes Throughout this manual the typical method of executing a command is identified in the procedure and alternate methods are identified in a section indicated by the following icon EM A full list of keyboard and mouse shortcuts appears in the first appendix to this manual For more information see Shortcuts on page 257 CHP 1 INTRODUCTION 16 r oystem requirements The following lists the minimum system requirements for using Sound Forge and Screenblast Sound Forge 400 MHz processor 64 MB RAM 128 MB recommended 60 MB hard disk space for program installation Microsoft Windows 2000 or Windows XP Microsoft Windows compatible sound card CD ROM drive for installation from a CD only Supported CD Recordable drive for CD burning only DirectX Media 8 0 Runtime included on CD ROM Microsoft Internet Explorer 4 0 or later to view online help version 5 0 included on CD ROM Installing Sound Forg
334. rge from the Effects menu choose Dynamics and choose Graphic from the submenu The Graphic Dynamics dialog appears For users of Screenblast Sound Forge from the Effects menu choose Dynamics The Dynamics dialog appears 2 Choose a preset with a small amount of compression 2 1 or less from the Preset drop down list and click OK CHANGING FILE ATTRIBUTES AND FORMATS CHP 6 M C87 Normalizing Normalizing a file prior to decreasing its bit depth ensures that the entire dynamic range is used In addition normalization lowers the signal to noise ratio 1 From the Process menu choose Normalize Nommakze M The Normalize dialog appears Preset URE m Normalize using Peak level C Average RMS power loudness Note The Normalize dialog pictured here is from ua D i D0 Ur US the full version of Sound Forge If you are using EES Attack time i ad ms 200 Screenblast Sound Forge not all of the controls pictured here will be available to you Release time te nn ms 2000 3 n Use equal loudness contour Preview anore below Bypass I N lize t y 2 Select the Peak level radio button 60 to 0 dB i S Level IF Glipping Gecurs 3 Set the Normalize to fader to 0 dB peak and IE NOE click OK RMS d Use current sear level do not scan selection Selection 0 to 94 719 34 720 Channels Mono Sele
335. ring resample on page 165 Id opt an arteze ler caning esame baee li hi h l l Set the sample rate only do not resample e Resampling to a higher sample rate results in extra D F N samples being created through interpolation and an Bees increased file size Like increasing bit depth up Bypass sampling does not improve the quality of an audio file but permits subsequent audio processing to be Selection Dto 494 769 434 770 Selection performed with greater precision CHP 10 PROCESSING AUDIO 164 Downsampling audio 1 Open the Musicbed pca file 2 Right click the data window and choose Properties from the shortcut menu The Properties dialog appears Notice that this file has 44 100 Hz sample rate and a file size of 0 48 MB 3 Click OK 4 From the Process menu choose Resample The Resample dialog appears 5 From the Preset drop down list choose Resample to 8 000 Hz with anti alias filter and click OK The audio is resampled at 8 000 Hz 6 From the File menu choose Save As Save the resampled file with a new name and close it 7 Open the resampled file and view its Properties dialog The sample rate is lower 8 000 Hz and the file size is smaller 8 Play the file Notice the obvious decrease in audio quality Note Use this new file to perform the following up sampl
336. rmat is not used when working with video SMPTE Film Sync 24 fps The SMPTE Film Sync time format runs at 24 fps frames per second This frame rate matches the standard crystal sync 16 33 mm film rate of 24 fps SMPTE TIMECODE APPENDIX C APPENDIX 271 E T Ezi i a CU a j a E E Using CSOUND MTU IRCAM BICSE and EBICSF Files Although Sound Forge supports a large number of sound file formats directly it does not support the CSOUND MTU IRCAM BICSF or EBICSF file types However you can use the Raw File Type capabilities of Sound Forge to extract sound data from these file types k S v ME About IRCAM files The IRCAM or IRCAM Gross format consists of a 1024 byte header prior to the audio data This header contains standard information like the number of channels sampling rate and data format but can also contain the name of the sample and comments This format is used by the MTU system and these files are frequently referred to as MTU files IRCAM files support two types of data formats 16 bit linear PCM and floating point data About BICSF and EBICSF files BICSF and EBICSF files Berkeley IRCAM CARL Sound File or Extended BICSF are extensions of the IRCAM format Instead of using the standard IRCAM header these files replace the first 28 bytes of the header with a standard NeXT Sun header This allows the IRCAM format to store additional information in its 1024 byte header while al
337. rmation see Customizing previews for the current process on page 147 ann Limit previews to Preferences E E Selecting the Limit previews to check box allows you to specify General Display Editing Fie w priSync Perform the preview length by entering a value in the corresponding box Playist Previews status Toolbars wave video other v Limit previews En 1 to 600 seconds 4 Pre roll Pre roll 1 to 600 seconds 1 Selecting the Pre roll check box allows you to specify how many WE NUES E seconds of unprocessed audio play prior to the processed v Fade out last 10 milliseconds snap pop eliminator selection Iv Loop preview continuously Post roll v Reactive previewing Selecting the Post roll check box allows you to specify how many seconds of unprocessed audio play following the processed selection m H Tip Pre roll and Post roll can be toggled on and off by right cancel ay clicking the dialog and choosing the appropriate command from the shortcut menu Fade out last 10 milliseconds Selecting the Fade out last 10 milliseconds check box fades the last 10 milliseconds of a preview This typically eliminates the pops that occasionally accompany the end of a preview buffer Loop preview continuously Selecting the Loop preview continuously c
338. roperly terminated unreliable SCSI transfers may be experienced Refer to the SCSI card and SCSI device documentation for more information Long or faulty SCSI cables SCSI cables that are very long or not properly shielded may not operate reliably In addition do not use cables that are not certified SCSI cables CHP 14 SAMPLING 1 Adaptec 1540 1542CF does not recognize a sampler If the Adaptec 1540 1542CF does not recognize the sampler a change may be required in the configuration of the Adaptec controller Some samplers do not operate when the Reset SCSI Bus at PowerOn option of the Adaptec controller is turned on This is the default operation for the 1540 1542CF and must be turned off to allow the system to work with the sampler e LM Note Turning off the Reset SCSI Bus at Power On option may keep other devices on the SCSI chain from resetting correctly when using the system s soft boot feature Other systems may freeze temporarily To guarantee that devices are reset when rebooting with this option turned off use the system s reset button or power down and up to reset the system LN SCSI SMDI compatible menu is not displayed under Windows 98SE and Windows Me Verify proper SCSI termination and check for multiple devices on the SCSI chain using the same SCSI ID If this fails to solve the problem Adaptec SCSI card users may need to update the system s mini port drivers Adapt
339. rs of Screenblast Sound Forge from the Process menu choose Pan and then choose Graphic The Graphic Pan dialog appears 3 From the Preset drop down list choose Left to right linear The pan envelope displays on the graph Pan Expand Example music bed E Preset EVER bo ETT Cancel Pan preserve stereo separation 0 0 dB Help 100 00 Left Hard left at start of audio Save DS pelete Preview Frocess made Center O Bypass Output gain Right Hard right at end of audio CBD En 20 dB Ox 25 B s 75 os Show wave Mono source Reset Envelope The pan envelope displays on the graph Selection 00 00 00 000 to 00 00 09 855 00 00 09 853 SUN Channels Mona iu 4 Click OK Sound Forge converts the file to stereo and adds a left to right pan 5 Play the file The audio source seems to move from the left channel to the right channel during playback Note A pan by nature cannot be created in a mono file l M Creating a custom pan Sound Forge allows you to create complex custom panning effects using up to sixteen envelope points 1 Open the Musicbed pca file 2 For users of the full version of Sound Forge from the Process menu choose Pan Expand The Process dialog appears For users of Screenblast Sound Forge from the Process menu choose Pan and then choose Graphic The Graphic Pan dialog appears 3 Configure the pan envelope using the follo
340. rview bar easier Sound Forge allows you to start audio playback from the overview bar 1 Open the Voiceover pca file 2 Right click the overview bar Playback of the file begins from the cursor location 3 Right click the overview bar again Playback pauses 4 Right click the overview bar once more and immediately left click at several random positions in the overview bar Each time you click the mouse in the overview bar during playback the cursor jumps to the new location and playback continues The feature is useful for quickly navigating a file and locating general events Navigating with the audio event locator Dragging the mouse within the overview bar initiates playback of small audio loops adjacent to the cursor position This is not technically a scrub function but it serves a similar purpose It allows you to audition brief audio segments and quickly locate specific events within a file A Configuring the audio event locator 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the Other tab 3 In the Audio event locator section edit the Pre roll and Loop time values as desired and click OK Zooming and magnifying Since there are considerably more samples in a sound file than horizontal points pixels on the screen many data samples must be represented by each horizontal point when audio data displays in the data window Depending upon the editing operation you may want to view
