User Manual

SEQUENCE EDITOR
376
MUTING AND UNMUTING SOUNDBITES
There are two ways to temporarily mute a
soundbite:
■ Insert mute automation
■ Use the Mute tool
Inserting mute automation
To mute a soundbite using mute automation, select
it and choose Mute Region from the Region menu.
This inserts mute automation data at the beginning
and end of the soundbite. To unmute, select it again
and choose Clear Mute Automation from the
Region menu.
Figure 38-33: When using the Insert Mute Automation command
(Region menu), mute automation data is inserted in the track.
Using the Mute tool
To mute the soundbite with the Mute tool, click it
with the Mute tool. To unmute, click it again with
the Mute tool. The Mute attribute for a soundbite
can also be toggled in the Event Info panel. See
“Event Information” on page 343.
Figure 38-34: Muting a soundbite with the Mute tool.
BITE GAIN
When audio tracks are resized vertically, and
expanded far enough, each soundbite displays its
Bite Gain setting and fader in the bottom left
corner as shown in Figure 38-35. Bite Gain non-
destructively raises or attenuates the overall
volume of the soundbite. The range is from -140 to
+80 dB. This is the same setting as found in the
Sound File Info panel (see “Sound File
Information” on page 349). Click the fader icon to
adjust the Bite Gain.
Figure 38-35: Bite Gain setting and fader.
OVERLAPPING AND LAYERING
SOUNDBITES
Digital Performer allows two or more
soundbites—or portions thereof—to occupy the
same location in an audio track. Each soundbite is
handled in a separate layer that can be manipulated
independently of other soundbites. However, only
the visible portion of each soundbite plays back. A
simple, intuitive rule of thumb is: what you see is
what you hear. In other words, when one soundbite
covers up another, it also takes over playback in the
track.
Use the Layering commands in the Audio menu
(Move Forward/Backward and Move to Front/
Back) to control how overlapping soundbites are
layered as you edit them.
Bite gain
fader
Bite
gain