Sony SF-10000 User Manual

Pro 10Sound Forge

™

User Manual

What’s new in version 10?

Revised February 4, 2010

• Event-based editing. For more information, see Using the Event Tool on page 161.

• Disc-at-once CD burning. For more information, see Burning disc-at-once (DAO) CDs on page 292.

• Enhanced timestretch and pitch shifting with the élastique Timestretch plug-in. For more information, see Time - élastique

Timestretch on page 192.

• Support for processing musical instrument files (.dls, .sf2, .gig). For more information, see Processing musical instrument files on page

245.

• The Global media cache setting on the Editing tab of the Preferences dialog allows you to reserve RAM for media recently read

• Metadata windows. For more information, see Metadata windows on page 25.

• Floating window docks. For more information, see Floating and docking windows on page 23.

• Enhanced window layout management—save, recall, and share custom window layouts. For more information, see Saving and

• Tabbed browsing for maximized data windows. For more information, see Display tab on page 314.

• iZotope MBIT+ Dither bit-depth conversion and 64-Bit SRC sample rate conversion. For more information, see iZotope MBIT+ Dither

• Resonant Filter plug-in. For more information, see Resonant Filter on page 212.

• Custom selection grid lines. For more information, see Using selection grid lines on page 94.

• You can now set default fade types for effects on the Editing tab in the Preferences dialog. For more information, see Editing tab on

• Enhanced Broadcast Wave Format (.bwf ) support. For more information, see Broadcast Wave window (Ctrl+Alt+M, 4) on page 27.

from or written to disk. For more information, see Editing tab on page 316.

recalling window layouts on page 309.

on page 178 and iZotope 64-Bit SRC on page 191.

page 316.

Welcome

After Sound Forge software is installed and you start it for the first time, the registration wizard is displayed. This wizard offers easy steps
that allow you to register the software online with Sony Creative Software Inc. Alternatively, you can register online at

http://www.sonycreativesoftware.com/reg/software at any time.

Registration assistance

Registration assistance is available online at http://www.sonycreativesoftware.com/chat or by fax at [phone].

Customer service/sales

For a detailed list of Customer Service options, we encourage you to visit http://www.sonycreativesoftware.com/support/custserv.asp. Use
the following numbers for telephone support during normal weekday business hours:

Telephone/Fax Country

[phone] (toll-free) US, Canada, and Virgin Islands

[phone] for all other countries

[phone] (Fax) All countries

Technical support

For a detailed list of technical support options, we encourage you to visit http://www.sonycreativesoftware.com/support/default.asp. To
listen to your support options, please call [phone].

About your rights in Sound Forge software

Sound Forge software is licensed to you under the terms of the End User License Agreement you entered into with Sony Creative
Software Inc.

About your privacy

Sony Creative Software Inc. respects your privacy and is 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.sonycreativesoftware.com/corporate/privacy.asp.

Proper use of software

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.

Legal notices

ACID, ACIDized, ACIDplanet.com, ACIDplanet, the ACIDplanet logo, ACID XMC, Artist Integrated, the Artist Integrated logo, Beatmapper, Cinescore, 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.

Apple QuickTime

Apple® QuickTime® application is a trademark of Apple, Inc. in the United States and other countries.

Apple Macintosh Audio Interchange File Format (AIFF) file format.

Apple® Macintosh® Audio Interchange™ File Format (AIFF) is a trademark of Apple, Inc. in the United States and other countries.

Boost Software License - Version 1.0 - August 17th, 2003

Permission is hereby granted, free of charge, to any person or organization obtaining a copy of the software and accompanying documentation covered
by this license (the “Software”) to use, reproduce, display, distribute, execute, and transmit the Software, and to prepare derivative works of the Software,
and to permit third-parties to whom the Software is furnished to do so, all subject to the following:

The copyright notices in the Software and this entire statement, including the above license grant, this restriction and the following disclaimer, must be
included in all copies of the Software, in whole or in part, and all derivative works of the Software, unless such copies or derivative works are solely in the
form of machine-executable object code generated by a source language processor.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF
MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, TITLE AND NON-INFRINGEMENT. IN NO EVENT SHALL THE COPYRIGHT HOLDERS OR ANYONE
DISTRIBUTING THE SOFTWARE BE LIABLE FOR ANY DAMAGES OR OTHER LIABILITY, WHETHER IN CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT
OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

Dolby, Dolby Digital AC-3, and AAC encoding

This product contains one or more programs protected under international and U.S. copyright laws as unpublished works. They are confidential and
proprietary to Dolby Laboratories. Their reproduction or disclosure, in whole or in part, or the production of derivative works therefrom without the
express permission of Dolby Laboratories is prohibited. Copyright 1992 - 2008 Dolby Laboratories. All rights reserved.

Dolby Digital 5.1 Creator technology is not intended for use in content creation for commercial or broadcast distribution, or content that displays Dolby
trademarks and logos. Only Approved Dolby Digital Professional Encoders may be used for content that is commercially distributed or carries the Dolby
Digital trademark and logo.

Dolby®, the double-D symbol, AC-3®, and Dolby Digital® are registered trademarks of Dolby Laboratories. AAC™ is a trademark of Dolby Laboratories.

élastique Pro

Portions of this product use zplane élastique Pro V2 audio time-stretching technology.

FLAC/Ogg File Formats

©2008, Xiph.org Foundation

Neither the name of the Xiph.org Foundation nor the names of its contributors may be used to endorse or promote products derived from this software
without specific prior written permission.

This software is provided by the copyright holders and contributors “as is” and any express or implied warranties, including, but not limited to, the
implied warranties of merchantability and fitness for a particular purpose are disclaimed. In no event shall the foundation or contributors be liable for any
direct, indirect, incidental, special, exemplary, or consequential damages (including, but not limited to, procurement of substitute goods or services; loss
of use, data, or profits; or business interruption) however caused and on any theory of liability, whether in contract, strict liability, or tort (including
negligence or otherwise) arising in any way out of the use of this software, even if advised of the possibility of such damage.

Gracenote

CD and music-related data from Gracenote, Inc., copyright © 2000-2008 Gracenote. Gracenote Software, copyright 2000-2008 Gracenote. This product
and service may practice one or more of the following U.S. Patents: #5,987,525; #6,061,680; #6,154,773, #6,161,132, #6,230,192, #6,230,207, #6,240,459,
#6,330,593, and other patents issued or pending. Services supplied and/or device manufactured under license for following Open Globe, Inc. United
States Patent 6,304,523.

Gracenote and CDDB are registered trademarks of Gracenote. The Gracenote logo and logotype, MusicID, and the “Powered by Gracenote” logo are
trademarks of Gracenote.

LPEC

“LPEC“ is a trademark of Sony Corporation.

Microsoft DirectX programming interface

Portions utilize Microsoft® DirectX® technologies. Copyright © 1999 – 2008 Microsoft Corporation. All rights reserved.

Microsoft Windows Media 9

Portions utilize Microsoft Windows Media® technologies. Copyright © 1999 – 2008 Microsoft Corporation. All rights reserved.

PNG file format

Copyright © 2008. World Wide Web Consortium (Massachusetts Institute of Technology, European Research Consortium for Informatics and
Mathematics, Keio University). All rights reserved. This work is distributed under the W3C Software License in the hope that it will be useful, but WITHOUT
ANY WARRANTY; without even the implied warranty of MERCHANTIBILITY or FITNESS FOR A PARTICULAR PURPOSE. http://www.w3.org/Consortium/

Legal/2002/copyright-software-20021231.

Real, RealMedia, RealAudio, and RealVideo applications

2008 RealNetworks, Inc. Patents Pending. All rights reserved. Real®, Real Media®, RealAudio®, RealVideo®, and the Real logo are trademarks or registered
trademarks of RealNetworks, Inc. in the United States and other countries.

Steinberg Media Technologies AG.

VST is a registered trademark of Steinberg Media Technologies AG.

ASIO is a trademark of Steinberg Media Technologies AG.

Tagged Image File Format (TIFF)

Adobe Tagged Image™ File Format is a registered trademark of Adobe Systems Incorporated in the United States and other countries. All rights reserved.

Targa file format

The Targa™ file format is a trademark of Pinnacle Systems, Inc.

Thomson Fraunhofer MP3

MPEG Layer-3 audio coding technology licensed from Fraunhofer IIS and Thomson.

Supply of this product does not convey a license nor imply any right to distribute content created with this product in revenue generating broadcast
systems (terrestrial, satellite, cable and/or other distribution channels), streaming applications (via internet, intranets and/or other networks), other
content distribution systems (pay-audio or audio on demand applications and the like) or on physical media (compact discs, digital versatile discs,
semiconductor chips, hard drives, memory cards and the like).

An independent license for such use is required. For details, please visit: http://mp3licensing.com.

Sony Creative Software Inc.

1617 Sherman Avenue
Madison, WI 53704
USA

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. web site, located at http://www.sonycreativesoftware.com. The software is provided to you
under the terms of the End User License Agreement and Software Privacy Policy, and must be used and/or copied in accordance
therewith. Copying or distributing the software except as expressly described in the End User License Agreement is strictly prohibited.
No part of this manual may be reproduced or transmitted in any form or for any purpose without the express written consent of Sony
Creative Software Inc.

Copyright © 2009. Sony Creative Software Inc.

Program Copyright © 2009. Sony Creative Software Inc. All rights reserved.