341. s The playlist and cutlist allow you to try out different edits before committing to them You can add regions to the playlist or cutlist and then rearrange and audition them endlessly without requiring Sound Forge to perform an edit on the file Another advantage is that you can quickly save regions organized in the playlist or cutlist as a new file based on the finished arrangement MIDI synchronization and triggering You can trigger regions created in Sound Forge using MIDI or SMPTE timecode This feature is used for synchronizing audio files to sequencers MIDI controllers or any other time based media For example a MIDI trigger can be assigned to an audio file in Sound Forge and triggered by a sequencer along with other MIDI instruments For more information see Triggering region playback on page 203 You can also assign SMPTE times to special effect audio files This allows you to match audio to the action on the screen CHP 7 USING MARKERS REGIONS AND THE PLAYLIST CUTLIST 92 Using markers A marker is a tag placed in an audio file that is used as a reference point Markers make navigating a file easier and more efficient Inserting markers 1 Click to position the cursor in the waveform 2 From the Special menu choose Insert Marker Sound Forge places a marker in the waveform at the exact location of the cursor EM Press M lj musicbed wav E Te rare K paces in the waveform yi 00 00 00 0
342. s 146 video 238 Previewing effect automation 179 Previews 146 Bypass 148 Fade out last 10 milliseconds 147 Limit previews to 147 Loop preview continuously 147 Parameters 146 Post roll 147 Pre roll 147 Reactive previewing 148 Printing sonogram 253 spectrum graph 250 Process toolbar 33 Processes 145 167 Auto Trim Crop 149 Bit Depth Converter 150 Channel Converter 152 DC Offset 154 EQ 155 Fade 155 Fade In 156 Fade Out 157 Insert Silence 157 Invert Flip 158 Mute 158 Normalize 158 161 Pan Expand 161 Resample 163 Reverse 165 Smooth Enhance 165 Time Stretch 166 Volume 166 Projects creating 45 Proper use of software 130 Punch In 117 Adjusting pre post roll 122 Recording mode 120 Quantization error 86 Rapid sound attacks 100 vii RealMedia rm commands 96 Receiving samples 213 Recording 113 126 Acoustic Mirror test tone 190 Arming to record 119 automatically 115 Automatically labeling files and regions 126 Changing blinking status 126 DC offset 121 Gap detection 126 Inserting markers 125 Levels 125 Meters 125 Modes 119 normal mode 113 Playing back recorded audio 122 Punch In 117 120 Remote recording mode 123 Synchronizing with other devices 124 Recovering files after a crash 68 Recovering the impulse for Acoustic Mirror 191 Regions 99 103 Automatically naming 93 126 Creating 99 Creating automatically 100
343. s we encourage you to visit http mediasoftware sonypictures com support default asp e To listen to your support options please call 608 256 5555 e Customers who have purchased the full version of Sound Forge receive 60 days of complimentary phone support The complimentary support begins the date of your first call Registration is required to received this complimentary support Please call 608 204 7704 if you need assistance with your full version product This offer does not apply to Screenblast Sound Forge users Sony Pictures Digital Inc Media Software and Services 1617 Sherman Avenue Madison WI 53704 USA The information contained in this manual is subject to change without notice and does not represent a guarantee or commitment on behalf of Sony Pictures Digital Inc in any way All updates or additional information relating to the contents of this manual will be posted on the Sony Pictures Digital Media Software web site located at www sony com mediasoftware The software is provided to you under the terms of the End User License Agreement and Software Privacy Policy and must be used and or copied in accordance therewith Copying or distributing the software except as expressly described in the End User License Agreement is strictly prohibited No part of this manual may be reproduced or transmitted in any form or for any purpose without the express written consent of Sony Pictures Digital Inc Sound Forge ACID Vegas Aco
344. s a selection The main screen When you start Sound Forge the main screen appears The main screen s workspace is where you perform all audio editing Menu bar Fie Edt view Special Process Effects Tools DX Favorites Options Window Help Standard toolbar DS EE Transport bar O la 1 gt i J NN gt Play Meters docked rr raw Status bar IVlain screen components The following table describes the major components of the main screen Menu bar Displays the menu headings for the available functions Standard toolbar Provides quick access to some of the most common tasks in Sound Forge pg 30 Transport bar Provides quick access to basic audio transport functions pg 30 Status bar Help and processing information appears on the left side The boxes on the right side display the playback sample rate bit depth channel configuration mono stereo length of the active data window and total free storage space pg 83 With the exception of the free storage space box you can edit these boxes by double clicking or right clicking them When no data windows are open only the free storage space box contains a value Workspace This is the area located behind the data windows Audio selections dragged to the workspace automatically become new data windows Windows such as the Regions List and Playlist can be docked along the edges of the workspace Play Meters Displays the level of the output audio signal These me
345. s caused by conversion to a lower bit depth but the noise level is more likely to be dependent on the signal e Triangular eliminates the distortion products as well as any noise floor modulation but results in a slightly higher noise level The option typically works well in conjunction with noise shaping Highpass Triangular behaves like triangular dither but shifts its noise into higher frequencies This is typically the best option when used in conjunction with noise shaping e Gaussian does not perform as well as Rectangular and Triangular dither but may be suitable for certain audio Noise shaping The Noise shaping value determines the aural positioning of quantization noise Using this control you can shift the noise into audio registers that are less perceptible to human hearing This lowers the perceived noise floor and creates the illusion of cleaner audio e High pass contour noise shaping attempts to push all quantization noise and error into high frequencies Equal loudness contour noise shaping attempts to push the noise under an equal loudness type of curve CHP 6 CHANGING FILE ATTRIBUTES AND FORMATS 6 r Noise shaping dangers Noise shaping places quantization noise near the audio s Nyquist frequency a value equal to one half of the file s sample rate Consider the following e A file with a sample rate of 44 1 kHz has a Nyquist frequency of 22 05 kHz at the high end of human hearing Applying noise shaping to
346. s on page 80 and Adding a chain of effects on page 170 Saving the current workspace 1 From the File menu choose Workspace and choose Save As from the submenu The Save Workspace dialog appears 2 Browse to the folder where the file will be saved 3 Enter a name for the file in the File name box and click Save Opening a workspace 1 From the File menu choose Workspace and choose Open from the submenu The Open Workspace dialog appears 2 Browse to the folder containing the desired SFW file 3 Select the desired file and click Open Editing audio New Sound Forge users should remember that even the most complex editing is derived from a few simple operations copy paste cut delete clear trim crop and mix The following table provides a brief description of Sound Forge s basic editing operations Copy Copies data from the window to the clipboard Paste Inserts the contents of the clipboard into the window at the current cursor position If a selection exists in the data window the pasted data replaces the current selection Cut Deletes data from the window and copies it to the clipboard Delete Clear Deletes data from the window but does not copy it to the clipboard Trim Crop Deletes all data in the window with the exception of the selection Mix Mixes data from the clipboard with the data in the current window starting at the current cursor position or the start of the current selection GETTING STA
347. scroll bar placement A Tip Views are discarded when you close the file To save views with a file save the file as part of a workspace For more information see Saving files as a workspace on page 56 NAVIGATING ZOOMING AND SELECTING CHP 5 M c81 Displaying the Views toolbar 1 From the View menu choose Toolbars 2 Select the Views check box and click OK The Views toolbar appears Views toolbar Creating views 1 Open the Voiceover pca file and create a selection containing Wow 2 Click the Set button on the Views toolbar A view can now be created 1 2 3 4 5 b 7 8 Click the Set button The 1 button is underscored to indicate that a view was created 4 Create a new selection anywhere in the audio file preferably at an increased magnification 5 Click the Set button l followed by l The selection is saved as view 2 6 Click M The view 1 selection displays 7 Click The view 2 selection displays CHP 5 NAVIGATING ZOOMING AND SELECTING 2 Ls NAVIGATING ZOOMING AND SELECTING CHP 5 83 CHAPTER Changing File 6 Attributes and ue Formats EEE VA This chapter deals with the file attributes and formats Sound Forge supports T
348. se You can select the preset from the Preset drop down list to apply the same settings at a later time 1 Adjust the parameters in the effect dialog to achieve the effect you want 2 Click Save As The Save Preset dialog appears Save Preset E x OF New preset name Lok SN Po Cancel pea Help 3 Enter a new preset name and click OK The new preset is added to the Preset drop down list mors a chain of effects The Plug In Chainer allows you to create a chain of DirectX plug ins You can preview each plug in in the chain simultaneously in real time as long as your computer has adequate processing power You can switch between the Plug In Chainer window and data windows without leaving the Plug In Chainer This means you can change your selection in the data window or even switch to another data window all without closing the Plug In Chainer window Because the Plug In Chainer offers these advanced features you may want to use the chainer to create a single effect chain instead of applying an effect from the Effects or DX Favorites menu For more information see Adding an effect on page 169 Process Ene Remove Selection 49 S Selected dieta to chain Plug in SET 77 E nns T 2 fy Lide sit E Ox ome o uec bd Bd 9 4 Chain preset l Modulation Rate Effects chain__ ofl Chorus V Distortion fo Modulation Depth Delay Effect preset Preset x Feedback Chorus Size Invert Chorus Phase
