Мануал для sound forge

1

Table of Contents

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Introducing Sound Forge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

Sample files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

Full version of Sound Forge versus Screenblast Sound Forge. . . . . . . . . . . . . . . .15 Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 System requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Installing Sound Forge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Getting help within Sound Forge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Online help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 What’s This? help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Help on the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

About your rights in Sound Forge software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

About Your Privacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Proper Use of Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Optimizing for Sound Forge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Defragmenting your hard drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

Increasing total buffer size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

Increasing preload size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Turning off the playback cursor and record counter . . . . . . . . . . . . . . . . . . . . . . . . .20

Turning off the play (output) meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Turning on passive updating for video and time displays . . . . . . . . . . . . . . . . . . . .20

Turning on passive updating for time displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Turning on passive updating for video displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Learning the Sound Forge Workspace. . . . . . . . . . . . . . . . . . . . . 23

Using the mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Using the mouse wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

2

The main screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Main screen components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Floating and docking windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

The data window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Displaying data window components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Playbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Toolbars. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Docking a toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Floating a toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Displaying a toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Customizing a toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Standard toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Transport bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Navigation toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Views toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Status/Selection toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Regions/Playlist toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Process toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Effects toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Tools toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Levels toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 ACID Loop Creation Tools toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Play Device toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

ToolTips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Turning off ToolTips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Command descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Resetting clipping indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Scaling meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Displaying VU/PPM meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Showing labels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Holding peaks and valleys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Faders and sliders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Envelope graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Displaying the waveform on an envelope graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Stereo files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Working with stereo files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Selecting data in stereo files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

3

Creating a project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Getting media files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Using the Open dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46 Using the Explorer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47 Peak files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

Working with video files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49 Playing a file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Viewing the current position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 Playing a file from a specified point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 Playing in Loop Playback mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 Playing a selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 Viewing selection status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 Viewing selection statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Creating a new data window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Active data windows vs. inactive data windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53 Copying data to a new file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Saving a file. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Using the Save As dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54 Creating custom templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Saving all open audio files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Saving files as a workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Editing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Copying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

Pasting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Cutting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Deleting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

Trimming/Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Using undo and redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Using the Undo/Redo History window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Selecting status formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Experimenting with status formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65 Configuring the Measures & Beats format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Rendering files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Exporting to Net MD devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Exporting to CLIÉ handheld devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67 Recovering files after a crash. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Recovering files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 Deleting recovered files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

4

Navigating, Zooming, and Selecting. . . . . . . . . . . . . . . . . . . . . . . 69

Setting the cursor position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Previewing audio with pre-roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Using the overview bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Understanding the overview bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Navigating in the overview bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Playing audio in the overview bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Navigating with the audio event locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Zooming and magnifying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Zooming the time ruler (horizontal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Zooming the level ruler (vertical) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Using custom zoom settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Using zooming shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Using the Magnify tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Selecting audio using start and end values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Using the Set Selection dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Selecting audio during playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Fine-tuning a selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Adjusting a selection with the mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Adjusting a selection with the keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Restoring a selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Understanding snapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Snapping to time divisions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Snapping to zero-crossings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Snapping the current selection to time divisions or zero-crossings . . . . . . . . . . . . . . . . . . . . . . . . 80 Disabling Auto Snap to Zero at high magnifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Creating and using views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Displaying the Views toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Creating views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Changing File Attributes and Formats. . . . . . . . . . . . . . . . . . . . . . 83

Editing file attributes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Changing the sample rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

5

Changing the bit depth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84

Increasing bit depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84 Decreasing bit depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85 Understanding dither and noise shaping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85 Minimizing quantization error . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

Converting mono/stereo channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

Converting from mono to stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87 Converting from stereo to mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88 Using the Channel Converter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88

Converting file formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88

Save as type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88 Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88

Adding summary information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

Viewing and editing summary information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89 Viewing extended summary information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89 Editing extended summary information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90 Saving summary information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90 Including additional embedded information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90

Using Markers, Regions, and the Playlist/Cutlist . . . . . . . . . . . . 91

Why use markers, regions, and the playlist?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

Rapid navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91 Added effects for streaming media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91 Multiple versions of edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91 MIDI synchronization and triggering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

Using markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92

Inserting markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92 Naming markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92 Changing the marker position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94 Detecting and marking clipping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95 Using markers to create regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