Table of Contents

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Introducing Sound Forge Pro software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Sample files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

System requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Technical support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Installing Sound Forge Pro software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Getting help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Online help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Interactive tutorials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Help on the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Learning the Sound Forge Pro Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Using the mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Using the mouse wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

The main window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Main window components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Floating and docking windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Hiding the window docking areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Explorer window (Alt+1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

File Properties window (Alt+2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Video Preview window (Alt+3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Time Display window (Alt+4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Channel Meters window (Alt+5) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Hardware Meters window (Alt+6) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Undo/Redo History window (Alt+7) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Spectrum Analysis window (Alt+8) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Plug-In Chainer window (Alt+9) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Plug-In Manager window (Ctrl+Alt+0) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Keyboard window (Ctrl+Alt+1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Script Editor window (Ctrl+Alt+2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Loop Tuner window (Ctrl+Alt+3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Metadata windows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Copying metadata to the clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Regions List window (Ctrl+Alt+M, 0) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Playlist window (Ctrl+Alt+M, 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Track List window (Ctrl+Alt+M, 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

ACID Properties window (Ctrl+Alt+M, 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Broadcast Wave window (Ctrl+Alt+M, 4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

CD Information window (Ctrl+Alt+M, 5) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Sampler Loops window (Ctrl+Alt+M, 6) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

TABLE OF CONTENTS | 1

Metadata windows (continued)

Summary Information window (Ctrl+Alt+M, 7) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Data windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Data window components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Displaying data window components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Arranging data windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Playbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Toolbars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Displaying a toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Customizing a toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Docking a toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Floating a toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Standard toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Transport toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Navigation toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Views toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Status/Selection toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Regions/Playlist toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Insert toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Process toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Effects toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Tools toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Levels toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Scripting toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

ToolTips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Using ToolTips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Turning off ToolTips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Command descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Monitoring levels in digital audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Decibels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Digital versus analog levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Setting digital audio levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Using the channel meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Using the VU/PPM meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Using phase scopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Using the mono-compatibility meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Faders and sliders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Envelope graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Displaying the waveform on an envelope graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

2 | TABLE OF CONTENTS

Multichannel files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

Working with multichannel files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Selecting data in multichannel files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Creating a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Getting media files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Using the Open dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Using the Explorer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Peak files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Working with video files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Playing a file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Viewing the current position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Data window scrolling during playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Playing a file from a specified point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Playing in Loop Playback mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Playing a selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Viewing selection status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Viewing selection statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Creating data windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Active data windows vs. inactive data windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Copying data to a new file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Working with files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Saving a file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Using the Save As/Render As dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Creating custom templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Creating custom rendering settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Saving all open audio files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Saving files as a workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Working with projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

Saving projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Saving the project path in the rendered file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Editing a media file’s source project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Editing audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Copying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Pasting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Cutting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Deleting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Trimming/Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Using Undo and Redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

Using the Undo/Redo History window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

TABLE OF CONTENTS | 3

Selecting status formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Experimenting with status formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Configuring the Measures & Beats format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Publishing files to the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Recovering files after a crash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Recovering files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Deleting recovered files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Navigating, Zooming, and Selecting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83

Setting the cursor position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Previewing audio with pre-roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Using the overview bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Understanding the overview bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Navigating in the overview bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Playing audio in the overview bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Scrubbing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Zooming and magnifying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Zooming the time ruler (horizontal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Zooming the level ruler (vertical) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Using custom zoom settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Using zooming shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Using the Magnify tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Selecting audio using start and end values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Using the Set Selection dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Selecting audio during playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Fine-tuning a selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Adjusting a selection with the mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Adjusting a selection with the keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Restoring a selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Using selection grid lines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Understanding snapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Turn snapping on or off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Snapping to the grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Snapping to markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Snapping to events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Snapping to zero crossings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Snapping the current selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Disabling auto-snapping at high magnifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Quantizing to frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Creating and using views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Displaying the Views toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Creating views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

4 | TABLE OF CONTENTS

Changing File Properties and Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99

Editing file properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99

Editing file properties in the File Properties window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Editing file properties in the status bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

Copying file properties to the clipboard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101

Changing the sample rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101

Changing the bit depth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Increasing bit depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Decreasing bit depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Understanding dither and noise shaping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Minimizing quantization error . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Converting mono/stereo channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

Converting from mono to stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

Converting from stereo to mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

Using the Channel Converter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Converting file formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Adding summary information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107

Viewing and editing summary information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107

Saving summary information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107

Including additional embedded information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107

Editing Multichannel Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Routing channels to hardware outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110

Opening and editing multichannel audio files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110

Recording multichannel audio files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

Using the hardware meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

Adjusting output levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

Showing or hiding meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112

Using Markers, Regions, and the Playlist/Cutlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Why use markers, regions, and the Playlist? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113

Rapid navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113

Added effects for streaming media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113

Multiple versions of edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113

MIDI synchronization and triggering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113

Using markers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114

Inserting markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114

Naming or renaming markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114

Changing the marker position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115

Deleting markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115

Deleting all markers and regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115

Deleting all markers within the selected area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

Previewing a marker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

TABLE OF CONTENTS | 5

Using markers (continued)

Triggering a marker using MIDI commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Using markers to create regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Detecting and marking clipping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Using command markers in streaming media files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Defining streaming media commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Defining Scott Studios data commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Inserting command markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Editing command properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Saving command properties as a custom template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Moving the cursor to a command marker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Deleting command markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Using regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Inserting regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Inserting regions automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Naming or renaming a region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Selecting a region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Moving a region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Deleting a region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Deleting all markers and regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Deleting all markers and regions within the selected area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Previewing a region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Splitting regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Triggering a region using MIDI commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Using markers to create regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Locking loop and region lengths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Creating new files from regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Using the Regions List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Displaying the Regions List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Working with the Regions List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Using the Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Displaying the Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Adding regions to the Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Arranging the Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Editing a Playlist/Cutlist region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Using stop points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Playing from the Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Creating a new file from the Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Configuring the Playlist as a Cutlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Saving a Playlist/Cutlist file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Opening a Playlist/Cutlist file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Copying the Playlist/Cutlist to the clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

6 | TABLE OF CONTENTS

Recording and Extracting Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Recording audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135

Specifying recording and playback options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135

Recording manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

Recording automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138

Choosing a recording mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

Adjusting for DC offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

Playing back recorded audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142

Synchronizing with other devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142

Monitoring audio input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143

Inserting markers while recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143

Automatically labeling windows and regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143

Changing blinking status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143

Extracting audio from CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144

Previewing CD tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145

Refreshing the Extract Audio from CD dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145

Proper use of software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145

Editing, Repairing, and Synthesizing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Overwriting and replicating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147

Overwriting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147

Replicating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148

Repeating an operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149

Inserting silence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149

Using drag-and-drop operations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150

Dragging mono selections into multichannel destinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150

Snapping to points in drag-and-drop operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150

Pasting, mixing, and creating CD tracks with drag-and-drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150

Creating new windows by dragging and dropping a selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

Finding and repairing audio glitches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

Locating glitches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

Repairing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154

Synthesizing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156

Generating DTMF/MF tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156

Generating audio with frequency modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157

Generating simple waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158

Using the Event Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Creating events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161

Moving events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162

Editing events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162

Copying events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162

Cutting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163

TABLE OF CONTENTS | 7

Editing events (continued)

Pasting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Mixing events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Deleting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Trimming events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Splitting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Slipping events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Slip-trimming events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Crossfading events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Using automatic crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Manually setting a crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Changing crossfade curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Using event envelopes (ASR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Setting an event’s volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Setting an event’s fade in and fade out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Applying processes and effects to events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Selecting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Selecting events using menu commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Selecting events using keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Selecting multiple events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Zooming events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Snapping to events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Processing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Applying presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Using presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Creating presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Deleting presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Resetting parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Managing presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Previewing processed audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Setting custom preview parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Bypassing a process while previewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Adjusting the data window selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Sound Forge processes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Auto Trim/Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Bit-Depth Converter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

iZotope MBIT+ Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Channel Converter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

DC Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Fade - Graphic Fade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Fade - Fade In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

8 | TABLE OF CONTENTS

Sound Forge processes (continued)

Fade - Fade Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184

Invert/Flip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184

Mute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185

Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186

Pan/Expand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188

Resample . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189

iZotope 64-Bit SRC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .191

Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192

Rotate Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192

Smooth/Enhance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192

Time - Time Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192

Time - élastique Timestretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192

Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193

Working with Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Adding effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195

Applying an effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195

Saving effect settings as a custom preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .196

Using the Plug-In Chainer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .196

Creating a plug-in chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197

Adding a plug-in to a chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197

Removing a plug-in from a chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198

Configuring chained plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198

Bypassing effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199

Selecting the processing mode for audio tail data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199

Saving plug-in chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200

Saving individual plug-in settings as a custom preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200

Loading plug-in chains or plug-in presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201

Using the Plug-In Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202

Applying a plug-in or chain to a media file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202

Renaming a plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203

Hiding a plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203

Organizing effects in the FX Favorites menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203

Using the Preset Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204

Automating effect parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205

Adding an effect automation envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205

Adding a volume or panning envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205

Adjusting effect parameters with envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206