349. se length 187 Envelope tab 186 Error messages 196 General tab 185 Head related transfer functions 194 Impulse 185 Impulse recovery mode 188 Limiting length of impulse 185 Recover tab 188 Recovering an impulse 188 Response delay 185 Response width 185 Saving the impulse with a preset 187 Summary tab 187 Test file 188 Troubleshooting 195 Using 183 Acoustic signature 183 Adjusting 184 Active data windows 53 Adding regions to the playlist 106 Adding tracks to a CD 128 Additional embedded information 90 Adjusting envelopes 180 Animating the video strip 237 Applying effects automation 179 Arm button 119 Arranging the playlist 108 Attaching video to an audio file 240 Attributes 83 Audio editing 56 61 131 133 134 136 Copying 57 Crossfading 131 Cutting 58 Deleting 59 Mixing 60 136 Overwriting 131 Pasting 58 135 Replicating 132 Trimming Cropping 60 Audio file detaching video 241 Audio files Saving all open 55 Audio glitches Finding and repairing 137 Audio Plug In Chainer Managing plug ins 177 Audio spectrum analysis 245 253 Audio synthesis 141 144 DTMF MF Tones 141 FM 142 Simple 144 Auto Region tool Musical time intervals 101 Rapid sound attacks 100 Auto Snap to Time 80 Auto Snap to Zero 80 Disabling at high magnifications 80 Snapping current selection to zero crossings 80 Auto Trim Crop 149 Automatic labeling for files regions and mark
350. sical note indicates a region trigger 8 Repeat steps 4 through 7 providing each region with a unique MIDI trigger Using region playback triggers 1 From the Options menu choose MIDI In Out and choose Trigger from MIDI Timecode from the submenu A check mark appears adjacent to the command indicating it is active and Sound Forge is ready to receive MIDI commands 2 Click C4 on the MIDI Keyboard The Wow region plays 3 Click other trigger keys on the MIDI Keyboard and observe how this feature can be used to play regions on cue or quickly rearrange an audio file o Note Sound Forge can play only one region at any given time Overlapping causes the active region s playback to be interrupted and the new region s playback to begin M WORKING WITH MIDI SMPTE CHP 13 2005 Triggering playback from additional internal external MIDI devices The basic concepts of MIDI routing and triggering from the Sound Forge MIDI Keyboard described in previous sections apply to any hardware or software device capable of generating MIDI commands Follow the same basic steps to trigger playback e Install and configure the MIDI controller refer to the product specific documentation for installation procedures e Set up MIDI input synchronization For more information see Turning on MIDI input synchronization on page 202 e
351. sing preload size The preload size value determines how much sound data Sound Forge prepares and loads into the sound card driver prior to starting playback Preloading occurs between the time you click the Play button and the first sound of playback Increasing preload size may eliminate the dropouts evident at the beginning of playback that are characteristic of slow and or fragmented hard drives The trade off for increasing the preload size is a delay prior to the start of playback The length of the delay is proportional to the size of the preload 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the Wave tab 3 Use the Preload size slider to configure an appropriate preload size value and click OK E Note Certain Windows sound drivers do not support this option If you detect noise or dropouts at the start of playback and the system s sound drivers do not support preloading turn off this option by setting the Preload size to 0 L Qe Turning off the playback cursor and record counter The playback cursor and record counter options determine whether these displays are updated during recording and playback If you detect dropouts and skipping at high sample rates greater than 44 100 Hz turn these displays off to minimize processing overhead 1 From the Options menus choose Preferences The Preferences dialog appears 2 Click the Perform tab 3 Clear the Show the position o
352. so allowing the files to be read by software that supports the NeXT Sun file format such as Sound Forge Opening files BICSF and EBICSF files When reading BICSF and EBICSF files Sound Forge identifies them as NeXT Sun files This is because the header of the BICSF file has been modified to allow it to be read as a NeXT Sun file Sound Forge reads these files as long as they are in one of the supported NeXT Sun data formats IRCAM CSOUND and MTU files To read these formats users must import them as Raw data files This is best accomplished by configuring the parameters in the Raw File Type dialog and saving them as presets The Raw File import function allows these files to be opened providing they are stored in 16 bit linear format Sound Forge does not open floating point format IRCAM files Opening an IRCAM file 1 From the File menu choose Open The Open dialog appears 2 Specify Raw File from the Files of type drop down list 3 Select an IRCAM file to open and click OK The Raw File Type dialog appears APPENDIX D USING CSOUND MTU IRCAM BICSF AND EBICSF FILES 272 mS 4 Configure the following parameters e Specify a sample rate from the Sample rate drop down list e n the Sample type area select the 16 bit PCM radio button e n the Format area select the Signed radio button e Select the appropriate Channels radio button e Select the appropriate Byte order radio button e Set the Header value to 1024 bytes
353. ssing to be performed x with increased precision Bit depth 16 bi Cancel n Lad ither N Help Note The maximum bit depth allowed for a sound file in E None He Screenblast Sound Forge is 16 bit Noise shaping Off TI Saveds SSE Delete 1 Open a file with a small bit depth Preview Bypass 2 From the Process menu choose Bit Depth Converter The Bit Depth Converter dialog appears Selection 00 00 00 000 to 00 00 27 875 00 00 27 876 3 From the Bit depth drop down list choose a larger value Channels Both Selection and click OK Note When increasing a file s bit depth the Dither and Noise shaping controls should be set to None and Off respectively SSS T CHANGING FILE ATTRIBUTES AND FORMATS CHP 6 T MMM G85 Decreasing bit depth To maximize storage space larger sound files 24 and 16 bit are frequently converted to smaller 16 and 8 bit files using Sound Forge However representing a sound file at a decreased bit depth results in audible distortion referred to as quantization error M Note The maximum bit depth allowed for a sound file in Screenblast Sound Forge is 16 bit
354. t The dialog s controls change to reflect the preset 4 Drag any of the graphic fade points to a new position Graphic Fade Wow sound editing Preset 5ys 3 dB exponential Fade out Gain Cancel 100 53 5 3 1 dB at 00 00 02 500 EEE 50 Preview Bypass Ox 25 50 75 100 Maximum Gain 100 0dB C 200 6 dB C 400 12 dB Show wave Mono source Reset Envelope Selection 00 00 00 000 to 00 00 05 000 00 00 05 000 CIC Channels Mono m Edit the graphic fade and click the Save As button 5 Click Save As The Save Preset dialog appears 6 Enter a name for the preset and click OK Sound Forge saves the new preset and adds it to the dialog s drop down list Deleting presets To delete a preset choose it from the Preset drop down list and click Delete Built in presets cannot be deleted Resetting parameters To reset all dialog controls to their default settings right click the dialog and choose Reset All from the shortcut menu IVlanaging presets Once you have created custom presets you can use the Sound Forge Preset Manager to back up transfer or delete custom presets from any of the effects processes tools and plug ins installed in Sound Forge You can also use the Preset Manager to manage your ACID and Vegas presets For more information see Using the Preset Manager on page 177 Previewing processed audio You can
355. t and Pre roll check boxes are activated 3 Select the Start check box and enter the starting value of the SMPTE code in the corresponding box Record Synch t W Stark 100 20 20 00 v Enable MTC SMPTE Output Sup Iv start 00 20 30 000 Iv pre Rol 00 00 10 0 Select the Start check box and enter a start value l Pre roll 00 00 10 0 If necessary select the Pre roll check box and enter a pre roll value 4 If necessary select the Pre roll check box and use the corresponding box to specify how much SMPTE output will be generated prior to the recording start point 5 Click the Close button The Record dialog appears and Sound Forge is ready to record and output MTC SMPTE code E Tip When recording tracks from a tape deck that can perform a chase lock you can use the Pre roll value to compensate for the time the deck needs to rewind and begin chasing prior to the synchronization start time n E RECORDING EXTRACTING AND BURNING CHP 8 n LM Viewing input levels The input meters on the Record dialog show the level of the incoming signal For recording purposes the incoming audio should remain primarily in the yellow only occasionally entering the red Right click the meters and choose Show VU PPM from the shortcut menu to toggle the display of VU PPM meters in the Record dialog Click the Reset button or press At T to reset clip indicators or held peaks or valleys You can work with t