Using command markers in streaming media files. . . . . . . . . . . . . . . . . . . . . . . . . .96

Defining streaming media commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96 Defining Scott Studios data commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97 Inserting command markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97 Editing command properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98 Saving command properties as a custom template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98 Moving the cursor to a command marker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98 Deleting command markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

6

Using regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Inserting regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Inserting regions automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100 Editing regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102 Creating new files from regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Using the Regions List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Displaying the Regions List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104 Working with the Regions List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104

Using the playlist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Recording, Extracting, and Burning. . . . . . . . . . . . . . . . . . . . . . . 113

Recording audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Recording manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113 Recording automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115 Recording a specific length (punch-in) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117 Choosing a recording mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 Adjusting for DC offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 Playing back recorded audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 Using remote recording mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 Synchronizing with other devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 Viewing input levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 Inserting markers while recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 Configuring gap detection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 Automatically labeling windows and regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 Changing blinking status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

7

Extracting audio from CDs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127

Previewing CD tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128 Refreshing the Extract Audio from CD dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

Burning CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

Proper use of software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130

Editing, Repairing, and Synthesizing Audio . . . . . . . . . . . . . . . 131

Crossfading, overwriting, and replicating. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131

Crossfading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131

Overwriting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131

Replicating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132

Repeating an operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134 Using drag-and-drop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134

Dragging mono selections into stereo destinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134 Snapping to events in drag-and-drop operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134 Pasting, mixing, and crossfading with drag-and-drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135 Creating new windows with drag-and-drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137

Finding and repairing audio glitches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137

Locating glitches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137 Repairing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138

Synthesizing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

Generating DTMF/MF tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141 Generating audio with frequency modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142 Generating simple waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144

Processing Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Applying presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145

Using presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145 Creating presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146 Deleting presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146 Resetting parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146 Managing presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146

Previewing processed audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146

Setting custom preview parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146 Preview parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147 Bypassing a process while previewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148

Sound Forge processes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Auto Trim/Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Using Auto Trim/Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149 Auto Trim/Crop controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149

Bit-Depth Converter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Converting a file’s bit depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151

Channel Converter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Using the Channel Converter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153 Channel Converter controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

DC Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Estimating DC Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154 DC Offset controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Fade — Graphic fade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Creating a graphic fade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155 Creating a custom graphic fade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156 Graphic Fade Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156

Fade — Fade In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Fade — Fade Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Insert Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Inserting silence into a file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157 Insert Silence controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157

Invert/Flip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Mute. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Muting an audio selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158

Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Normalizing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159

Normalize Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159

Pan/Expand. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Creating a pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162 Creating a custom pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162 Pan/Expand controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163

Resample . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Downsampling audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164 Upsampling audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164 Resample controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164

Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Smooth/Enhance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

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Swap Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166

Time Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166

Volume. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166

Increasing the volume of a selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166 Volume control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167

Applying Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Adding an effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169

Adding a chain of effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170

Applying effects using the Plug-In Chainer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171 Adding plug-ins to a chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .172 Selecting the processing mode for audio tail data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173 Arranging plug-ins on a chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174 Bypassing effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174 Removing plug-ins from a chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175 Configuring chained plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175 Saving individual plug-in settings as a custom preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175 Saving plug-in chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175 Loading plug-in chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176

Managing effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176

Using the Plug-In Manager window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176 Organizing effects in the DX Favorites menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .177 Using the Preset Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .177

Automating Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178

Adding an effect automation envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178 Adding a volume or panning envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178 Adjusting effect parameters with envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179 Previewing effect automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179 Applying effects automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179 Showing or hiding effect automation envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179 Enabling or bypassing effect automation envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179 Removing effect automation envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180

Adjusting envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180

Adding envelope points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180 Flipping an envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180 Setting fade properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181 Cutting, copying, and pasting envelope points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181 Copying an envelope to another data window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181

Using Acoustic Mirror and Wave Hammer. . . . . . . . . . . . . . . . 183

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What is Acoustic Mirror? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

The acoustic signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183

Adding an acoustic signature to an audio file. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Adjusting the acoustic signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184

The Acoustic Mirror dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

General tab controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185 Envelope tab controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186 Summary tab controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187 Recover tab controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188