Previewing effect automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206

Applying effects automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206

Showing or hiding effect automation envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206

Enabling or bypassing effect automation envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206

Removing effect automation envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206

TABLE OF CONTENTS | 9

Adjusting envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Adding envelope points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Flipping an envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Setting fade properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Cutting, copying, and pasting envelope points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Copying an envelope to another data window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Sound Forge effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Acoustic Mirror . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Amplitude Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Delay/Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Flange/Wah-Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Gapper/Snipper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Noise Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Resonant Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Wave Hammer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Using Acoustic Mirror and Wave Hammer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

What are the Acoustic Mirror effects? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

The acoustic signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Adding an acoustic signature to an audio file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Adjusting the acoustic signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

General tab controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Envelope tab controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Summary tab controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Recover tab controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Creating impulse files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

What you need to create custom impulses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Recording the impulse in an acoustic space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Recording the impulse through an electronic device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Recovering the impulse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Trimming the impulse file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Adding summary information to your impulse file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Using the new impulse file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Using impulse files in creative ways. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Processing individual audio elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Adding realistic stereo to mono recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Creating special effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

10 | TABLE OF CONTENTS

Using impulse files in creative ways (continued)

Recreating spaces for foley effects and dialog replacement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .224

Panning with head-related transfer functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .224

Troubleshooting the Acoustic Mirror effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .224

Stuttering during real-time previewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .224

Impulses do not recover properly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .225

Recovered impulse is too noisy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .225

Error message explanations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .225

What is the Wave Hammer plug-in? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227

Displaying the Wave Hammer plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227

The Wave Hammer dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227

Compressor tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227

Volume Maximizer tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .229

Using Scripting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Scripting references . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231

Sample scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231

Additional scripting information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231

Using the Script Editor window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .232

Opening and running a script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .233

Running a script from the Script Editor window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .233

Running a script from the Scripting menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .233

Running a script from the command line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .233

Script arguments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .234

Adding scripts to the Scripting menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .234

Creating a script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235

Editing an existing script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235

Using the Scripting toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .236

Adding or removing toolbar buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .236

Creating custom button images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .237

Running a script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .237

Using the Batch Converter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238

Converting using an existing batch job . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238

Creating or editing a batch job . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .239

Sampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Samplers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241

External samplers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241

Internal samplers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241

Configuring the Sampler Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .242

Creating a sampler configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .242

Open loop versus closed loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .243

Saving sampler configurations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244

TABLE OF CONTENTS | 11

Sending and receiving samples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Sending a sample . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Receiving a sample . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

MIDI unity note and Fine tune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Processing musical instrument files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Opening musical instrument files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Previewing samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Selecting samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Processing selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Editing samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Saving changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Using the MIDI keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Displaying the MIDI keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Turning on the MIDI keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Configuring the MIDI keyboard output port and channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Troubleshooting the MIDI keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Specifying instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Generating chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Setting up MIDI/SDS hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Troubleshooting MIDI/SDS with open loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Setting up SCSI/SMDI hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Troubleshooting SCSI/SMDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Conflicting SCSI IDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Periodic transfer failures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Sampler is recognized but does not transfer reliably . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Working with MIDI/SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

What is MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

MIDI triggers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Playback versus triggered playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Triggering file playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Triggering region playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Triggering playback from additional internal/external MIDI devices . . . . . . . . . . . . . . . . . . . . . . . . 256

Advantages of external MIDI controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Sound Forge software and MIDI timecode synchronization. . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Playing regions using MTC from a sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Playing regions using MTC from an external device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Using Sound Forge software to generate MTC for a MIDI sequencer . . . . . . . . . . . . . . . . . . . . . . . . 258

Using Sound Forge software to generate MTC for an external device . . . . . . . . . . . . . . . . . . . . . . . 259

12 | TABLE OF CONTENTS

Looping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .261

Sustaining and release loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .261

Creating a sustaining loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .261

Creating a sustaining loop with a release loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .262

Looping techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263

Match endpoint amplitudes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263

Match endpoint waveform slope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263

Match endpoint sound levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263

Avoid very short loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263

Editing loops. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263

Editing a loop without the Loop Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263

Editing a loop with the Loop Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263

Crossfading loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .266

Using the Crossfade Loop tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .266

Creating loops for ACID software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267

Creating an ACID one-shot file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267

Creating an ACID loop file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267

Creating an ACID beatmapped file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .268

Editing loops for ACID software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269

Halving or doubling a loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269

Shifting a selection left or right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269

Rotating audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .270

Setting loop tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .271

Saving loop points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .271

Working with Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Viewing video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273

Using the video strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273

Previewing files with video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275

Using an external monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .276

Attaching video to an audio file. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .276

Detaching video from an audio file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .276

Setting video options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277

Video file properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277

Configuring your video settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277

Saving a video file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .278

Using Spectrum Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Working in the frequency domain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279

Fast Fourier Transform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279

TABLE OF CONTENTS | 13

Using a spectrum graph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Displaying a spectrum graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Monitoring an input and output source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Viewing frequency and amplitude values, notes and statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Navigating a spectrum graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Changing the graph type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Changing the zoom level of the graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Synchronizing graphs in a multichannel file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Updating a spectrum graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Viewing multiple spectrum graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Creating and comparing snapshots of the Spectrum Analysis window . . . . . . . . . . . . . . . . . . . . . 283

Printing the graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Using a sonogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Displaying a sonogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Displaying frequency and amplitude values, notes and statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Updating a sonogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Monitoring an input and output source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Tuning a sonogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Synchronizing sonograms in a multichannel file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Returning to a spectrum graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Printing the sonogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Adjusting Spectrum Analysis settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Saving spectrum graph settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Burning CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Understanding track-at-once and disc-at-once burning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Track-at-once . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Disc-at-once (single session or Red Book) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Correcting the sample rate for CD burning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Writing mono tracks to a CD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Burning track-at-once (TAO) CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Closing a CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Burning disc-at-once (DAO) CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Creating and editing tracks for disc-at-once CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Moving tracks on the CD layout bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Editing pause time for a disc-at-once CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Using the Track List window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Creating track lists for disc-at-once CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Adding CD Text to disc-at-once CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Burning a disc-at-once CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Optimizing for Sound Forge Pro Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Defragmenting your hard drive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Increasing total buffer size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

14 | TABLE OF CONTENTS

Turning off the playback cursor and record counter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .307

Turning off the channel (output) meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .307

Turning on passive updating for time and video displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . .307

Time displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .308

Video displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .308

Synchronizing audio and video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .308

Customizing Sound Forge Pro Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Saving and recalling window layouts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309

Loading default window layouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309

Saving a window layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309

Loading a saved layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310

Adding a layout to the View > Window Layouts submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310

Removing a layout from the View > Window Layouts submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . .310

Deleting a layout from your computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310

Customizing the Time Display window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .311

Setting preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312

General tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312

Display tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314

Editing tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316

Labels tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .317

File Types tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .318

MIDI/Sync tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .318

Previews tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .319

Status tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .320

Toolbars tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .320

CD Settings tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .321

Audio tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .322

Video tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .323

VST Effects tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .324

Customizing keyboard shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325

Editing or creating shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325

Saving a keyboard mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326

Deleting a keyboard mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326

Importing or renaming a keyboard mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326

Resetting the default keyboard mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326

Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Keyboard shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327

Project file shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327

Magnification and view shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .328

Data window shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .329

Cursor movement shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .330

Data selection shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .331

TABLE OF CONTENTS | 15

Keyboard shortcuts (continued)

Navigation and playback shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Event tool keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Record dialog shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Plug-In Chainer shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Regions List shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Playlist/Cutlist shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Script Editor shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Drag-and-drop shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Mouse shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Microsoft Audio Compression Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Audio data compression and decompression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Transparent playback and recording of non-hardware supported audio files . . . . . . . . . . 338

SMPTE Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

SMPTE 25 EBU (25 fps, Video). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

SMPTE Drop Frame (29.97 fps, Video) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

SMPTE Non-Drop Frame (29.97 fps, Video) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

SMPTE 30 (30 fps, Audio) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

SMPTE Film Sync (24 fps) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Using CSOUND, MTU, IRCAM, BICSF, and EBICSF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

About IRCAM files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

About BICSF and EBICSF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Opening files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

BICSF and EBICSF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

IRCAM, CSOUND and MTU files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Saving files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

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

16 | TABLE OF CONTENTS

Introduction

Introducing Sound Forge Pro software

ChaptChapteer 1r 1

Thank you for purchasing Sound Forge® Pro 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.

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 saved in Perfect Clarity Audio® (PCA) format, a Sony Creative Software Inc. proprietary lossless audio compression format.

System requirements

The following lists the minimum system requirements for using Sound Forge:

• Microsoft® Windows® XP (Service Pack 2 or later), Windows Vista® (Service Pack 2 or later), or Windows 7

• 1.0 GHz processor

• 350 MB hard-disk space for program installation

• 512 MB RAM

• Microsoft Windows®-compatible sound card

• DVD-ROM drive (for installation from a DVD only)

• Supported CD-recordable drive (for CD burning only)

• Microsoft DirectX® Media 9.0c or later

• Microsoft .NET Framework 2.0 (included on application disc)

Technical support

The Web site at http://www.sonycreativesoftware.com/support/default.asp has technical support, reference information, program
updates, tips and tricks, user forums, and a knowledge base.