356. t and slow scrolling APPENDIX A SHORTCUTS SHORTCUTS APPENDIX A m APPENDIX E T Ea i a Lamm a j Pn 9 E 267 Microsoft Audio Compression Manager PE RC id ME d EI POL uu The Microsoft Audio Compression Manager ACM is a standard interface for audio compression in Windows This interface allows applications such as Sound Forge to use compression algorithms provided by other companies Sound Forge fully supports audio compression through the ACM This allows you to use any ACM compatible compression Sound Forge transparently opens compressed WAV files and provides all available compression formats for WAV files in the Save As dialog There are two major components to the ACM e Audio data compression and decompression e Transparent playback and recording of non hardware supported audio files Audio data compression and decompression The first component of the ACM allows audio data to be compressed and decompressed Audio compression is used to decrease the amount of data required to represent a sound and results in smaller sound files However there are drawbacks to using audio compression on sound files e Most audio compression algorithms degrade sound quality This is referred to as lossy compression because information contained in the sound is lost when it is compressed The amount of sound degradation is dependent upon the algorithm e Compressed audio requires more processing time than
357. t fade curve for low to high frequency sweeps use a slow curve Previewing effect automation To hear the results of your effect automation without applying it to the sound file click the Preview button in the Plug In Chainer window You can select the Bypass button W in the Plug In Chainer to bypass all effects in the chain or clear an effects check box Ets to bypass individual effects You can also click the Play Plug In Chainer button in a data window s playbar to hear the effects of a chain on the data window Click the Play Normal button i in the playbar to hear the unprocessed sound Applying effects automation To apply effect automation to a data window click the Process Selection button in the Plug In Chainer window Showing or hiding effect automation envelopes 1 In the Plug In Chainer select the button ts for an effect that includes automatable parameters The plug in s controls are displayed and a list of the effect s automatable parameters is displayed on the right side of the Plug In Chainer 2 Select the Show check box to display a parameter s envelope or clear the check box to hide it Hiding an envelope simply removes the line from the data window while it retains the playback properties Enabling or bypassing effect automation envelopes 1 In the Plug In Chainer select the button s for an effect that inc
358. t into a single channel of a stereo file Mix it into both channels of a stereo file Note When mixing mono clipboard data to a stereo file the Mono to Stereo dialog prompts you to mix it to the right left or both channels OE LEARNING THE SOUND FORGE WORKSPACE CHP 3 45 CHAPTER CHP 4 genis Getting Started EEE gps l d A 9 E zal BLA a E 1 ma ud P Sound Forge is a state of the art digital audio editing tool for users from all musical backgrounds It is an extremely deep program containing features that may only be required by the most advanced or specialized users Nonetheless a firm grasp of Sound Forge basics is essential This chapter is designed to provide you with information on Sound Forge fundamentals dm a proJect You can use project files in Sound Forge to organize and work with your media files nondestructively When you save a project file Sound Forge creates a frg file and a subfolder that contains your media file and all of the temporary files created while working on your project This file is not a multimedia file but is used to render the final file after editing is finished When you copy cut paste and otherwise edit your project the process is nondestructive meaning you can edit without worrying about corrupting your source files Within the project file you can also undo any past
359. t playback mode To change the current playback mode click a playbar button or press X Optional Backward and Forward buttons You can choose to display Rewind and Forward P shuttle controls on the playbar From the Options menu choose Preferences and select the Show shuttle controls on Data Window transport check box on the General tab LEARNING THE SOUND FORGE WORKSPACE CHP 3 MX29 Toolbars Sound Forge s toolbars contain buttons used to quickly execute many of the program s commands and functions Toolbars can be dragged throughout the workspace docked resized hidden and customized Docking a toolbar When you drag a floating toolbar to any edge of the main screen the toolbar docks on that edge Floating a toolbar When you drag a docked toolbar away from an edge the toolbar becomes a floating toolbar Displaying a toolbar 1 From the View menu choose Toolbars The Preferences dialog appears with a list of available toolbars 2 To display a toolbar select the corresponding check box and click OK Preferences E General Display Editing File MIDI Svnc PerForm Playlist Previews Status Toolbars wave Video Other Toolbars Select a check box to display a toolbar ACID Loop Creation Tools Flay Device mS Click Customize to add remove TIC KNEE or rearrange buttons on a toolbar OW foo fps EN
360. tal medium Recording the test tone Begin recording on the recording device and begin playback of the test tone Remember to include the spikes at the beginning and end of the test tone Record the test tone several times using the initial setup then move the microphones and record the test tones several more times Continue moving the microphones and recording until you have exhausted the space s acoustic possibilities Recording impulses in this manner provides you with several distinct impulses for each space Recording the impulse through an electronic device The recording process is similar if you are recording the output of an electronic device but there are no speakers or microphones to be placed Using the appropriate cables connect the playback system s outputs to the electronic device s inputs and the electronic device s outputs to the recording system s inputs Once the devices are connected play the test tone through the electronic device and record its output on the recording system USING ACOUSTIC MIRROR AND WAVE HAMMER CHP 12 M M 191 Other impulses Any number of methods can be used to create an impulse including starter pistols clap boards or even a sharp hand clap The drawback of these impulse generators is that they add their own coloration to the sound For best results we recommend using the test tones included on the CD ROM Recovering t
361. te that the option is turned on Snapping to zero crossings Auto Snap to Zero ensures that all start and end points reside on zero crossings To turn this option on choose Auto Snap to Zero from the Options menu A check mark appears adjacent to the command to indicate that the option is turned on EM To turn Auto Snap to Zero on and off press ctri 4 B Snapping the current selection to time divisions or zero crossings You can force a selection to snap to time divisions or zero crossings From the Edit menu choose Selection and choose either Snap to Time or Snap to Zero from the submenu To snap just the active edge of a selection the edge where the cursor flashes choose either Snap Edge to Time or Snap Edge to Zero from the submenu Disabling Auto Snap to Zero at high magnifications When editing an audio file displayed at a high magnification you may wish to turn off the Auto Snap to Zero option This allows you to position a selection s start and end points exactly where you choose 1 From the Options menu choose Preferences and click the Editing tab 2 Select the Disable auto snapping below 1 4 zoom ratios check box and click OK d Creating and using views Views are used to save and recall selections zoom ratios and waveform display positions Sound Forge can retain eight different views for any audio file each containing any or all of the following elements Selection Cursor position Magnification Position
362. ted in the Process menu PROCESSING AUDIO CHP 10 M 149 d Auto Trim Crop Auto Trim Crop removes silence from an audio file In addition this function automatically fades the endpoints of a phrase Using Auto Trim Crop 1 Open the Voiceover pca file 2 From the Process menu choose Auto Trim Crop The Auto Trim Crop dialog appears Auto Trim Crop Sound 2 Preset Functions Keep edges outside of the selection 40 00 dB 40 00 dB 1 00 Z 1 00 Z Fade in D ta 5 000 ms 20 E Fade aut D to 5 000 ms 20 E Attack threshold Release threshold Inf ta 0 dB Inf ta 0 dB Minimum mterghrase silence Mi toy sll seconde joo Minimen length tallanna loop end Ol to 4e mut elm E jo Selection 00 00 00 000 to 00 00 27 875 00 00 27 876 Channels Both Selection Auto Trim Crop dialog 3 From the Preset drop down list choose Phrase Concatenator 1 and click OK Sound Forge prompts you to approve the deletion of the current Regions List 4 Click Yes The Auto Trim Crop function deletes silence in the file and creates new regions based on the preset s parameters For more information see Auto Trim Crop controls on page 149 Auto Trim Crop controls The following controls are located in the Auto Trim Crop dialog Function drop down list The Function drop down list contains five presets Preset Description Keep edges outside of the Removes silence within the selection but retains all data ou
363. ters can be toggled on off by choosing Play Meters from the View menu Right clicking the play meters displays a shortcut menu that allows you to precisely configure the appearance of the meters LEARNING THE SOUND FORGE WORKSPACE CHP 3 n LCT Floating and docking windows With the many features in Sound Forge it is easy for the workspace to become cluttered Docking windows allows you to keep more windows open while maintaining a greater degree of organization You can choose to float or dock the windows listed in the View menu including the Regions List Playlist available only in the full version of Sound Forge and Time Display available only in the full version of Sound Forge windows You can dock windows individually or in a stack When stacked each window has a tab at the bottom with its name on it Click the window s tab to bring it to the top Sony Sound Forge 7 0 File Edit View Special Process Effects Tools DX Favorites Options Window Help MAr YASRS3 alse Glee al 191891 gt ua NKN A fi Wow sound editing L2 00 00 00 00 00 02 00 00 04 00 00 06 U L L Silence Wow Sound editing just gets easier And easier Anl Docked 12 0 Play 6 0 25 Meters is o a e 00 00 05 000 Name Start End x 000 Acoustic Grand Piano F MH And easier 00 00 03 639 00 00 05 000 or 000 Acoustic Grand Piano Note zb d Silence 00 00 00 000 00