Creating impulse files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

What you need to create custom impulses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189 Recording the impulse in an acoustic space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .190 Recording the impulse through an electronic device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .190 Recovering the impulse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .191 Trimming the impulse file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192 Adding summary information to your impulse file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192 Using the new impulse file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193

Using impulse files in creative ways. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Processing individual audio elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193 Adding realistic stereo to mono recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193 Creating special effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193 Recreating spaces for foley effects and dialog replacement . . . . . . . . . . . . . . . . . . . . . . . . . . . . .194 Panning with head-related transfer functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .194

Troubleshooting Acoustic Mirror. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Stuttering during real-time previewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195 Impulses do not recover properly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195 Recovered impulse is too noisy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .196 Error message explanations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .196

What is Wave Hammer? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Displaying Wave Hammer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197

The Wave Hammer dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Compressor tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197 Volume Maximizer tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199

Working with MIDI/SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

What is MIDI?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

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MIDI triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201

Sound Forge and MIDI timecode synchronization. . . . . . . . . . . . . . . . . . . . . . . . . .206

Playing regions using MTC from a sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206 Playing regions using MTC from an external device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207 Using Sound Forge to generate MTC for a MIDI sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207 Using Sound Forge to generate MTC for an external device . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208

Sampling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Samplers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209

External samplers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209 Internal samplers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .210

Configuring the Sampler Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .210

Creating a sampler configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211

Open loop versus closed loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212

Saving sampler configurations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .213

Sending and receiving samples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .213

Sending a sample . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .213 Receiving a sample . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .213 MIDI unity note and Fine tune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214

Using the MIDI Keyboard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214

Displaying the MIDI Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214 Turning on the MIDI Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214 Configuring the MIDI Keyboard output port and channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215 Troubleshooting the MIDI Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215 Specifying instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215 Generating chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215

Setting up MIDI/SDS hardware. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .216

Troubleshooting MIDI/SDS with open loop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .216

Setting up SCSI/SMDI hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .216 Troubleshooting SCSI/SMDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217

Conflicting SCSI IDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217 Periodic transfer failures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217 Sampler is recognized but does not transfer reliably . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217

Looping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

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Loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Sustaining and release loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .219 Creating a sustaining loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .220 Creating a sustaining loop with a release loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221

Looping techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Match endpoint amplitudes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222 Match endpoint waveform slope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222 Match endpoint sound levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222 Avoid very short loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .223

Editing loops. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Editing a loop without the Loop Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .223 Editing a loop with the Loop Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .223

Crossfading loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Using the Crossfade Loop tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227

Creating loops for ACID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Creating an ACID one-shot file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .228 Creating an ACID loop file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .228 Creating an ACID 2.0 disk-based file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .229 Creating an ACID beatmapped file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230

Using the ACID Loop Creation Tools toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Editing loops for ACID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Halving or doubling a loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231 Shifting a selection left or right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231 Rotating audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .232 Setting loop tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .233

Saving loop points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Working with Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Viewing video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Using the video strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235 Previewing files with video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238 Using an external monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .239

Attaching video to an audio file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Detaching video from an audio file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Setting video options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Video file properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241 Configuring your video settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .242

Saving a video file. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Using Spectrum Analysis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

13

Working in the frequency domain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245

Fast Fourier Transform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .246

Using a spectrum graph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .246

Displaying a spectrum graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .246 Monitoring an input and output source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .247 Displaying frequency and amplitude values, notes and statistics . . . . . . . . . . . . . . . . . . . . . . . . .247 Navigating a spectrum graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .248 Changing the graph type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .248 Changing the zoom level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249 Working with stereo files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249 Updating a spectrum graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249 Viewing multiple spectrum graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249 Creating and comparing snapshots of the Spectrum Analysis window . . . . . . . . . . . . . . . . . . .250 Printing the graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .250

Using a sonogram. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251

Displaying a sonogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251 Displaying frequency and amplitude values, notes and statistics . . . . . . . . . . . . . . . . . . . . . . . . .251 Updating a sonogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .252 Monitoring an input and output source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .252 Tuning a sonogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .252 Returning to a spectrum graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .253 Printing the sonogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .253

Adjusting Spectrum Analysis settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .253

Saving spectrum graph settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .255

Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Keyboard shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .257

Project file commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .257 Magnification and view commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .257 Data window edit commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .258 Cursor movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .260 Selecting data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .261 Navigation and playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .262 Record dialog keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .262 Plug-In Chainer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263 Regions List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263 Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263