INTRODUCTION | 17

Installing Sound Forge Pro software

Too l ba r

Tab s

Information pane

The install utility, setup.exe, located on the Sound Forge application disc, creates the necessary folders and copies all files required to
operate Sound Forge software.

1.

Place the Sound Forge application disc in the drive. The setup screen is displayed (if AutoPlay is enabled for your DVD drive).

Note:

If the drive’s AutoPlay feature is not enabled, click the Start button and choose Run. Type D:\setup.exe, where D is the drive letter of

your DVD drive, and follow the on-screen prompts to complete the installation.

2.

Click Install, and follow the on-screen prompts to install the appropriate version of Sound Forge for your computer.

Getting help

You can access two varieties of help within Sound Forge:

• Online help

• Interactive tutorials

Online help

To access online help, choose Contents and Index from the Help menu or press F1.

The online help window has four tabs that you can use to find the information you need.

Tab D esc ri pt ion

Contents

Index Provides a complete listing of the help topics available. Scroll through the list of

Search Allows you to enter a keyword and display all of the topics in the online help that

Favorites Allows you to keep topics that you revisit often in a separate folder. To add a topic to

18 | CHAPTER 1

Provides a list of available help topics. Click a closed book (

then click on a topic page (

available topics or type a word in the Type in the keyword to find box to quickly
locate topics related to that word. Select the topic and click the Display button to
view it.

contain the keyword you have entered. Type a keyword in the Type in the word(s) to
search for box and click the List Topics button. Select the topic from the list and click
the Display button to view it.

your favorites, click the Add button on the Favorites tab.

).

) to open the pages, and

Interactive tutorials

You can learn more about many of the features in Sound Forge by using the interactive tutorials installed with the software.

You can access the tutorials at any time by choosing Interactive Tutorials from the Help menu.

Help on the Web

Additional Sound Forge information is available on the Sony Creative Software Inc. Web site. From the Help menu, choose Sony on the
Web, and choose the desired location from the submenu. The software starts your system’s Web browser and attempts to connect to the

appropriate page on the Sony Web site.

INTRODUCTION | 19

20 | CHAPTER 1

Learning the Sound Forge Pro Workspace

This chapter provides a detailed overview of Sound Forge® Pro toolbars and controls.

Using the mouse

Chapter 2

The following table defines the mouse-related terms used throughout this manual.

Mouse Term Description

Pointing Moving the mouse pointer over an item.

Clicking Pointing to an item and quickly pressing and releasing the left mouse button. If there

is no left or right specification, left-clicking is implied.

Right-clicking Pointing to an item and quickly pressing and releasing the right mouse button. Right-

clicking is frequently used to display shortcut menus.

Double-clicking Identical to clicking, but instead of pressing and releasing the mouse button once, it is

done twice in quick succession. Double-clicking always indicates the left mouse
button.

Triple-clicking Identical to clicking, but instead of pressing and releasing the mouse button once, it is

done three times in quick succession. Triple-clicking always indicates the left mouse
button.

Toggle-clicking Clicking the right mouse button while holding down the left mouse button. This is

used to toggle options and is a shortcut for drag-and-drop editing and using the
Magnify tool.

Shift-clicking Holding down the Shift key while clicking the mouse. Shift-clicking is typically used to

skip dialogs and quickly repeat operations.

Ctrl-clicking Holding down the Ctrl key while clicking the mouse. Ctrl-clicking is used to modify the

operation of a normal click.

Dragging Holding down the left mouse button while moving the mouse pointer and releasing

the mouse at the desired location. Dragging is used to quickly move sections of data
between windows, as well as to adjust sliders, scrollbars, and faders.

Slow-dragging Holding down the right and left mouse buttons while adjusting sliders and faders

increases the resolution of the movement. This is useful when making fractional
adjustments to parameters.

Tip:

After you are familiar with Sound Forge basics, you may want to use mouse and keyboard shortcuts. For more

information, see Shortcuts on page 327.

Using the mouse wheel

The following table describes the available mouse wheel functionality you can use to navigate audio files.

Mouse Functionality Description

Wheel Up Zoom in horizontally

Wheel Down Zoom out horizontally

Ctrl+Wheel Up Zoom in vertically

Ctrl+Wheel Down Zoom out vertically

Shift+Wheel Up Scroll left (in tenths of screen width)

Shift+Wheel Down Scroll right (in tenths of screen width)

Ctrl+Shift+Wheel Up Move cursor left or move current selection point left (if there is a selection)

Ctrl+Shift+Wheel Down Move cursor right or move current selection point right (if there is a selection)

LEARNING THE SOUND FORGE PRO WORKSPACE |

21

The main window

Channel Meters (docked)

Standard toolbar

Transport bar

Menu bar

Work space

Status bar

When you start the application, the main window is displayed. The main window’s workspace is where you perform all audio editing.

Main window components

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

Component

Menu bar

Standard toolbar

Transport bar

Status bar

Description

Displays the menu headings for the available functions.

Provides quick access to some of the most common tasks in the application. For mo re

information, see Standard toolbar on page 36.

Provides quick access to basic audio transport functions. For more information, see

Transport toolbar on page 37.

Help and processing information is displayed on the left side. The boxes on the right
side display the playback sample rate, bit depth, channel configuration, length of the
active data window, CD time remaining, and total free storage space.

Note:

The CD Time Remaining box is displayed only when CD tracks exist in the

active data window.

With the exceptions of the CD Time Remaining and Free Storage boxes, you can edit
these boxes by double-clicking or right-clicking them.

When no data windows are open, only the Free Storage box contains a value. For more

information, see Editing file properties on page 99.

Workspace

Channel Meters Displays the level of the output audio signal. These meters can be toggled on/off by

This is the area located behind the data windows. Audio selections dragged to the
workspace automatically become new data windows. Windows such as the Regions
List and Playlist can be docked along the edges of the workspace or in floating
window docks.

choosing Channel Meters from the View menu. Right-clicking the channel meters
displays a shortcut menu that allows you to precisely configure the appearance of the
meters.

22 | CHAPTER 2

Floating and docking windows

Docked
windows with
tabs

Maximized
data windows
with tabs

Docked
channel meters

Docked keyboard

Close window

Expand window

Handle

Your workspace can become cluttered quickly if you have several windows and toolbars visible.

You can create multiple window docks to organize your Sound Forge windows. These docks can be anchored to the perimeter of the
Sound Forge workspace, or they can float over the workspace or on a secondary monitor.

• To dock a window, drag it to a floating dock or to any edge of the Sound Forge workspace.

• To undock a window, click the handle and drag it out of the docking area or floating dock.

• To prevent a window from docking when you drag it, hold the Ctrl key.

Note:

When the Allow floating windows to dock check box on the General tab of the Preferences dialog is cleared, windows will

not dock unless you hold the Ctrl key. When the check box is selected, you can prevent a window from docking by holding the Ctrl key.
For more information, see General tab on page 312.

• To expand a docked window so it fills the docking area, click the Maximize button (

). Click again to restore the window to its

previous size.

• To remove a window from the docking area or a floating dock, click the Close button ( ).

You can dock several windows in the same area of the screen, and the windows will be layered. Click a window’s tab to bring it to the
top.

LEARNING THE SOUND FORGE PRO WORKSPACE | 23

Hiding the window docking areas

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

Note:

These shortcuts do not apply to floating docks.

Shortcut key Description

F11 Show/hide windows docked at bottom of workspace.

Shift+F11 Show/hide windows docked on left/right sides of workspace.

Ctrl+F11 Show/hide all docked windows.

Explorer window (Alt+1)

The Explorer window is used to find, preview, and open media files. From the View menu, choose Explorer to show or hide the Explorer
window. For more information, see Using the Explorer window on page 57.

File Properties window (Alt+2)

The File Properties window is used to view or edit information saved in the active file. From the View menu, choose File Properties to
show or hide the File Properties window. For more information, see Editing file properties on page 99.

Video Preview window (Alt+3)

The Video Preview window shows the video frame at the current cursor or play position. From the View menu, choose Video Preview to
show or hide the Video Preview window. For more information, see Previewing files with video on page 275.

Time Display window (Alt+4)

The Time Display window displays the current cursor or play position. From the View menu, choose Time Display to show or hide the
Time Display window. For more information, see Customizing the Time Display window on page 311.

Channel Meters window (Alt+5)

Sound Forge software provides peak and VU/PPM (peak program) meters that you can use to monitor your audio levels. From the View
menu, choose Channel Meters to show or hide the channel meters. For more information, see Using the channel meters on page 44.

Hardware Meters window (Alt+6)

The Hardware Meters window allows you to monitor hardware outputs and adjust preview levels. From the View menu, choose
Hardware Meters to show or hide the Hardware Meters window. For more information, see Using the hardware meters on page 111.

Undo/Redo History window (Alt+7)

The Undo/Redo History window allows you to see all of your edit operations. From the View menu, choose Undo/Redo History to show
or hide the Undo/Redo History window. For more information, see Using the Undo/Redo History window on page 77.

Spectrum Analysis window (Alt+8)

The Spectrum Analysis window allows you to examine the fundamental frequency and overtones present in a recording. From the View
menu, choose Spectrum Analysis to show or hide the Spectrum Analysis window. For more information, see Using Spectrum Analysis on
page 279.