364. tes menu The DX Favorites menu provides easy access to the plug ins you use most frequently You can add and remove plug ins and folders to organize the menu however you like You can also allow Sound Forge to add all plug ins on your system to the menu For more information see Automatically adding and organizing plug ins on page 177 Once you add a plug in to the DX Favorites menu you can apply the plug in to a file by selecting it from the menu For more information see Adding an effect on page 169 1 From the DX Favorites menu choose Organize The Organize Favorites dialog appears 2 Organize your plug ins Drag plug ins to the DX Favorites folder to add them to the DX Favorites menu Create submenus in the DX Favorites menu by clicking the DX Favorites folder and clicking the Create New Folder button Once you have created a new folder drag plug ins to the folder to add them to the submenu in the DX Favorites menu e Remove plug ins or folders from the DX Favorites menu by selecting the plug in or folder and clicking the Delete button X Deleting a plug in from the DX Favorites folder removes it from the DX Favorites menu but does not delete the plug in from your system 3 Close the Organize Favorites dialog The new plug ins and or submenus appear in the DX Favorites menu a 4 Tip You can also add plug ins to the DX Favorites menu using the Plug In Manager L 9 HT Automat
365. the Explorer window In addition to using the Explorer window for locating previewing and opening media you can drag files or regions from the Explorer window to an open data window to paste mix or crossfade the data Click the right mouse button while dragging to toggle mix crossfade and paste drag and drop modes You can also extract audio from a CD Previewing media The Explorer window allows you to easily preview files before you open them The Explorer window has a mini transport bar with Play Stop and Auto Preview buttons ITRE When you preview a file its stream is sent to the play meters on the main workspace for audio files or to the Video Preview window for video files Note To preview video files you must have the Video Preview window open To display the Video Preview window choose Video Preview from the View menu L MIGS 1 Select a file in the Explorer window 2 Click the Play button to listen to the file 3 Click the Stop button M or select a different file to stop previewing the file Tip To automatically preview selected files click the Auto Preview button El on the Explorer window s transport bar T Opening media To open a media file into a new data window from the Explorer window double click the file To open a med
366. the hard disk 19 Deleting 59 Command markers 98 Presets 146 Recovered files 68 Regions from the playlist 109 Stop points in the playlist 109 DirectX Plug ins See Effects Displaying Data window elements 28 Playlist 106 Regions List 104 Sonogram 251 Video strip 235 Wave Hammer 197 Dither 85 151 Docking windows 25 Drag and drop Creating new windows 137 Editing 134 Mixing 136 Mono selections to stereo destinations 134 Pasting 135 Snapping to events 134 Dropping Markers 92 Dropping markers During recording 125 DTMF MF Tones 141 DX Favorites menu 177 EBICSE 271 Editing command markers 98 Drag and drop 134 Loops 223 Regions 102 Regions in the Regions List 103 Sample rate 84 Sample size 85 Summary information 89 Effects 169 177 Adding a chain of effects 170 174 Adding an effect 169 applying automation 179 Audio tail data processing mode 173 Automatically organizing 177 automating 178 automating with envelopes 178 Bypassing effects on a chain 174 Configuring plug ins on a chain 175 DX Favorites menu 177 Hiding effects 176 Loading saved chains 176 managing 176 Managing effects 177 Plug In Manager 176 Preset Manager 177 previewing automation 179 removing automation envelopes 180 Removing plug ins from a chain 175 Renaming effects 176 Saving chains 175 Saving settings as a preset 170 175 Effects toolbar 34 Embedded information 90 Env
367. the spin control increments the level ruler zoom quickly in the corresponding direction At high zoom levels only low level samples are visible because the peaks of the waveform move beyond the vertical scope of the data window Consider the following data windows Level zoom out maximum Level zoom in maximum i musicbed wav IB x i musicbed wav _ x 2 00 00 00 00 a 00 00 00 00 6 0 Inf py MN me UNE A LAN 6 0 6 0 Inf e D Potin t LA seg DAI 6 0 a fa f p 3 Ilala No U gt de 00 00 00 00 N XJ J gt de 00 00 00 00 Both data windows display the same audio file at a 1 1 zoom ratio The window on the left shows the level ruler zoomed to its maximum out position The window on the right shows the level ruler zoomed to its maximum in position Notice that wave peaks clearly visible in the left window are out of display range in the right window Using zoom level commands If you prefer using commands you can control the level magnification from the View menu The following table briefly describes the three available zoom level commands You can access these commands from the View menu by choosing Zoom Level and choosing the desired command from the submenu Out Full Decreases the zoom level to minimize the display of the file s amplitude Window Changes the level zoom to display the entire waveform amplitude in the data window Selection Maximizes the d
368. this file results in audio perceived to be cleaner than it actually is e A file with a sample rate of 22 kHz has a Nyquist frequency of 11 kHz well within the sensitive range of human hearing Applying noise shaping to this file results in audio that is perceived to be noisier than it actually is Ironically this defeats the entire purpose of noise shaping For this reason we do not recommend using noise shaping on files with sample rates less than 44 1 kHz IMinimizing quantization error There are at least three methods of minimizing quantization error when decreasing a file s bit depth noise gating compression and normalization Noise gating Frequently low level signals become noise when a file s bit depth is decreased For this reason it is preferable to have complete silence between sounds in an audio file 1 From the Effects menu choose Noise Gate The Noise Gate dialog appears Preset Untitled Sd Specify a noise gate Strong beats onl p gt Preset Untitled M Untitled Default all parameters Long decay time Noise gate 1 Noise gate 2 Slow attack Strong beats anl 2 Choose a noise gate preset from the Preset drop down list and click OK A noise gate is applied to the audio negating its low level signals Compressing Decreasing the dynamic range of a sound file makes it easier to represent with decreased bit depth 1 For users of the full version of Sound Fo
369. thod Device 4 Selection 76 P Window pes Sync Out 33 LIE Multiple takes creating Regions ai o Automatic retake automatically rewind N l Multiple takes creating Aegions E Multiple takes na Regiona Time recorded 00 00 04 780 Time left on drive Over 2 hours Create a rige MF far each take 0 000 B 0 000 E Mode Multiple takes creating Regions m Automatic retake automatically rewind i Multiple takes i egions Select a recording mode Start Ends Am O gt UIN N DI co Review pre post roll 0 to 30 seconds Prerecord buffer 0 to 30 seconds Note The Record dialog shown above is from the full version of Sound Forge If you are using Screenblast Sound Forge not all of the controls displayed above will be available to you CHP 8 RECORDING EXTRACTING AND BURNING 120 dp Automatic retake automatically rewind Automatic retake mode is the easiest method of recording Recording begins at the position displayed in the Start box when you click the Record button 3 and continues until you click the Stop button 1 When you stop recording the start position resets to the beginning of the take allowing for immediate review and retake a 4 Note Automatic retake is the default mode when recording into an empty data window or when recording with no data selected in the current data
370. tion Render 72046024 29 970 fps video with About 44 100 Hz 16 bit Stereo audio E Summary Save metadata with file Free space Stretch video to fill output frame do nat letterbox 3 142 1 MB v Fast video resizing Select or clear Video check boxes as needed 4 Select or clear the following check boxes as needed e Stretch video to fill output frame do not letterbox Selecting this check box stretches the source video frame if the destination frame size differs When this check box is cleared Sound Forge uses letterboxing or pillarboxing to keep the frame aspect correct Fast video resizing Selecting this check box speeds the process of saving video When this check box is cleared the time required to save the file can increase dramatically Clear this check box only when you have critical material where nothing but the highest quality video rendering will do WORKING WITH VIDEO CHP 16 M 243 5 From the Template drop down list select a template for rendering and compressing the file You can click Custom to customize the settings in the Custom Settings dialog For help on the different settings click the What s This Help button 11 or press shift F1 and then click a control Click OK to close the Custom Settings dialog and return to the Save As dialog M
371. to a different data window click the Window button and choose a data window from the Record destination window drop down list Click OK to return to the Record dialog Of e To record into a new window click the New button in the Record dialog and specify the attributes sample rate bit depth and channels for the new file Click OK to return to the Record dialog 4 From the Device drop down list choose the device to use for recording 5 From the Mode drop down list choose a recording mode For more information see Choosing a recording mode on page 119 6 Select the MIDI timecode start check box and enter the timecode at which Sound Forge should begin recording 7 Select the MIDI timecode end check box and enter the timecode at which Sound Forge should stop recording If this check box is cleared recording will continue until you click the Stop button 1 8 Click the Arm button 4m Sound Forge is armed for recording to begin when your timecode location is reached 9 To end recording click the Stop button Lil Note Recording will end automatically at the specified timecode location if you selected the MIDI timecode end check box T 10 Click the Close button to close the Record dialog Recording a specific length punch in You can make a selection in an audio file and record over it or you can specify a punch in location at the time of recording
