User Manual
Table Of Contents
- Introduction
- Requirements
- Installing and setting up
- Overview
- Basic methods
- Editing in the Wave window
- About this chapter
- Creating new empty documents
- Opening Waves
- Window overview and adjustments
- Setting the zoom factor
- Navigating through the file
- Snapshots
- Setting the ruler start position
- Working with a meter based display
- Setting the wave cursor position
- Selecting
- Basic editing commands
- File handling in Wave windows
- Editing attributes and getting information
- About the Loudness envelope display mode
- Playback and recording
- Metering
- Off-line processing
- Introduction
- Applying processing
- Level Normalizer
- Gain Change
- Loudness Normalizer
- Pan Normalizer
- Dynamics
- Level envelope
- Fade-in and fade-out
- Crossfade
- Invert Phase
- Reverse
- Eliminate DC Offset
- Waveform Restorer
- Time Stretch
- Pitch Correction
- Pitch Quantize
- Pitch Bend
- Harmonization
- Hi-fi Chorus
- EQ
- Convert sample rate
- Effect Morphing
- Support for reNOVAtor™
- Master Section
- Spectrum Editor
- Batch processing
- Batch file encoding
- Batch renaming
- Markers
- Using Auto Split
- Preparing a Basic Audio CD
- Creating, opening and saving Basic Audio CDs
- About the Basic Audio CD window
- Adding files to a Basic Audio CD
- Setting the order of the tracks on the CD
- Deleting files from Basic Audio CDs
- Managing list columns
- “Unfolding” a track
- Opening CD tracks for wave editing
- About the relation between the track list and CD markers
- Working with CD markers
- Adjusting pauses
- Naming tracks
- Other settings
- Checking the total length of the CD
- Playing files in the track list
- Creating a disc image
- Exporting audio files from a track list
- Preparations done!
- About the DVD-Audio format
- The Audio Montage
- Introduction
- The Audio Montage window
- Assembling the Montage
- Zooming and navigating
- Playing back
- Recording
- Rearranging clips
- The Zoom view
- Editing in the Clips view
- Managing clips and source files
- The volume envelope
- Using fades and crossfades in the Montage
- The pan envelope
- Transforming clips
- Adding effects to tracks and clips
- Managing effects in the Plug-ins view
- The Meta Normalizer
- Groups
- Using markers in the Montage
- Undo/Redo and History
- File handling in the Audio Montage
- Using video tracks
- Multichannel operation in the Montage
- Mixing down – The Render function
- Preparing the Audio Montage for CD/DVD- Audio burning
- Creating an Audio CD report
- Using DVD-A picture and text tracks
- Exporting and importing AES-31 files
- XML Export/Import of Audio Montages
- DVD-Audio projects
- Burning an audio CD
- Data CD/DVD Projects
- Importing audio CD/DVD tracks
- Creating labels
- Analysis
- Generating signals
- Synchronizing WaveLab to external devices
- Using samplers and creating loops
- Introduction
- Background information
- Setting up your sampler(s)
- Transmitting samples
- Receiving samples
- Deleting and getting information about samples
- The Transmit Back feature
- In case of problems
- Using WaveLab with Steinberg HALion
- Editing sample attributes
- Basic looping
- Using the Crossfade Looper
- Using the Loop Tone Equalizer
- Audio Databases
- What is an Audio Database and why do I need it?
- Creating and opening Audio Databases
- How Audio Databases are saved
- Window overview and adjustments
- Adding files to the Audio Database
- Customizing the File List
- Selecting in the File List
- Finding out where files are located
- Opening a file for editing
- Playing a file
- Other file operations
- Working with categories
- Location operations
- Filtering the list
- Finding files
- Changing the default categories and keywords
- Workspaces
- Using WaveLab for backup
- Customizing
- Plug-in Processor Reference
- Sampler Details
- SDS - Generic Sample Dump Standard
- SMDI (Standard SCSI transfer)
- Akai S1000/1100 including PB models
- Akai S2000/S2800/S3000/S3200, including all “i”, CD, and “XL” derivatives etc.
- Ensoniq, EPS, EPS16+, ASR-10, ASR-88
- E-mu Esi-32
- E-mu EIV, e64 and other samplers running the EOS operating system
- Kurzweil K2000 and K2500
- Roland S-760
- Troubleshooting
- General problems
- Problems with opening files
- Problems with saving files
- Recording problems
- Playback problems
- Editing problems
- Audio database and workspace problems
- Troubleshooting and precautions
- Sampler communication problems
- Problems and solutions
- Questions and Answers
- Day to day precautions for trouble free CD writing
- Hardware and setup issues
- Key commands
- Index
WAVELAB
10 – 232 Master Section
When should I apply dithering?
The basic rule-of-thumb is that you should dither when moving to a lower
bit resolution. One obvious instance of this is when converting an audio
file to a lower resolution (e.g. preparing a 24-bit file for mastering to CD,
which uses 16-bit format).
However, even if you’re playing back or rendering a 16-bit file to the same
resolution, you need to dither if you’re using any real-time processing
whatsoever in WaveLab! The reason for this is that WaveLab works with
an internal resolution of 32-bit (floating point), for supreme audio quality.
This means that as soon as you perform any kind of real-time processing,
the audio data will be treated at this high resolution instead of the original
16 bits, thus making dithering necessary.
Examples of real-time processing include level adjustments, any effects,
mixing of two or more clips in a Montage, etc. In fact, the only time when
a 16-bit file will be played back at 16-bit resolution is if you play it without
any fades or effects, and with the Master Faders set to 0.00 (no level ad-
justment – Master level indicator turned off).
• To make sure whether you need to dither or not, use the Bit Meter to check
the actual resolution of your audio signals.
The Bit Meter is described in the section “Bit Meter” on page 170.
Selecting a dithering algorithm
To select and activate a dithering algorithm, click on the arrow button next
to the plug-in slot in the Dithering pane, and select one of the options from
the pop-up menu that appears. The default options are “Intern” (Wave-
Lab’s internal dithering algorithm), “UV22” and “UV22HR” (dithering algo-
rithms developed by Apogee). However, you can also add other plug-ins
to this list, see “Adding other plug-ins to the Dithering pane” on page 235
• When you select any of the “UV22” options, a special control panel appears.
This is where you make the UV22 dithering settings (see “UV22HR Dither-
ing” on page 234).
This is handled in the same way as regular effect control panels – you can hide or show it by
right-clicking on the slot, bypass it in the control panel, etc. The same is true if you select any
plug-in other than the “Intern” option. For the internal dithering, the controls in the Dithering
pane are used, as described below.
Once you have selected a dithering algorithm, dithering is active (as indi-
cated by the red indicator for the Dithering pane). It will apply to all play-
back (through the Master Section) or rendering.
• To turn off dithering completely, right click in the slot and select “Remove”
from the pop-up menu that appears.
This is the same as selecting “None” from the effect selection pop-up menu.