24

| CHAPTER 2

Plug-In Chainer window (Alt+9)

The Plug-In Chainer window allows you to link up to 32 DirectX and VST plug-ins into a single processing chain. From the View menu,
choose Plug-In Chainer to show or hide the Plug-In Chainer window. For more information, see Using the Plug-In Chainer on page 196.

Plug-In Manager window (Ctrl+Alt+0)

The Plug-In Manager window displays your plug-ins in a tree view like Windows Explorer. From the View menu, choose Plug-In
Manager to show or hide the Plug-In Manager. For more information, see Using the Plug-In Manager on page 202.

Keyboard window (Ctrl+Alt+1)

The Keyboard window allows you to control internal or external synthesizers and samplers from Sound Forge software. From the View
menu, choose Keyboard to show or hide the Keyboard window. For more information, see Using the MIDI keyboard on page 249.

Script Editor window (Ctrl+Alt+2)

The Script Editor window can be used to open, create, edit or run scripts. From the View menu, choose Script Editor to show or hide the
Script Editor window. For more information, see Using the Script Editor window on page 232.

Loop Tuner window (Ctrl+Alt+3)

The Loop Tuner window can be used to adjust the starting and ending points of a loop to create smooth transitions. From the View
menu, choose Loop Tuner to show or hide the Loop Tuner window. For more information, see Editing loops on page 263.

Metadata windows

From the View menu, choose Metadata, and then choose a command from the submenu to display metadata windows, where you can
view and edit information about the current data window.

Tips:

• If you want to sort the contents of a metadata window, you can click a column heading to sort in ascending or descending order.

• If you want to display all metadata windows docked together, choose View > Metadata > Show All, and then choose a command
from the submenu to indicate where you’d like to display the docked window.

Copying metadata to the clipboard

Note:

These procedures do not apply to the Regions List, Playlist, and Track List.

If you want to copy metadata to the clipboard, right click the window and choose Copy to Clipboard from the shortcut menu.

LEARNING THE SOUND FORGE PRO WORKSPACE | 25

If you want to customize the format for copying metadata to the clipboard, right-click the window and choose Custom Copy to
Clipboard from the shortcut menu.

The Copy Metadata dialog is displayed to let you choose whether you want to copy the data as formatted text or delimited text, set a
delimiter, and choose whether you want to include a header row.

Click OK to copy the metadata to the clipboard, and you can then paste the information wherever you need it.

Regions List window (Ctrl+Alt+M, 0)

The Regions List window contains all regions and markers that exist in the active data window. From the View menu, choose Metadata,
and then choose Regions List from the submenu to show or hide the Regions List window. For more information, see Using the Regions

List on page 127.

Playlist window (Ctrl+Alt+M, 1)

The Playlist window is used to arrange regions for playback. From the View menu, choose Metadata, and then choose Playlist from the
submenu to show or hide the Playlist window. For more information, see Using the Playlist on page 130.

Track List window (Ctrl+Alt+M, 2)

The Track List window is used to arrange tracks for a disc-at-once CD. From the View menu, choose Metadata, and then choose Track
List from the submenu to show or hide the Track List window. For more information, see Using the Track List window on page 300.

26 | CHAPTER 2

ACID Properties window (Ctrl+Alt+M, 3)

From the View menu, choose Metadata, and then choose ACID Properties from the submenu to display the ACID Properties window,
where you can view and edit ACID-specific information in a sound file. For more information about creating ACID loops, see Creating loops

for ACID software on page 267

Item Description

Time signature Displays the number of beats in your clip and the note that receives one beat.

You can double-click the value to edit it.

ACID type Displays the clip’s ACID type.

Click the down arrow (
clip type:

One-Shot Choose One-Shot if you want ACID to treat your file as a one-

Loop Choose Loop and specify a Number of beats and Root note for

ACID Beatmapped Choose ACID Beatmapped if you want to add key and tempo

) and choose a setting from the drop-down list to change the

shot.

One-shots are RAM-based audio clips that do not change tempo
or pitch with an ACID project and are not designed to loop.
Sounds such as cymbal crashes and sound bites could be
considered one-shots. Longer files can be treated as one-shots if
your computer has sufficient memory.

transposing if you want ACID to treat your file as a loop.

Loops are small audio clips that are designed to create a
repeating beat or pattern. Loops are usually one to four
measures long and are stored completely in RAM for playback.
Loop files change tempo and can pitch shift with an ACID
project.

• Root note for transposing Click the down arrow (
choose a note from the drop-down list to set the base note
for tracks that you want to conform to the project key.

If you do not want a track transposed to the project key (a
track that contains a drum sample, for example) choose
Don’t transpose.

• Number of beats Double-click to edit the length of the file.
Selecting a value that does not match the actual file will
cause ACID to play the loop at a different speed than normal.
For example, specifying a length of 8 beats for a 4-beat loop
will cause the loop to play at half speed at any given tempo.

information to a long audio file. By default, ACID will start the
Beatmapper Wizard for files longer than 30 seconds.

• Root note for transposing Click the down arrow (
choose a note from the drop-down list to set the base note
for tracks that you want to conform to the project key.

If you do not want a track transposed to the project key (a
track that contains a drum sample, for example) choose
Don’t transpose.

• Tem p o Double-click to edit the original tempo of the clip.

• Downbeat offset (samples) Double-click to edit the location
(in samples) of the track’s first downbeat.

) and

) and

Broadcast Wave window (Ctrl+Alt+M, 4)

From the View menu, choose Metadata, and then choose Broadcast Wave from the submenu to display the Broadcast Wave window,
where you can view and edit information about a Broadcast Wave Format (BWF) file.

You can double-click values in the Broadcast Wave window to edit them.

If the data you want to edit is not displayed in the window, you can right-click the window, choose Insert from the shortcut menu, and
then choose a metadata field from the submenu.

LEARNING THE SOUND FORGE PRO WORKSPACE | 27

CD Information window (Ctrl+Alt+M, 5)

From the View menu, choose Metadata, and then choose CD Information from the submenu to display the CD Information window,
where you can view and edit information about a disc-at-once audio CD.

Item Description

Universal Product Code/Media
Catalog Number

First track number on disc Type a number in the box to specify the track number of the first track.

Name/Title (CD Text) Type a title for the project.

Universal product codes (UPC) or media catalog numbers (MCN) can be written to a
CD as a means of identification. However, not all CD-R drives support this feature.
Check your CD-R drive documentation to determine if your drive will write these
codes.

Type the code in this box, and the codes will be written to the CD with the rest of the
project.

Universal product codes are administered by the Uniform Code Council. For more

information, see http://www.uc-council.org/.

Note:

audio CD players may be unable to play the disc.

If you select the Write CD Text check box on the Burn Disc-at-Once CD dialog, this
data will be written to your disc. In order to display CD Text, your CD player must
support CD Text.

Specifying a value other than 1 will produce a valid Red Book CD, but some

Notes:

• In order to burn valid CD Text, you must specify a title for the disc and for each track
on the disc (artist information is optional). If the Name/Title box in the CD
Information or Track List window is left blank, a warning will be displayed before
burning so you can choose to write the disc without CD Text or cancel burning and
add title information as needed.

• You can write a maximum of 5000 characters as CD Text.

Artist (CD Text) Type the name of the artist.

If you select the Write CD Text check box on the Burn Disc-at-Once CD dialog, this
data will be written to your disc. In order to display CD Text, your CD player must
support CD Text.

Engineer Type the name of the person who mixed or edited the project.

Copyright Type copyright information for the project.

Comments Type any comments you want to associate with the project.

Sampler Loops window (Ctrl+Alt+M, 6)

From the View menu, choose Metadata, and then choose Sampler Loops from the submenu to view or edit loops and sampler
information saved in the active file.

Item Description

Sample type Displays the type of sample loop you’re creating. Click the down arrow ( ) to choose

a new setting.

• None Removes the loop from the file.

• One shot Causes the sound file to play normally with no loops.

• Sustaining Causes the file to repeat the sustaining loop region the specified
number of times.

• Sustaining with release Causes the sound file to play the sustaining loop region
the number of times you specify, play the region between the sustaining and
release loops, and then play the release loop region the number of times you
specify.

Sustain start Displays the beginning of the sustaining loop.

You can double-click the value to edit it.

28 | CHAPTER 2

Item Description

Sustain end Displays the end of the sustaining loop.

You can double-click the value to edit it. Editing the end will automatically update the
Sustain length value.

Sustain length

Sustain count

Release start

Release end

Release length Displays the length of the release loop.

Release count Indicates how many times the release loop should be played.

Manufacturer

Product

Sample period

Unity note Indicates the MIDI note that will cause a sampler to play the sound file at the pitch

Fine tune Allows you to pitch shift the unity note up from 0 to 99.999 cents.

SMPTE format Indicates the type of SMPTE offset that has been set for the file.

SMPTE offset Indicates whether a SMPTE time offset has been set for the file. Sound Forge software

Displays the length of the sustaining loop.

You can double-click the value to edit it. Editing the length will automatically update
the Sustain end value.

Indicates how many times the sustaining loop should be played.

Click the down arrow ( ) to choose a new setting. If you choose Custom, you can
type a new value.

Displays the start of the release loop.

You can double-click the value to edit it.

Displays the end of the release loop.

You can double-click the value to edit it. Editing the end will automatically update the
Release length value.