372. ton Printing the graph Click the Print button amp to print the contents of the Spectrum Analysis window including the graph and statistics data USING SPECTRUM ANALYSIS CHP 17 M 2951 Using a sonogram The sonogram is another way of displaying spectral data variations over time In a sonogram the horizontal axis represents time and the vertical axis represents frequency Spectrum Analysis x 2 048 Blackman Harris ch dis x mi amp sit1234l2l amp 22 050 10 455 8 364 5 273 4 182 2 081 Freq 0 00 00 00 661 00 00 01 101 00 00 01 628 00 00 02 156 00 00 02 683 00 00 03 211 00 00 03 738 Frequency Hz FFT Size 2 048 Slices 200 Overlap 75 Decibels dB Blackman Harris Log Mono Samples 29 184 to 164 864 sonogram aP bis Ode I 150 ce The amplitude of each frequency component in the sonogram is represented by the color intensity of each point in the graph This method of displaying spectral information is useful for identifying distinctive spectral patterns created from sounds such as speech musical instruments and ambient noise Displaying a sonogram 1 Open an audio file and select the portion of audio you want to analyze 2 From the View menu choose Spectrum Analysis The Spectrum Analysis dialog appears 3 Click the Sonogram button to display your data as
373. ts your privacy and are committed to protecting personal information Your use of the software is governed by the Software Privacy Policy A copy of this policy is incorporated into the registration process and you are asked to agree to its terms prior to accepting the terms of the End User License Agreement Please review its contents carefully as its terms and conditions affect your rights with respect to the information that is collected by the software For your reference a copy of the Software Privacy Policy is located at http www sony com mediasoftware Proper Use of Software The Sound Forge software is not intended and should not be used for illegal or infringing purposes such as the illegal copying or sharing of copyrighted materials Using Sound Forge software for such purposes is among other things against United States and international copyright laws and contrary to the terms and conditions of the End User License Agreement Such activity may be punishable by law and may also subject you to the breach remedies set forth in the End User License Agreement INTRODUCTION CHP 1 Lj CHAPTER Optimizing for Sound Forge EEC ae This chapter contains information on configuring your system to optimize the performance of Sound Forge Defragmenting your hard drive Sound Forge is a disk based digital audio editor that allows editing operations to be performed on the system s hard drive rather than in memory Beca
374. tside of the selection selection Remove edges outside of Removes silence within the selection and deletes all data beyond the selection the selection Remove silence between Removes silence within the selection and creates regions from individual phrases For phrases creates regions more information see Minimum inter phrase silence on page 150 Remove data beyond loop Removes all data beyond the selected loop For more information see Minimum length points following loop end on page 150 Remove data from start Allows you to specify an amount of sound to be deleted from the beginning of each file and limit file length and specify a maximum length for converted files If a file is longer than this length Sound Forge trims it This preset is useful for creating sample clips Attack threshold Determines the threshold level for detection of the trim crop start point Inf indicates complete silence and O dB indicates maximum amplitude level CHP 10 PROCESSING AUDIO 150 5 LLL Release threshold Determines the threshold level for detection of the trim crop end point Inf indicates complete silence and O dB indicates maximum amplitude level Fade in Determines the length in milliseconds of the fade applied to a section of audio prior to the detected trim crop start point Fade out Determines the length in milliseconds of the fade applied to a section of audio following the detected trim crop end point
375. ty impulse files In addition Acoustic Mirror allows you to collect your own acoustic signatures and create custom impulse files Adding an acoustic signature to an audio file 1 Open and play the Saxriff pca file M Note This file is located in the same folder as the application 2 From the Effects menu choose Acoustic Mirror The Acoustic Mirror dialog appears M M Note You must have an active file in the Sound Forge workspace to start Acoustic Mirror CHP 12 USING ACOUSTIC MIRROR AND WAVE HAMMER Sony Acoustic Mirror Funky saxophone riff E Dreset Cancel Impulse Browse Response width 0 to 100 B ___ so Response delay S00 to 500 ms a B Joo Pan left to right 100 to 100 p Inf 0 0 dB Help Save S pelete Preview Low shelf start freq Hz co ma dE Bypass v Real time High shelf start freg manl 5 000 E Convert mono to stereo FLEE RE Dry Out Wet Out Qualitv speed 1 low Fast to 5 highjslow 3 General Envelope Summam Recover CPL 24 bit processing Selection 00 00 00 000 to 00 00 02 500 00 00 02 500 Channels Both Selection Acoustic Mirro
376. ty note The MIDI unity note value indicates the pitch to which the sample is tuned Fine tune The Fine tune value indicates any minor tuning differences measured in cents in the sample Editing MIDI unity note and Fine tune Both values can be edited and used with samplers that support tuning information by choosing Edit Sample from the Special menu a Note Sound Forge does not use this information N Using the MIDI Keyboard With the MIDI Keyboard you can control internal external synthesizers and samplers from Sound Forge The MIDI Keyboard can also be used to listen to the sounds on a synthesizer or in the synthesis section of the sound card Displaying the MIDI Keyboard To display the MIDI Keyboard choose Keyboard from the View menu The keyboard can be resized moved or docked within the workspace da Voice Note Chord Output Channel cx T EHG Wepre iiid rm 000 Unnamed Turning on the MIDI Keyboard Octave Output Velocity Clicking any key turns the keyboard on If you do not hear any sound verify that the output is connected to the MIDI Output device SAMPLING CHP 14 nn C5 Configuring the MIDI Keyboard output port and channel 1 Click the MIDI Out button 2 and choose an output device from the menu Lor DOO Unnamed 2 Choose Send
377. ubmenu Title RealMedia Displays the entered text on the media player s title bar Note When rendering Windows Media files title information is based on the settings on the Summary tab of the Sound Forge Project Properties dialog or the Index summary tab of the Custom Template dialog The summary information from the Project Properties dialog will be used if information has been specified in both places To view this information during playback choose Now Playing Options from the Windows Media Player View menu and select the items you want to display Author RealMedia Displays the entered text Author s name when a user selects About This Presentation from the RealPlayer shortcut menu Note When rendering Windows Media files author information is based on the settings on the Summary tab of the Sound Forge Project Properties dialog or the Index Summary tab of the Custom Template dialog The summary information from the Project Properties dialog will be used if information has been specified in both places To view this information during playback choose Now Playing Options from the Windows Media Player View menu and select the items you want to display USING MARKERS REGIONS AND THE PLAYLIST CUTLIST CHP 7 T 397 Command Player type Copyright RealMedia HotSpotPlay RealMedia HotSpotBrowse RealMedia HotSpotSeek RealMedia Description Displays the entered copyright informatio
378. ummary intormallOD s ui eo REI wa ha Pee ee tee we Os Bee er E RE PEE 90 Including additional embedded information 00 0c cee eee eee eee eae 90 Why use markers regions and the playlist 220 cece eee eee eee 91 Rapid MAVIGAUOM teu dded hed ted te he ied tet Meee Ree aed pate Sandhu ates 91 Added effects for streaming media 0 00 eee eee eens 91 Wultiple versions of edile 5 93d ie Sam tien bowed ae E adc ACER UA Cees 6a qax aiiis 91 MIDI synchronization and triggering e e e RII hh 91 Bee y uen a acu qucd ode OR oto pios dea So eed be REOR bo bone ee Pace bol Rv EE P 92 IriSer rig Markers 9 add riu deor geo RES uite Rc Reece aod Bae Bue pete ULIS adis oan entee ake iod e EG mats 92 Naming TALKERS oae be eee idee EPUM Pubs E Es Edd rd ale a dap E Rau 92 Changing the marker position lt e lt e ehh hh 94 Detecting and marking clipping 23 3 mx ERS he vee pedis wc we Sep S uir ed EX aS 95 Using markers to create rediOons lt eee 95 Using command markers in streaming media files 96 Defining streaming media commands lt ehh eens 96 Defining Scott Studios data commands 2 000 c cece eee eee eee eee eee eens 97 Inserting command markers suse eae ee heehee habe Hid aes Ode bee eee Re 97 Editing command properties 3 3 83 4 3 0 sett Sca eoe ed Rer Ea doeet dae Sea 98 Saving command properties as a custom template e e unnn rnrn
379. und ticis Ee CERERI RICO DIR A ERE RE 183 THE acoListie signature 2c doo ato itor oe tp Pads eu dieu qe re paene bus our ied 183 Adding an acoustic signature to an audio file 00000 cece eee eee 183 Adjusting the acoustic signature lees hh hh 184 The Acoustic Mirror dialog 5 5 3a E39 et tee CHER Roa eaten CC EHE ROO CR 185 General tab Controls 4566 o ERE ER EH Io Reni des oT Esta edad e Art 185 Envelope tab ControlS iurien cincin 2 878 325 8 33 do diet dia oD a e i cioe ox RR dha eee eae 1986 Summary tab CONOIS 24 54 m us aere eed ed rtr acp aft ad d aar ele a alas ears 2 187 RECOVER taD CONTOS 33 storia st cise ee St PP CELA CB H4 fcf hne IRE Dio E EIE e ea TRE TRU Rd S 188 Creating impulse Thies e 0 hn 189 What you need to create custom impulses 000 ees 189 Recording the impulse in an acoustic space 1 ee es 190 Recording the impulse through an electronic device sess 190 Hecovering the IMPUISE 22 euet eee bbb Eee dd eee ddr dates 191 Tamming die impulse Tile 3 3 ret bs bebe oe e EID DLXSREEEDEDRGA EE 192 Adding summary information to your impulse file llle 192 Using the new impulse file clle hh 193 Using impulse files in creative ways leere RR I m n 193 Processing individual audio elements lt e err nnns 193 Adding realistic stereo to mono recordings leen 193 Creating special
