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
268
MICROSOFT AUDIO COMPRESSION MANAGER APPENDIX B
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 saves 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.