user manual
Table Of Contents
- Introduction
- Optimizing for Sound Forge
- Learning the Sound Forge Workspace
- Getting Started
- Navigating, Zooming, and Selecting
- Changing File Attributes and Formats
- Using Markers, Regions, and the Playlist/Cutlist
- Why use markers, regions, and the playlist?
- Using markers
- Using command markers in streaming media files
- Using regions
- Using the Regions List
- Using the playlist
- Displaying the playlist
- Adding regions to the playlist
- Understanding the playlist display
- Customizing the playlist display
- Repeating a region during playlist playback
- Playing from the playlist
- Arranging the playlist
- Replicating a region in the playlist
- Using stop points
- Deleting a region from the playlist
- Creating a new file from the playlist
- Configuring the playlist as a cutlist
- Saving a playlist/cutlist file
- Opening a playlist/cutlist file
- Copying the playlist/cutlist to the clipboard
- Recording, Extracting, and Burning
- Recording audio
- Recording manually
- Recording automatically
- Recording a specific length (punch-in)
- Choosing a recording mode
- Adjusting for DC offset
- Playing back recorded audio
- Using remote recording mode
- Synchronizing with other devices
- Viewing input levels
- Inserting markers while recording
- Configuring gap detection
- Automatically labeling windows and regions
- Changing blinking status
- Extracting audio from CDs
- Burning CDs
- Proper use of software
- Recording audio
- Editing, Repairing, and Synthesizing Audio
- Processing Audio
- Applying Effects
- Adding an effect
- Adding a chain of effects
- Applying effects using the Plug-In Chainer
- Adding plug-ins to a chain
- Selecting the processing mode for audio tail data
- Arranging plug-ins on a chain
- Bypassing effects
- Removing plug-ins from a chain
- Configuring chained plug-ins
- Saving individual plug-in settings as a custom preset
- Saving plug-in chains
- Loading plug-in chains
- Managing effects
- Automating Effect Parameters
- Adjusting envelopes
- Using Acoustic Mirror and Wave Hammer
- Working with MIDI/SMPTE
- Sampling
- Looping
- Working with Video
- Using Spectrum Analysis
- Working in the frequency domain
- Using a spectrum graph
- Displaying a spectrum graph
- Monitoring an input and output source
- Displaying frequency and amplitude values, notes and statistics
- Navigating a spectrum graph
- Changing the graph type
- Changing the zoom level
- Working with stereo files
- Updating a spectrum graph
- Viewing multiple spectrum graphs
- Creating and comparing snapshots of the Spectrum Analysis window
- Printing the graph
- Using a sonogram
- Adjusting Spectrum Analysis settings
- Shortcuts
- Microsoft Audio Compression Manager
- SMPTE Timecode
- Using CSOUND, MTU, IRCAM, BICSF, and EBICSF Files
- Index
196
USING ACOUSTIC MIRROR AND WAVE HAMMER CHP. 12
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
example, 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 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.