Mouse wheel shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .264

Additional mouse shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .264

Microsoft Audio Compression Manager . . . . . . . . . . . . . . . . . . 267

14

Audio data compression and decompression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Transparent playback and recording of non-hardware supported audio files . 267

SMPTE Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

SMPTE 25 EBU (25 fps, Video). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 SMPTE Drop Frame (29.97 fps, Video) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

SMPTE Non-Drop Frame (29.97 fps, Video) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

SMPTE 30 (30 fps, Audio) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 SMPTE Film Sync (24 fps) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Using CSOUND, MTU, IRCAM, BICSF, and EBICSF Files. . . . 271

About IRCAM files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

About BICSF and EBICSF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Opening files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

BICSF and EBICSF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .271 IRCAM, CSOUND and MTU files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .271

Saving files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .i

15

CHAPTER

Introduction

1

Introducing Sound Forge

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 Forge

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:

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:

A full list of keyboard and mouse shortcuts appears in the first appendix to this manual. For more information, see Shortcuts on page 257.

16

System 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 Forge

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.

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.

1.Place the Sound Forge CD-ROM in your system’s CD-ROM drive. AutoPlay launches the Setup menu.

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.

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:

•Online help

•What’s 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.

About Your Privacy

Sony Pictures Digital respects 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.

19

CHAPTER

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. Because of this, Sound Forge is able to edit large files as well as retain extensive undo/redo information and clipboard data.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.

20

Increasing 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.

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.

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 of 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.

23

CHAPTER

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.

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.

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.

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

Standard toolbar

Transport bar

Play Meters (docked)

Workspace

Status bar

Main screen components

The following table describes the major components of the main screen.

Floating a window

Drag the handle on the left side of a docked window away from the edge of the workspace.

Close window

Expand window

Drag the handle away from the edge of the workspace to float the window.

Hiding the window docking area

You can double-click the separator between the workspace and window docking area to hide the docking area. You can also use shortcut keys to manage the workspace.

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 Alt + 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.

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 located 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.

Go to Start: moves the cursor to the start of the file.

Go to End: moves the cursor to the end of the file.

Play as Cutlist: plays the file with the regions in the cutlist omitted. This button appears only if you treat the playlist as a cutlist.

Current playback mode

When you play a file from the playbar, a small horizontal line appears beneath the selected Play button’s icon ( ). 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 current 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 () 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.

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.

New: creates a new data window.

Play Clipboard: plays the audio on the clipboard.

Open: displays the Open dialog.

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.

Cut: removes selected audio data and places it on the clipboard. This command has no effect if there is no selection.

Edit Tool: selects the Editing tool.

Copy: copies selected audio data to the clipboard. This command has no effect if there is no selection.

Magnify Tool: selects the Magnify tool.

Paste: inserts a copy of the clipboard data at the current insertion point. If there is a selection, this command replaces the selected data with the clipboard data.

Pencil Tool: selects the Pencil tool.

Mix: mixes a copy of the clipboard data with 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.

Envelope Tool: selects the Envelope tool.

Transport bar

The transport bar also displays by default and contains basic audio transport buttons.

Play: plays the file in current playback mode (Play Normal, Play Plug-In Chainer, Play as Cutlist, or Play as Sample).

Forward: moves the cursor forward in the current file.

Pause: pauses playback and maintains the cursor at its current position.

Go to End: moves the cursor to the end of the file.

31

Navigation toolbar

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.

Go To: displays the Go To dialog and allows you to quickly move the cursor to a specific point in a file.

Zoom Normal: resets the audio data to its original magnification.

Cursor Center: centers the display with the cursor displayed in the center of the data window.

Views toolbar

The Views toolbar contains buttons used to store and retrieve data window views.

32

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.

SMPTE EBU: changes the status format to SMPTE EBU (25 fps). Available only in the full version of Sound Forge.

Time: changes the status format to Time.

SMPTE Non-Drop: changes the status format to SMPTE Non-Drop (29.97 fps, Video). Available only in the full version of Sound Forge.

Seconds: changes the status format to Seconds.

SMPTE Drop: changes the status format to SMPTE Drop (29.97 fps, Video). Available only in the full version of Sound Forge.

Time and Frames: changes the status format to Time and Frames.

SMPTE 30: changes the status format to SMPTE 30 (30 fps, Audio). Available only in the full version of Sound Forge.

Absolute Frames: changes the status format to Absolute Frames.