380. use of this Sound Forge is able to edit large files as well as retain extensive undo redo information and clipboard dara This also means that the hard drive specified for temporary storage must have sufficient free space to store large quantities of data With time and usage hard drives become fragmented leading to discontiguous files and slow access This is particularly true for older hard drives Since Sound Forge is hard drive intensive faster disk access equates better performance Therefore the initial step in improving system performance is hard drive defragmentation The computer s operating system is typically equipped with a defragmenting program that should be run prior to using Sound Forge Increasing total buffer size The total buffer size value determines the amount of RAM used for recording to playing from the hard drive A total buffer size of 512 KB is recommended but increased buffering may be necessary if you detect gaps during playback Increasing the total buffer size requires additional memory Combined with a large preload size this may result in a delay when starting and stopping playback For more information see Increasing preload size on page 20 1 From the Options menu choose Preferences The Preferences dialog appears 2 Click the Wave tab 3 Use the Total buffer size slider to configure an appropriate buffer size value and click OK CHP 2 OPTIMIZING FOR SOUND FORGE 20 gt U Increa
381. ustic Mirror Wave Hammer XFX and Perfect Clarity Audio are trademarks or registered trademarks of Sony Pictures Digital Inc or its affiliates in the United States and other countries All other trademarks or registered trademarks are the property of their respective owners in the United States and other countries Copyright 2003 Sony Pictures Digital Inc Program Copyright 2003 Sony Pictures Digital Inc All rights reserved 1 Table of Contents Ieina erer e ie 4 42402 ics ee oic OA i drain iar d Oodd 15 Introducing Sound FOGG 02 mit iaces EC A VREEA VERI GR EE EX VERE 15 Sample MICS oui exta ovate rbd aal sta Ret a Ue Rev x e e ORI RON Sees eet nd 15 Full version of Sound Forge versus Screenblast Sound Forge 15 SO PLC UI Ss ss os E ra A ance dowd eund iUd qu Eus d EE SENE rr aus 15 System Tequiremienls scudo rea aacra xa ORAE dep aes dev pX ree se 16 Installing Sound Forge usi oe Eee ba d meti o TUR aot Sete hese Pe ees 16 Getting help within Sound Forge nnn 16 Ome el uentus E intu ied RR ea EE eu ee ee EIE A EADEM A ELE LIU LS 16 UU ST IIS Tel D 5 424 ds oon dba ib ma teca cce ties bee Ja ede diet wea died sls e ne dupl d air 17 Help omthe WV 600553 pP 17 About your rights in Sound Forge software lt cece eee eee eee 17 ADOUL Y OUNENIVACY 33 lo pd Rc eee I 9 b ea E iw a aes Pee ee aes eS a oe qoa eee 18 Proper USE Of SOMWA E nidi ade a sed ahh Pig oh Hes boe tr Xue qu tl i rbv PDAS 18 O
382. ve As Comments Morphy Recital Hall 30 from stage pelete University of Wisconsin Madison E 0 0 dB Apply envelope and limit decay Preview E Bypass Iv Realtime 0 Time seconds 1 46 Dry Out Wet Qut Reset Package Impulse into Preset General Envelope Summary Recover CPU 24 bit processing Selection 00 00 00 000 to 00 00 02 499 00 00 02 500 z Channels Both Selection Envelope tab Impulse This control is identical to the Impulse drop down list on the General tab This allows you to view the envelope graphs for the specified impulse file For more information see Impulse on page 185 Dry Out This control is identical to the Dry Out fader on the General tab For more information see Dry Out on page 185 Wet Out This control is identical to the Wet Out fader on the General tab For more information see Wet Out on page 155 Apply envelope and limit decay This control is identical to the Apply envelope and limit decay check box on the General tab For more information see Apply envelope and limit decay to seconds on page 185 Envelope Graph Selecting the Apply envelope and limit decay check box turns on the Envelope Graph You can use the envelope graph to decrease the length of the specified impulse file which consequently decreases the reverberation decay time and processing time You can also use the envelope graph to apply fades to the specified
383. ve accent EIL Shift R Playlist Press pacebar nter TB BIB D ct D plus sign minus sign asterisk forward slash a E E grave accent APPENDIX A Result Preview audio through plug in chain Process selection using the plug in chain Bypass the plug in chain while previewing audio Save plug in chain package Toggle through audio tail processing modes Ignore Tail Data Mix Tail Data Insert Tail Data Open the Plug In Chooser dialog to add plug ins to chain Remove selected plug in from chain Select the next plug in in the chain Select the previous plug in in the chain Shows hides the Parameter Chooser Result Play or stop playback of the active marker or region Edit the active marker or region Delete the active marker or region Cycle through the Regions List display formats Create region from the current selection Create region without displaying dialog Result Play or stop playback of the active playlist entry Edit the active playlist entry Delete the active playlist entry Add one to the active playlist entry play count Subtract one from the active playlist entry play count Add or remove a Stop Point on the active playlist entry Toggle pre roll on and off for the playlist Cycle through the playlist display formats
384. ver pca data window and the Mix operation moves to the Redo pane San IRN tH FMh e gamt Repeat mare Choose Undo from the Edit menu UndosRedo wow sound editing Unda Undo Trim Crop DO O0 QD O0 to OO 00 03 08 H Undo Cut 00 00 01 07 to 00 00 02 053 Undo Paste Redo H Redo Mis OO O0 O0 DO to DO OD O2 1 4 4 In the Redo pane click the H corresponding to the Mix operation The audio file plays with the mixed drum track 5 Select the Mix operation again and choose Redo from the Edit menu The drum track is remixed into the Voiceover pca waveform and the Mix operation is returned to the Undo pane 6 Select the Trim Crop operation in the Undo pane and click 4 Only the Mix operation is undone and moved to the Redo pane This is due to the fact that operations can only be undone or redone in the order originally performed 7 Double click the Cut operation in the Undo pane The Cut and Trim Crop operations are both undone in the waveform and moved to the Redo pane Lndo Riedo wow sound editing Undo Trim Crap 00 00 00 00 to DO O0 03 08 Double click the Cut operation H Undo pe OF to OC OCDE UE 0 21 Undo Pa da H Redo Mis O0 O0 DO DO to 00 00 02 1 4 Lndo Riedo Wow sound editing Unda Undo Faste L Redo Redo Cut 00 00 01 077 to DID DU 02 033 B Redo Trim Crop DO Q0 QD OO te DU 00 03 08 H Reda Mix 00 00 00 00 to DO O0 O2 1 4
385. view Daratrmielers 2444402 d a xb XU dH deb do 4 EAD D SO EH n eode dde bd dci 147 Bypassing a process while previewing llle rrr 148 TABLE OF CONTENTS B Sound h Forge Processes rgi emee eo aaae REEE nA 148 AMO TING OD restis Gaara te as ea R eE ET ee EEA 149 WSING AULO DEI ClOD agrir eaa a tant hoe a aaa addas pda ete 149 Auto Trin eis CONOS oe o o aeo Dx 9 aaa aca wb rua eee oA Nb uda te ete 149 BEDEA CONVENE 12 08 doceo Irt ace e ax nd NA Fd etes tec PUO ERN 150 Converting a Tiles bit depli s 244 be oe ee SO ee eh a ee ee 151 Channel Converter S Ara cane ewe A a SORA p eNO A 4 ar ac ed ahead ba 152 Using ihe Channel Converter as duse E e E E TTE mx ania GR eum dae 153 Channel Converter controls 252559925 9bco bor WERLEDADPe EE IVva ie uenia va adordu we beau udi E 153 DG ONSEL acic 3 AT R E T EA TT TETTE 154 Es rmialing DG OITSGLE ena ius sco Eco ra a bear Wood wr tite soe toca Satie ere lie S dL RS dE 154 TETE E ROLLE E PI i E DAC Ato ue tos A EOS 154 E M E ta 155 Lade Gla pile Te uud racio mat ad c Ros ced atu Ged nl YO apt or erar ar PUE eds d e 155 Creating a Graphic fade os su pi e re eo oa eoo ae Sb AE REM acters ats 155 Creating s c stoim graphie fade 24 53 dao nb R dodanie qud qup see qd peus 156 Graphic Fade Controls sese sees ud ru RR ERE RC RU Re Nes du ek wa ox aec aic ara E 156 Fade Fade mud ec ad hr Xo de ox ches dine adswe se Saeed ae C
386. w set input focus to the Plug In Chainer window Show set input focus to the Plug In Manager window Show set input focus to the MIDI Keyboard window Show set input focus to the Loop Tuner for the active data window Restore the Sound Forge application window Maximize the Sound Forge application window Restore the active data window Go to the next data window Maximize the active data window Maximize the width of the active data window SHORTCUTS Press tri Shift F6 Shift F4 Snift F5 F11 Shift F1 1 Ctrl F1 1 Shift V P Shift P Shift F6 Press oyfsnirg Ctrl D Ctrl 4 A Ctrl C Ctrl E Ctrl E CR Ctrl Shift k CUN Ctrl T Ctrl V Ctrl X Y Ctrl Z Ctrl Shift Z Shift V P Shift P B SHORTCUTS 258 LLL Result Go to the previous data window Tile the data windows vertically Cascade the data windows Show hide windows docked at the bottom of the workspace Show hide windows docked at the sides of the workspace Show hide all docked windows Insert show hide volume envelope Insert remove volume envelope Insert show hide pan envelope Insert remove pan envelope Toggle playback scrolling on and off Toggle smooth playback scrolling on and off Data window edit commands Result Select the previous next editing tool Edit tool Magnify tool Pencil tool Select the Edit tool Select all