You can double-click the value to edit it. Editing the length will automatically update
the Release end value.

Click the down arrow ( ) to choose a new setting. If you choose Custom, you can
type a new value.

For example, if you set the Sustain count to 3 and the Release count to 2, the sustain
loop would be played 3 times, and then the release loop would be played twice.

The MMA manufacturer code for the target device. If the sample is not intended for a
specific manufacturer, set the value to 0. For more information, see http://

www.midi.org/techspecs/manid.php.

The sampler that created the sample.

Click the down arrow ( ) and choose a sample period from the drop-down list, or
choose Custom to type a value in the edit box to set the duration of each sample in
nanoseconds.

(sample rate) it was originally recorded.

Click the down arrow ( ) to choose a new unity note and octave.

Sound Forge software does not fine-tune the sound file when fine tuning is used, and
not all samplers support the setting. This option is an informational setting that will be
transmitted to a sampler via a sample-transfer procedure.

A sampler such as the K2000 can use this information to play back the sample. The
K2000 should accurately display this information on the Master/Sample/Misc. page as
Pitch Adjust.

ignores this offset value, and not all samplers can store a SMPTE offset value in the
sample.

Summary Information window (Ctrl+Alt+M, 7)

From the View menu, choose Metadata, and then choose Summary Information from the submenu to display the Summary
Information window, where you can view and edit information saved in the active file.

If the data you want to edit is not displayed in the window, you can right-click the window, choose Insert from the shortcut menu, and
then choose a metadata field from the submenu.

FourCC Code Name Description

IARL Archival Location Indicates where the subject of the file is archived.

IART Artist (CD Text) The artist of the original subject of the file.

LEARNING THE SOUND FORGE PRO WORKSPACE |

29

FourCC Code Name Description

ICMS Commissioned The name of the person or organization that commissioned the

ICMT Comments General comments about the file or the subject of the file. If the

ICOP Copyright Copyright information for the file. For example, © Copyright

ICRD Creation Date The date the subject of the file was created. List dates in year-

ICRP Cropped Describes whether an image or sound has been cropped and, if

IDIM Dimensions The size of the original subject of the file. For example, 8.5 in h,

IDPI Dots Per Inch The dots-per-inch setting of the digitizer used to produce the

IENG Engineer The name of the engineer who worked on the file. If there are

IGNR Genre Describes the classification of the original work.

IKEY Keywords Separate multiple keywords with a semicolon and a blank:

ILGT Lightness Describes the changes in lightness settings on the digitizer

IMED Medium Describes the format of the original subject of the file.

INAM Name/Title (CD Text) The title of the subject of the file, such as Madison From Above.

IPLT Palette Setting The number of colors requested when digitizing an image.

IPRD Product The name of the title the file was originally intended for, such as

ISBJ Subject Describes the contents of the file, such as Aerial view of

ISFT Software The name of the software package used to create the file.

ISHP Sharpness Identifies the changes in sharpness for the digitizer required to

ISRC Source/Album The name of the person or organization who supplied the

ISRF Source Form The original form of the material that was digitized, such as

ITCH Technician The technician who digitized the file.

DISP Sound Scheme Title Sets the title that is displayed for Microsoft Sound Systems.

TLEN Text Length (ms) The length of the file in milliseconds.

TRCK Track Number The track number of the media from the original source media.

TURL URL The Web address associated with the file.

TVER Version Sets the version of the file. You can use versioning information

LOCA Location Identifies the location where the file was recorded.

TORG Organization Identifies the organization that produced the track.

subject of the file.

comment is several sentences long, end each sentence with a
period. Do not include new-line characters.

2009 Sony Creative Software Inc. If there are multiple
copyrights, separate them with a semicolon followed by a space.

month-day format, padding one-digit months and days with a
zero on the left. For example, 1964-03-02 for March 2, 1964.

so, how it was cropped. For example, Third movement, first

through fourth bars.

11 in w.

file.

multiple engineers, separate the names by a semicolon and a
blank: Engineer, Joe; Mixer, Matt.

Madison; aerial view; scenery.

required to produce the file. The format of this information
depends on hardware used.

Encyclopedia of Midwest Geography.

Madison.

produce the file. The format of this information depends on the
hardware used.

original subject of the file.

slide, paper, map, and so forth. This is not necessarily the same
as IMED.

to keep track of multiple mixes.

30 | CHAPTER 2

Data windows

Title bar

Time ruler

Edit Tool Selector

Lock Channel Selection

Level ruler

Position scrollbar

Level zoom in/out

Overview bar
Marker bar

Waveform display

CD layout bar

Time zoom in/out

Maximize width

Time zoom resolution

Playbar

Scrub control Selection status boxes

Data windows contain audio data (as a waveform) as well as a number of controls and commands used to edit and process audio.

Data window components

Component Description

Title bar Displays the file name. If title information is included in the summary of a file, it appears here instead of

the file name. Double-click to maximize and restore the window.

Level ruler Displays the amplitude of the waveform. Right-click to display the level ruler shortcut menu. Drag to shift

Time ruler Displays the current location in the data window. Right-click to display the time ruler shortcut menu. Drag

Marker bar Displays the position of region end points, loop end points, and markers. You can place, name, and

Edit Tool Selector Toggles through the available edit tools. Right-click to display a shortcut menu that allows you to display

Playbar Contains audio transport buttons. For more information, see Playbar on page 34.

Selection status boxes Displays the beginning, end, and length of a selection. If no selection exists, only the cursor position

Waveform display Displays a graphical representation of an audio file. The horizontal axis represents time, and the vertical

Scrub control Scrolls playback of your project at varying speeds.

Position scroll bar Scrolls forward/backward through an audio file to display sections of the file not visible in the current area

Overview bar Allows for quick navigation and playback of any part of an audio file. The overview bar also indicates the

the view up/down when zoomed in vertically.

to scroll the data window.

position markers and regions anywhere in the data window. These informational tags can serve as cues or
reminders highlighting important events in your project.

Right-click a marker or region tag to display a shortcut menu. Drag to edit a tag’s position. Double-click
anywhere within a region to select it.

or hide data window elements.

displays. Double-click the leftmost box to edit the current cursor position or selection start position.
Double-click either of the other two boxes to edit the selection end position or the selection length. Right­click to display the status format shortcut menu.

axis represents amplitude. Right-click within this display to open the waveform display shortcut menu.

of the waveform display.

portion of the waveform currently depicted in the waveform display, as well as the selected region. Click
to move the cursor. Double-click to center the cursor in the waveform display. Right-click to start or pause
playback. Drag to activate the audio event locator.

LEARNING THE SOUND FORGE PRO WORKSPACE |

31

Component Description

End-of-disc indicator

CD layout bar The CD layout bar displays information about the tracks you’ve created for a disc-at-once CD. Each CD

track shows the track’s number and length.

A red indicator is drawn at the end of the CD layout bar to represent the end of the disc (if the disc length
is known).

You can use the CD layout bar to perform many of the track-editing functions from the Track List window.

For more information, see Moving tracks on the CD layout bar on page 297.

Time zoom resolution Specifies the number of samples of data represented by each horizontal point on the screen. This

determines the length of time displayed in the data window. Smaller resolution values display less time.

Time zoom in/out Changes the zoom resolution for the time (horizontal) axis.

Level zoom in/out Changes the zoom resolution for the level (vertical) axis.

Maximize width Resizes the data window to maximize its size within the workspace.

32 | CHAPTER 2

Displaying data window components

You can customize the appearance of individual data windows.

From the Options menu, choose Data Window, and then choose components from the submenu to display or hide those components.
Choose Set as Default to set the current configuration as the default data window appearance.

Tip:

Right-click the Edit Tool Selector to display or hide components for the selected data window.

Arranging data windows

You can use the commands on the Window menu to arrange data windows in the Sound Forge workspace.

Tip:

Press Ctrl+Tab to switch forward through the open windows, or press Ctrl+Shift+Tab to switch backward through the open windows.

Command Description

New Window Creates a new data window.

Cascade Arranges all open data windows so they overlap with the title bar of each window

Tile Horizontally Arranges all open data windows top to bottom with no overlapping.

Tile Vertically Arranges all open data windows left to right with no overlapping.

Arrange Icons Arranges minimized data windows at the bottom of the workspace.

Maximize All Maximizes all open data windows. Tabs for each data window also appear if the Tab s

Minimize All Minimizes all open data windows.

Restore All Restores all minimized windows to their previous window size and position.

Close All Closes all open data windows.

Window List Switches focus to another data window.

remaining visible.

Note:

This command affects only non-minimized windows.

Note:

This command affects only non-minimized windows.

for maximized data windows setting is set to Top or Bottom. For more information,
see Display tab on page 314.

LEARNING THE SOUND FORGE PRO WORKSPACE |

33

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 Next Track Moves the cursor to the next disc-at-

once track or index. Hold Ctrl while clicking to skip index
markers, or press Shift to extend a selection.

Note:

tracks are present in your data window.

Go to End Moves the cursor to the end of the file. Play Plug-In Chainer Previews the audio processed

through plug-ins when the Plug-In Chainer window is
open.

If there is a selection, plays from the beginning of the
selection to the end of the selection.

If the Plug-In Chainer window is not open, the Open Plug-

In Chainer button (

Stop Stops playback and returns the cursor to its position Play as Cutlist Plays the file with the regions in the cutlist

prior to playback. omitted. This button is displayed only if you treat the

playlist as a cutlist.