Auto Snap to Zero: forces the ends of selections to the nearest zero-crossing. Available only in Screenblast Sound Forge.

Regions/Playlist toolbar

The Regions/Playlist toolbar contains the Regions List and Playlist buttons as well as buttons corresponding to synchronization commands and status displays.

Regions List: displays the Regions List.

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.

Playlist Position display

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.

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Process toolbar

The Process toolbar contains buttons corresponding to all commands located in the Process menu.

Auto Trim/Crop: removes silence and automatically fades in/out the end-points of each phrase.

Insert Silence: inserts user-configurable silence into audio files.

Graphic Fade: creates user-configurable fades.

Smooth/Enhance: opens Sony Pictures Digital’s XFX Smooth/Enhance tool.

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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.

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Tools toolbar

The Tools toolbar contains buttons corresponding to commands in the Tools menu.

Burn CD: writes the selected audio track to CD.

Replace: replaces selected audio data with previous adjacent data.

Extract Audio from CD: extracts audio from CD and opens in Sound Forge for editing.

Interpolate: replaces selected audio with interpolated audio data based on the selection’s beginning and end samples.

Auto Region: creates regions in an audio file according to rapid sound attacks or a specified time interval.

Sampler: allows you to transfer samples to/ from Sound Forge.

Crossfade Loop: mixes audio occurring before the loop start point into the end of the loop to smooth transitions.

Clip Detect: performs clip detection on the current file or selection. Note: clip detection is available only in the full version of Sound Forge.

Copy Other Channel: replaces selected audio with a corresponding selection from the opposite channel.

Simple Synthesis: generates a simple waveform of a given shape, pitch, and length.

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.

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 Properties dialog.

Shift Selection Left: shifts the current selection to the left so the current start point becomes the end point.

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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.

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. 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.

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.

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 time.

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:

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.

•Choose Hold Peaks to display a marker on the meters indicating the highest reading.

•Choose Hold Valleys to display a marker on the meters indicating the lowest reading.

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 of the envelope graph, drag the mouse to create a selection box containing all points to be moved.

Select the envelope points

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 multidirectional arrow and the selected points move together.

4.Release the mouse button. The entire envelope graph adjusts.

Reposition multiple envelope points

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 Ctrl + A to select or clear all envelope points.

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.

•The upper quarter of the data window selects the left channel.

•The lower quarter of the data window selects the right channel.

•The middle half of the data window selects both channels.

Left channel only

Both channels

Right channel only

1. Open a stereo file.

2.Select the Edit tool by choosing Tool from the Edit menu and Edit from the submenu.

Press Ctrl + 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 . 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.

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 it 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.

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CHAPTER

Getting Started

4

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.

Creating 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 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.

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.

1.From the File menu, choose Save As to save the current data window to a project file. The Save As dialog appears.

2.Using the Save in drop-down list, locate the folder where you want to save the project.

3.From the Save as type drop-down list, choose Sound Forge Project File (*.frg).

4.In the File name box, enter a name for the file.

5.Click the Save button.

Sound 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.

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Getting media files

Sound Forge can open a variety of audio and video files. There are three main methods for locating, previewing, and opening media files:

•From the File menu, choose Open to display the Open dialog. -or-

•From the View menu, choose Explorer to display the Explorer window. -or-

These methods are explained in greater detail in the following sections.

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.

Click the Open button ( ).

Select to Preview Files

File Information Display

The Open dialog contains several features that allow you to locate and open audio files. These features are detailed below.

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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.

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.

File displays in the data window

Using 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 (). 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.

1.Select a file in the Explorer window.

2.Click the Play button () to listen to the file.

3.Click the Stop button () or select a different file to stop previewing the file.

Tip: To automatically preview selected files, click the Auto Preview button () on the Explorer window’s transport bar.

Opening media

To open a media file into a new data window from the Explorer window, double-click the file. To open a media file in a specific data window, drag the media file from the Explorer window to the data window.

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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.

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 () and selecting a view. These options are explained below:

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.

Quick Links

• Page 3: Technical Support

  CD Architect, DVD Architect, Jam Trax, Perfect Clarity Audio, Photo Go, Sound Forge, Super Duper Music Looper, Vegas, Vision Series, and Visual Creation Studio are the trademarks or registered trademarks of Sony Creative Software Inc. 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.

• Page 4
  The information contained in this manual is subject to change without notice and does not represent a guarantee or commitment on behalf of Sony Creative Software Inc. in any way. All updates or additional information relating to the contents of this manual will be posted on the Sony Creative Software Inc.