387. wever when recording very low level audio signals you should consider the 90 to O dB range Scaling the record meter to this range is also a good method of gauging the noise level in the system Updating the meters Right click the meters and choose Aggressive Update from the shortcut menu to increase the priority of updating the meters This results in more accurate metering but increased CPU usage Inserting markers while recording Click the Drop Marker button 8 in the Record dialog s mini transport bar to insert a marker in the data window during recording EM Press M You can then use the Markers to Regions command to convert markers into regions For more information see Inserting regions based on marker positions on page 102 CHP 8 RECORDING EXTRACTING AND BURNING 126 r Configuring gap detection During recording Sound Forge continually listens for gaps or drop outs that occasionally occur when working with digital audio Depending upon the gap detection mode Sound Forge ignores the gap and continues recording marks the gap and continues recording or stops recording To configure gap detection right click the Record dialog choose Gap Detection from the shortcut menu and choose the desired gap detection mode Ignore Mark or Stop from the submenu Automatically labeling windows and regions Sound Forge can automatically name files and regions for you as you record This automatic labeling feature is
388. wing controls e Click the envelope to create a new point e Drag a point to move it to a new position e Double click or right click a point to delete it e Right click an envelope segment and choose a new fade type from the shortcut menu For more information see Envelope graphs on page 39 4 Click OK The custom pan is applied to the file PROCESSING AUDIO CHP 10 OO C 163 Pan Expand controls The following controls are located in the Pan Expand dialog if you are using the full version of Sound Forge or the Graphic Pan dialog if you are using Screenblast Sound Forge Process mode drop down list The Process mode drop down list contains the following options Option Description Pan preserve stereo Applies the pan effect without mixing the channels thereby simulating the spectral separation positioning of stereo recordings Pan mix channels before Mixes the left and right channels prior to applying panning effects panning Stereo expand Available only in the full version of Sound Forge Allows you to contract or expand the image of stereo audio from dead center mono to completely panned wide no center channel Mix mid side MS Available only in the full version of Sound Forge Simulates a recording technique in recording to left and right which one microphone is pointed directly at the source and used to record the center channels mid channel and a second microphone is pointed 90 degrees away from the sou
389. wn list choose the new voice and click any key P Note Patch names are arranged as specified in the General MIDI Standard For synthesizers not using the General MIDI convention use the patch number instead of the instrument name EES Fs Generating chords You can also generate chords instead of single notes by choosing a chord structure from the keyboard s Note Chord drop down list Chords are generated using the specified note as the root of the chord or interval CHP 14 SAMPLING 216 yeu Setting up MIDI SDS hardware To use MIDI SDS protocol with an external sampler that supports MIDI SDS you must install a MIDI card with MIDI input and output ports in the system 1 Using a MIDI cable connect the MIDI output port of the sampler to the MIDI input port of the MIDI card 2 Connect the MIDI input port of the sampler to the MIDI output port of the card U Note This is the same configuration used to connect a MIDI keyboard to a computer for sequencing ES S Internal samplers do not require a MIDI card and MIDI cables however an open loop protocol may be required when sending samples to an internal sampler The sampler s documentation should specify the requirements for performing SDS transfers if the sampler supports this action Troublesho
390. x The Sampler Tool takes into account the configuration s sample bias and displays values for the Actual send sample number and Actual receive sample number For more information see Creating a sampler configuration on page 211 4 Click Send Sample Sample transfer starts A meter in the status bar indicates the progress of the transfer You can cancel a transfer at any time by clicking Cancel or pressing Esc Receiving a sample 1 From the Tools menu choose Sampler The Sampler dialog appears 2 From the Configuration drop down list choose the sampler configuration 3 Enter the sample number to be received in the Logical send receive sample number box The Sampler Tool takes into account the configuration s sample bias and displays values for the Actual send sample number and Actual receive sample number For more information see Creating a sampler configuration on page 211 4 Click Receive Sample Sample transfer starts A meter in the status bar indicates the progress of the transfer You can cancel a transfer at any time by clicking Cancel or pressing Esc CHP 14 SAMPLING 2 14 jp MIDI unity note and Fine tune Once you specify a configuration in the Sampler dialog the Sampler area near the bottom of the dialog displays all relevant sampler configuration information The bottom pane of the dialog contains two additional parameters MIDI unity note and Fine tune MIDI unity note C4 60 Fine tune cents 0 000 MIDI uni
391. xes The range of audio is extracted into a single data window Select extraction options as needed e Select the Create regions for each track check box to add each extracted track to the file s Regions List e Select the Create markers for each index change check box to place markers in the extracted file at all points where indices occur in the original track From the Speed drop down list choose the speed at which you want to extract the audio If you experience any problems extracting audio you can try decreasing the selected speed or you can click Configure to adjust the Audio extract optimization setting r Note To eject the CD at any time prior to beginning the extraction process click the Eject button n RECORDING EXTRACTING AND BURNING 128 6 Click OK Sound Forge begins extracting data from the CD and displays a progress meter Previewing CD tracks In the Extract Audio from CD dialog select a track and click the Play button to preview a track prior to extracting it from the CD To end the preview click Stop Refreshing the Extract Audio from CD dialog Click the Refresh button after you insert a new CD in the system s CD ROM drive This allows you to view the contents of the new CD without closing and reopening the Extract Audio from CD dialog
392. y into the box or click Browse to locate and select a file Test file used The Test file used box allows you to select the file that was used as a test tone You can enter the path directly into the box or click Browse to locate and select a file M Note You should use one of the test files included in the Acoustic Mirror Impulse Files Test Tones folder on the Sound Forge CD ROM Impulse output The Impulse output box allows you to specify where the recovered impulse response file is saved You can enter the path directly into the box or click Browse to locate and select a folder Remove very low frequencies When you select this check box Acoustic Mirror removes very low frequencies which are typically comprised of noise from the impulse response This increases the impulse response s signal to noise ratio Recover Impulse Clicking the Recover Impulse button starts the impulse recovery process After the process is complete Acoustic Mirror creates an impulse file and saves it in the folder specified in the Impulse output file box Impulse recovery mode You can choose from three Impulse recovery mode options to determine the method Acoustic Mirror uses to recover the impulse Use the start and end of the recorded file as timing spikes Auto detect timing spikes
393. y of ToolTips The setting for each graph in a stereo file is independent If you want to display the nearest musical note equivalent of the cursor position in a ToolTip right click the graph and choose Show Notes from the shortcut menu reas a bika dla Use the cursor to display musical note equivalent L ud 1 T d x4 ee ee ee T ee yY o NENNEN ee EE SS ae 2 10 BU 200 500 2 000 5 000 22 050 Hz Frequency Hz 430 Prominent Frequency 41 dB at 123 Hz Note C4 Decibels dB 46 h1 FFT Size 2 048 Slices 1 Overlap 755 FFT Bin 15 Blackman Harriz Log Mono Samples 207 872 to 221 184 Right click the Spectrum Analysis window and choose Show Statistics from the shortcut menu to toggle the display of the Statistics area at the bottom of the Spectrum Analysis window Navigating a spectrum graph After a spectrum graph displays Grab Pan mode allows you to scroll vertically and horizontally To enable Grab Pan mode right click the Spectrum Analysis dialog and choose Grab Pan from the shortcut menu A check mark appears next to this option when Grab Pan mode is enabled The cursor displays as a hand and you can drag horizontally or vertically to scroll through the graph When you are zoomed into a selection of the spectrum graph you can drag the horizontal and vertical sliders to scroll through the graph The thumbnail image in the lower left corner of the Spectrum Analysis window will show you which
394. zoom commands You can access these commands from the View menu by choosing Zoom Time and choosing the desired command from the submenu In Full If you are using the full version of Sound Forge this command increases the zoom ratio to represent each audio sample with 24 screen pixels 24 1 zoom ratio If you are using Screenblast Sound Forge this command increases the zoom ratio to represent each audio sample with 1 screen pixel 1 1 zoom ratio Normal Returns the file to its default zoom ratio Out Full Changes the zoom ratio to display the entire file within the data window Selection Changes the zoom ratio to maximize the display and center the selection within the data window Custom Zoom X Y Sets the zoom ratio to a custom setting For more information see Using custom zoom settings on page 75 Zooming the level ruler vertical Zooming along the level ruler displays a larger vertical waveform and allows for more precise editing at low audio amplitudes hv musicbed way Ic x at 00 00 00 00 00 00 0 1 00 00 00 02 00 00 00 0 33 00 00 00 04 00 6 0 Inf Level ruler zooming controls 6 0 Zoom In Zoom Out Zoom Spin Control Pise Gaj NAVIGATING ZOOMING AND SELECTING CHP 5 C375 Changing the level zoom To edit the level ruler zoom use the Zoom In Out spinner control located above the playbar e Clicking the magnifying glass buttons increases decreases the level ruler zoom by single step increments e Dragging

Sony Water System 7 User's Manual

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