Play Normal Plays from the cursor to the end of the file. Play as Sample Plays the file with the sustaining and

If there is a selection, plays from the beginning of the
selection to the end of the selection.

Go to Previous Track Moves the cursor to the previous
disc-at-once track or index. Hold Ctrl while clicking to skip
index markers, or hold Shift to extend a selection.

release loops repeating the specified number of times.
This button is displayed only if you have defined a sample
loop.

This button is displayed only if disc-at-once

) is displayed instead.

Note:

This button is displayed only if disc-at-once

tracks are present in your data window.

Current playback mode

When you play a file from the playbar, a small horizontal line appears beneath the selected Play button’s icon (
current playback mode, which is the mode used when you click the transport bar Play (

toolbar on page 37.

) button. For more information, see Tra nsp or t

Changing the current playback mode

To change the current playback mode, click a playbar button or press X.

Optional Rewind and Forward buttons

You can choose to display Rewind (
and select the Show shuttle controls on Data Window transport check box on the General tab.

) and Forward ( ) shuttle controls on the playbar. From the Options menu, choose Preferences,

). This indicates the

| CHAPTER 2

34

Toolbars

Select a check box to
display a toolbar.

Click Customize to add,
remove, or rearrange
buttons on a toolbar.

Sound Forge toolbars contain buttons used to quickly perform many of the program’s commands and functions. Toolbars can be
dragged throughout the workspace, docked, resized, hidden, and customized.

You can use the To ol b ar s tab in the Preferences dialog to specify which toolbars you want to display. Perform either of the following
actions to display this tab:

• From the Options menu, choose Preferences. When the Preferences dialog is displayed, click the To ol ba r s tab.

• From the View menu, choose To ol b ar s.

Displaying a toolbar

1.

From the View menu, choose Too l ba rs . The Preferences dialog is displayed with a list of available toolbars.

2.

To display a toolbar, select the corresponding check box and click OK.

Customizing a toolbar

1.

From the View menu, choose Too l ba rs . The Preferences dialog is displayed with a list of available toolbars.

2.

Select the check box for a toolbar and click Customize. The Customize Toolbar dialog is displayed.

3.

Use the controls in the Customize Toolbar dialog to add, remove, or rearrange the buttons on the selected toolbar. Click Reset to
restore the toolbar to its default setting.

4.

Click OK.

LEARNING THE SOUND FORGE PRO WORKSPACE | 35

Docking a toolbar

When you drag a floating toolbar to any edge of the main screen, the toolbar docks on that edge.

Floating a toolbar

When you drag a docked toolbar away from an edge, the toolbar becomes a floating toolbar.

Standard toolbar

The Standard toolbar is displayed 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. For more information, see

Creating data windows on page 65.

Open Displays the Open dialog. For more information, see

Using the Open dialog on page 56.

Save Saves the current audio data. For more information,
see Saving a file on page 66.

Save As Saves the current file with a new name or format.

For more information, see Using the Save As/Render As dialog
on page 66.

Render As Renders the current project file to a media file.

For more information, see Using the Save As/Render As dialog
on page 66.

Publish Opens the Publish Setup wizard so you can upload
your media file to the Web. For more information, see

Publishing files to the Web on page 81.

Cut Removes selected audio data and places it on the
clipboard. This command has no effect if there is no
selection. For more information, see Cutting on page 73.

Copy Copies selected audio data to the clipboard. This
command has no effect if there is no selection. For more

information, see Copying on page 71.

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. For

more information, see Pasting on page 72.

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. For more information, see Mixing on page 75.

Play Clipboard Plays the audio on the clipboard. For more
information, see Previewing clipboard contents on page 71.

Tri m/C rop 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. For more information, see Trimming/Cropping on
page 75.

Undo Reverses the last edit operation. For more
information, see Using Undo and Redo on page 77.

Redo Reverts the previously undone edit operation. For
more information, see Using Undo and Redo on page 77.

Repeat Repeats the last operation. This command can be
used with most processing functions. The previous
operation’s parameters are repeated. To specify new
parameters, hold Shift and click this button. For more

information, see Repeating an operation on page 149.

Edit Tool Selects the Edit tool.

Magnify Tool Selects the Magnify tool. For more

information, see Using the Magnify tool on page 90.

Pencil Tool Selects the Pencil tool.

see Repairing audio glitches manually with the Pencil tool on
page 155.

Event Tool Selects the Event tool. For more information, see

Using the Event Tool on page 161.

Envelope Tool Selects the Envelope tool. For more
information, see Adjusting envelopes on page 207.

Interactive Tutorials Opens the Interactive Tutorials
window where you can select tutorials and learn about the
features in Sound Forge.

For more information,

36 | CHAPTER 2

Transport toolbar

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

Record Click to display the Record dialog. Go to Start Moves the cursor to the start of the file.

Loop Playback Toggles Loop Playback mode on and off.

Play All Plays the entire file from beginning to end,

regardless of cursor position, selection, or playlist.

Playback for musical instrument files behaves slightly
differently than playback in a normal data window.

• If no samples are selected, click Play All to play all
samples in the data window.

• If you have samples selected, click Play All to play all
selected samples in the data window.

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

Playback for musical instrument files behaves slightly
differently than playback in a normal data window.

• If no samples are selected, click Play to play all samples
from the cursor position to the end of the data window.

• If you have samples selected, click Play to play all
selected samples from the cursor position to the end of
the data window.

Pause Pauses playback and maintains the cursor at its
current position. once track or index. Hold Ctrl while clicking to skip index

Go to Previous Track Moves the cursor to the previous
disc-at-once track or index. Hold Ctrl while clicking to skip
index markers, or hold Shift to extend a selection.

Note:

This button is available only if disc-at-once

tracks are present in your data window.

Rewind Moves the cursor backward in the current file.

Forw ard Moves the cursor forward in the current file.

Go to Next Track Moves the cursor to the next disc-at-

markers, or press Shift to extend a selection.

Stop Stops playback and returns the cursor to its prior
position.

Note:

This button is available only if disc-at-once

tracks are present in your data window.

Go to End Moves the cursor to the end of the file.

LEARNING THE SOUND FORGE PRO WORKSPACE |

37

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.

Zoom Normal Resets the audio data to its original

magnification.

Zoom Selection Maximizes the selection vertically and
horizontally.

Custom Zoom 1 Sets the audio data to a custom time
magnification level.

Custom Zoom 2 Sets the audio data to a custom time
magnification level.

Mark In Marks the “in” point of a new selection. For more
information, see Selecting audio during playback on page 93.

Mark Out Marks the “out” point of a new selection. For
more information, see Selecting audio during playback on
page 93.

Go To Displays the Go To dialog and allows you to quickly
move the cursor to a specific point in a file. For mor e

information, see Setting the cursor position on page 83.

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

Cursor to Selection Start Moves the cursor to the
beginning of the selection.

Cursor to Selection End Moves the cursor to the end of
the selection.

Center Sustaining Start Moves the cursor to the
beginning of the sustaining loop.

Center Sustaining End Moves the cursor to the end of the
sustaining loop.

Center Release Start Moves the cursor to the beginning of
the release loop.

Center Release End Moves the cursor to the end of the
release loop.

Double Selection Doubles the size of the current
selection.

Halve Selection Divides the current selection in half.

Shift Selection Left Shifts the current selection to the left

so the current start point becomes the end point.

Shift Selection Right Shifts the current selection to the
right so the current end point becomes the start point.

Tempo box

The Navigation toolbar also contains a Tem p o box that appears to the right of the toolbar buttons. This box calculates and displays the
tempo of the current selection as is if the selection represents a complete measure.

Views toolbar

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

Toggles views 1-8 between setting and restoring. Stores and recalls specific selection views.

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.

Time Changes the status format to Time.

Seconds Changes the status format to Seconds.

Time & Frames Changes the status format to Time &

Frames.

Absolute Frames Changes the status format to Absolute
Frames.

Measures & Beats Changes the status format to Measures
& Beats.

SMPTE Film Sync (24 fps) Changes the status format to
SMPTE Film Sync (24 fps).

SMPTE EBU Changes the status format to SMPTE EBU
(25 fps).

SMPTE Non-Drop Changes the status format to SMPTE
Non-Drop (29.97 fps, Video).

SMPTE Drop Changes the status format to SMPTE Drop
(29.97 fps, Video).

SMPTE 30 Changes the status format to SMPTE 30 (30 fps,
Audio).

Audio CD Time Changes the status format to Audio CD
Time.

Edit Tempo Calculates the musical tempo (beats per
minute) based upon the current selection.

38 | CHAPTER 2

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. For more
information, see Using the Regions List on page 127.

Playlist Displays the playlist. For more information, see

Using the Playlist on page 130.

Trigg er from MIDI Tim ecode Configures the software to
be triggered by MIDI commands received through the
MIDI input port. The MIDI input port is specified on the
MIDI/Sync tab in the Preferences dialog. For mo re

information, see Turning on MIDI input synchronization on
page 254.

Generate MIDI Timecode Configures the software to send
MIDI timecode through the MIDI output port. The MIDI
output port is specified on the MIDI/Sync tab of the
Preferences dialog.

Pre-Queue for MIDI Timecode Opens the wave device and
preloads data for the next region to be played from the
playlist.

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.