• Page 5: Table Of Contents

  Table of Introduction …………… . 3 Introducing Sound Forge Audio Studio software .

• Page 6
  Converting mono/stereo channels ……….. 19 Converting from mono to stereo .

• Page 7: Introduction

  Introducing Sound Forge Audio Studio software Thank you for purchasing Sound Forge® Audio Studio™ software and for your continued support of the Sony Creative Software Inc. family of products. The software 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.

• Page 8: Show Me How Tutorials

  The following table describes the four tabs of the online help window. Tab Description Contents Provides a list of available help topics. Click a closed book to open the pages, and then click on a topic page Index 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.

• Page 9: Learning The Sound Forge Audio Studio Workspace

  Chapter 2 Learning the Sound Forge Audio Studio Workspace This chapter provides an overview of Sound Forge® Audio Studio™ toolbars and controls. The main window When you start the application, the main window is displayed. The main window’s workspace is where you perform all audio editing.

• Page 10: Data Windows

  Data windows Data windows contain audio data (as a waveform) as well as a number of controls and commands used to edit and process audio. Title bar Time ruler Overview bar Edit Tool Marker bar Selector Position Level scroll bar ruler Time zoom Waveform…

• Page 11: Playbar

  Playbar The playbar is located 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. Go to Start Moves the cursor to the start Stop Stops playback and returns the of the file.

• Page 12: Standard Toolbar

  Standard toolbar The Standard toolbar displays by default when you start the application. The buttons on this toolbar provide quick access to many common commands. New Creates a new data window. Play Clipboard Plays the audio on the clipboard. Open Displays the Open dialog. Trim/Crop Removes all data from the file that is not currently selected.

• Page 13: Getting Started

  Chapter 3 Getting Started The Sound Forge® Audio Studio™ digital audio editing tool is 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 Audio Studio basics is essential.

• Page 14: Scrubbing

  Scrubbing Scrubbing is a type of timeline playback that gives you precise control over the speed and direction of playback. Scrubbing with the scrub control slider The scrub control slider ( ), which is located at the bottom of the data window, can be dragged back and forth. The farther from the center that the slider is dragged, the faster the playback, both forward and in reverse.

• Page 15: Editing Audio

  (clear), trim/crop, and mix. The following sections contain a mini-tutorial to familiarize you with basic editing operations. These procedures use Sony Creative Software Inc. Perfect Clarity Audio (PCA) files that are located in the same folder as the application. While working through these procedures, these files should remain open and be modified as described.

• Page 16: Cutting

  To confirm that the data has been pasted into the file, click the Play All button ( ). “Wow. Wow. Sound editing just gets easier and easier” plays back. Pasting by dragging and dropping a selection Choose the Edit tool ( Drag the mouse in the data window to create a selection anywhere in Voiceover.pca.

• Page 17: Mixing

  Mixing Mixing is a powerful editing function that allows you to mix a copy of the clipboard contents at the current cursor position. Mixing by dragging and dropping a selection Open and play the Drumhit.pca file. The file contains a snare drum and crash cymbal sound. Choose the Edit tool ( Drag the mouse over the data window to select the entire waveform.

• Page 18: Using Undo And Redo

  Using Undo and Redo You can easily undo/redo edit operations, even prior to your last save operation. • Undo any edit operation by choosing Undo from the Edit menu (or click the Undo button ( ) on the Standard toolbar). •…

• Page 19: Using The Magnify Tool

  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: From the Edit menu, choose Tool, and choose Magnify from the submenu. •…

• Page 20
  CHAPTER 3…

• Page 21: Changing File Properties And Formats

  Chapter 4 Changing File Properties and Formats This chapter deals with the supported file properties and formats in Sound Forge® Audio Studio™ software. Editing file properties When you open or create a file, its properties in the first four boxes of the status bar at the bottom of the Sound Forge Audio Studio workspace.

• Page 22: Changing The Bit Depth

  Changing the bit depth Bit depth refers to the number of bits used to represent a sound. You can increase or decrease a file’s bit depth. Increasing the bit depth does not change the quality of the audio, but it allows subsequent processing to be performed with increased precision. However, representing a file with less bit depth results in audible distortion, referred to as quantization error.

• Page 23: Converting Mono/Stereo Channels

  Converting mono/stereo channels You can convert mono files to stereo or stereo files to mono. Converting from mono to stereo Open the Voiceover.pca file. This file is located in the same folder as the application. Right-click the Channels status box and choose Stereo from the shortcut menu. The Mono To Stereo dialog is displayed. Select the Both Channels radio button and click OK.

• Page 24
  CHAPTER 4…

• Page 25: Using Markers And Regions

  Chapter 5 Using Markers and Regions This chapter describes the use of markers, regions, and the Regions List. These tools allow you to tag and organize audio data and make audio editing more efficient. 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.

• Page 26: Previewing A Marker

  Previewing a marker Click a marker’s Play button ( ) in the Regions List. —or— Right-click the marker tag ( ) and choose Edit from the shortcut menu. The Edit Marker/Region dialog is displayed. Click the Play button. Using regions Regions identify ranges of time and provide a way to subdivide an audio file.

• Page 27: Deleting A Region

  Deleting a region Right-click the region tag ( ) and choose Delete from the shortcut menu. Deleting all markers and regions Right-click in the marker bar, choose Markers/Regions, and choose Delete All from the submenu. All markers and regions are removed.

• Page 28
  CHAPTER 5…

• Page 29: Applying Processes And Effects

  The included audio plug-ins can improve the quality of your audio or create unique sounds. Sound Forge Audio Studio software also supports additional DirectX® and VST effects from Sony or other third parties. Note: Applying plug-ins from the Process, Effects, or FX Favorites menu The Process, Effects, and FX Favorites menus allow you to apply audio plug-ins.

• Page 30
  CHAPTER 6…

• Page 31: Recording, Extracting, And Burning

  Chapter 7 Recording, Extracting, and Burning This chapter describes the processes for recording audio, extracting audio from a CD, and writing audio to a CD in Sound Forge® Audio Studio™ software. Note: Specifying recording and playback options From the Options menu, choose Preferences and select the Audio tab to specify recording and playback options. In addition, the Advanced Audio Configuration dialog allows you to view information about and adjust settings for the playback or recording device selected on the Preferences window (from the Options menu, choose Preferences) Audio tab.

• Page 32: Recording Remotely

  Mode Description Punch-In (record a specific Punch-In mode is used to record over a specific selection in an existing data window. length) Specifying Punch-In activates the Start, End, and Length boxes. Recording begins at the position displayed in the Start box when you click the Record button ( ) and continues until one of the following occurs: •…

• Page 33: Extracting Audio From Cds

  Extracting audio from CDs You can extract data from CD and open tracks in the Sound Forge Audio Studio workspace. Important Tip: Files of type Insert a CD in the drive. From the File menu, choose Extract Audio from CD. The system’s CD-ROM drive(s) are identified. The Extract Audio from CD dialog is displayed.

• Page 34: Burning Cds

  Burning CDs You can write your own audio to CD if your system is configured with a supported CD-R/RW drive and the necessary drivers. You can burn either single tracks (track-at-once) or the entire disc (disc-at-once). Track-at-once writing records individual tracks to the disc and results in a partially recorded disc. Additional tracks can be added to the CD over a period of time.

• Page 35: Burning A Disc (Disc-At-Once)

  Closing a CD Closing 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. From the Tools menu, choose Burn Track-at-Once Audio CD. The Burn Track-at-Once Audio CD dialog is displayed. From the Action drop-down list, choose Close Disc.

• Page 36
  Select the Render temporary image before burning check box if you want to render your CD project to a temporary file before recording. Prerendering can prevent buffer underruns if you have a complex project that cannot be rendered and burned in real time. Note: Use existing rendered temporary image Select the Automatically erase rewritable discs check box if you’re burning to rewritable media and want to erase the disc…

• Page 37: Index

  Index extracting regions, 23 arming for recording, 28 audio event locator, 6 files Automatic retake recording mode, 27 channels, 19 converting, 19 creating from regions, 23 bit depth, changing, 18 opening, 9 Burn Disc-at-Once Audio CD dialog, 31 playing, 9 burning CDs properties, 17 disc-at-once (Red Book), 31…

• Page 38
  playbar, 7 track-at-once CD burning, 30 playing files, 9 Transport bar, 8 trimming audio, 12 scrubbing Plug-In Manager, 25 tutorials, 4 previewing markers, 22 undoing edits, 14 regions, 23 processes applying, 25 video files, 9 saving settings as presets, 25 viewing audio input levels, 27 properties, 17 Punch-In recording mode, 28…