Insert toolbar

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

Insert Marker Inserts a marker at the cursor location. For Insert Volume Envelope Adds a volume envelope to the

more information, see Using markers on page 114. active data window. For more information, see Adding a

Insert Region Inserts region tags at the beginning and end
of the current selection. For more information, see Using active data window. For more information, see Adding a

regions on page 120. volume or panning envelope on page 205.

Insert Sample Loop Inserts sustaining loop tags at the
beginning and end of the current selection. For more files. For more information, see Inserting silence on page 149.

information, see Creating a sustaining loop on page 261.

Insert Command Inserts a command marker at the cursor
location. For more information, see Using command markers telephone companies. For more information, see

in streaming media files on page 118.

Insert CD Track Inserts a CD track using the current
selection as the track length. For more information, see synthesis to create complex sounds from simple

Creating and editing tracks for disc-at-once CDs on page 292. waveforms. For more information, see Generating audio with

Insert CD Index Inserts a CD index marker at the cursor
location. For more information, see Creating and editing

tracks for disc-at-once CDs on page 292. Generating simple waveforms on page 158.

volume or panning envelope on page 205.

Insert Pan Envelope Adds a panning envelope to the

Insert Silence Inserts user-configurable silence into audio

DTMF/MF Tones Synthesis Generates dial tones used by

DTMF/MF tones on page 156.

FM Synthesis Uses frequency modulation and additive

frequency modulation on page 157.

Simple Synthesis Generates a simple waveform of a given
shape, pitch, and length. For more information, see

Generating

LEARNING THE SOUND FORGE PRO WORKSPACE |

39

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. For more information,
see Auto Trim/Crop on page 175.

Bit-Depth Converter Converts a file to a different bit
depth. For more information, see Bit-Depth Converter on
page 176.

iZotope MBIT+ Dither Converts a file to a different bit
depth and applies dithering. For more information, see

iZotope MBIT+ Dither on page 178.

Channel Converter Converts between mono and
multichannel formats. Can also intermix the channels of a
file to create panning effects. For more information, see

Channel Converter on page 179.

DC Offset Changes the baseline of an audio file. For more
information, see DC Offset on page 181.

Graphic EQ Opens the XFX Graphic EQ. For more

information, click the Help button (

Paragraphic EQ Opens the XFX Paragraphic EQ. For mor e

information, click the Help button (

Parametric EQ Opens the XFX Parametric EQ. For mor e

information, click the Help button (

Graphic Fade Creates user-configurable fades. For more
information, see Fade - Graphic Fade on page 182.

Fade In Fades-in the selection. For more information, see

Fade - Fade In on page 184.

Fade Out Fades-out the selection. For more information,
see Fade - Fade Out on page 184.

Invert/Flip Inverts (or flips) the polarity of the current
selection. For more information, see Invert/Flip on page 184.

) in the process dialog.

) in the process dialog.

) in the process dialog.

Mute Mutes the current selection. For more information,
see Mute on page 185.

Normalize Normalizes the loudness of an audio file. For
more information, see Normalize on page 186.

Pan/Expand Creates custom pans, expands, and mixes. For
more information, see Pa n/Expa nd on page 188.

Resample Creates a copy of the audio file with a new
sample rate. For more information, see Resample on page

189.

iZotope 64-Bit SRC Changes the sample rate of an existing
file. For more information, see iZotope 64-Bit SRC on page

191.

Reverse Reverses the current selection. For more
information, see Reverse on page 192.

Rotate Audio Moves the current selection to the opposite
end of the file. For more information, see Rotating audio on
page 270.

Smooth/Enhance Opens the XFX Smooth/Enhance tool.

For more information, click the Help button (
dialog.

Time Stretch Opens the XFX Time Stretch tool. For more

information, click the Help button (

élastique Timestretch Opens the élastique Timestretch

tool. For more information, click the Help button (
process dialog.

Volu me Adjusts the volume of an audio file. For mor e
information, see Vol ume on page 193.

) in the process dialog.

) in the process

) in the

40 | CHAPTER 2

Effects toolbar

The Effects toolbar contains buttons corresponding to all Sound Forge built-in XFX™ plug-ins.

Acoustic Mirror Adds environmental coloration to your
existing recordings. For more information, see What are the

Acoustic Mirror effects? on page 215.

Amplitude Modulation Applies a sinusoidal or square­shaped periodic gain to the input signal. For mo re

information, click the Help button (

Chorus Simulates multiple audio sources from a single

sound. For more information, click the Help button (
effect dialog.

Multi-Tap Delay Creates a delay with up to eight delay­taps spaced anywhere within 2.5 seconds of the original

sound. For more information, click the Help button (
effect dialog.

Simple Delay Adds a delayed copy of the audio signal to

the file. For more information, click the Help button (
the effect dialog.

Distortion Simulates the overloading of an amplifier. For

more information, click the Help button (
dialog.

Graphic Dynamics Applies compression, expansion, and
limiting to affect the dynamic range of an audio file. For

more information, click the Help button (
dialog.

Multi-Band Dynamics Allows compression and limiting to
be placed on up to four different frequency bands. For

more information, click the Help button (
dialog.

Envelope Forces the amplitude envelope of a waveform to
match a specified envelope shape. For more information,

see Envelope on page 210.

) in the effect dialog.

) in the effect

) in the effect

) in the effect

) in the

) in the

) in

Flange/Wah-Wah Mixes a modulated delay signal with the
original signal. For more information, click the Help button

) in the effect dialog.

(

Gapper/Snipper Removes/inserts sections of silence at
regular intervals to create unusual effects. For more

information, click the Help button (

Noise Gate Removes signals below a set amplitude

threshold. For more information, click the Help button (
the effect dialog.

Pitch Bend Creates a modified sound envelope that
corresponds to increasing or decreasing the pitch of a
sound file over time. For more information, see Bend on
page 211.

Pitch Shift Changes the pitch of a selection with or
without preserving the duration of the file. For more

information, click the Help button (

Resonant Filter Restricts the range of a sound using low-

pass, band-pass, or high-pass filtering, and then boosts
and adds oscillation to the resonant frequency. For more

information, click the Help button (

Reverb Simulates the acoustics of different environments.

For more information, click the Help button (
dialog.

Vibrato Creates periodic pitch modulation in an audio file.

For more information, click the Help button (
dialog.

Wave Hammer Acts as a classic compressor and volume
maximizer. For more information, see What is the Wave

Hammer plug-in? on page 227.

) in the effect dialog.

) in the effect dialog.

) in the effect dialog.

) in the effect

) in the effect

) in

LEARNING THE SOUND FORGE PRO WORKSPACE |

41

Tools toolbar

Left channel level Right channel level

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

Extract Audio from CD Extracts audio from CD and opens
for editing. For more information, see Extracting audio from

CDs on page 144.

Burn Track-at-Once CD Burns the selected audio track to
CD. For more information, see Burning track-at-once (TAO)

CDs on page 290.

Burn Disc-at-Once CD Burns a disc-at-once CD using the
current CD layout. For more information, see Burning disc-

at-once (DAO) CDs on page 292.

Auto Region Creates regions in an audio file according to
rapid sound attacks or a specified time interval. For more

information, see Inserting regions based on rapid sound

attacks on page 123 and Inserting regions based on musical
time intervals on page 123.

Extract Regions Extracts all file regions and saves them as
individual files. For more information, see Creating new files

from regions on page 126.

Detect Clipping Performs clip detection on the current file
or selection. For more information, see Detecting and

marking clipping on page 117.

Find Searches for clicks and pops, volume levels, or silent
breaks in an audio signal. For more information, see Findin g

and repairing audio glitches on page 153.

Interpolate Replaces selected audio with interpolated
audio data based on the selection’s beginning and end
samples. For more information, see Interpolating new audio

on page 154.

Replace Replaces selected audio data with previous
adjacent data. For more information, see Replacing audio

with preceding data on page 155.

Copy Other Channel Replaces selected audio with a
corresponding selection from the opposite channel. For

more information, see Copying the other channel on page

154.

Noise Reduction Analyzes and removes background noise
such as tape hiss, electrical hum, and machinery rumble.

For more information, click the Help button (
dialog.

Click and Crackle Removal Detects and removes all clicks

and pops. For more information, click the Help button (
the plug-in dialog.

Clipped Peak Restoration Rounds the tops of clipped
peaks and applies peak limiting to the area immediately
surrounding the audio clip. For more information, click the

Help button (

Audio Restoration Removes clicks and background noise

associated with vinyl records. For more information, click

the Help button (

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

For more information, see Crossfading loops on page 266.

Sampler Allows you to transfer samples to/from the Sound
Forge application.
page 241.

Statistics Displays statistics corresponding to the current
file or selection. For more information, see Viewing selection

statistics on page 64.

Preset Manager Backs up and transfers user-configured
presets from effects, processes, and plug-ins. For more

information, see Using the Preset Manager on page 204.

Batch Converter Allows you to modify and manipulate
multiple audio files without having to process each file
individually. For more information, see Using the Batch

Converter on page 238.

) in the plug-in dialog.

) in the plug-in dialog.

For more information, see Sampling on

) in the plug-in

) in

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.

42 | CHAPTER 2

Scripting toolbar

ToolTip

The Scripting toolbar allows you to show, hide, or activate the Script Editor and display the Batch Converter window. You can also add
buttons for scripts to the toolbar. For more information, see Using the Scripting toolbar on page 236.

Script Editor Allows you to create, edit, or run scripts. For
more information, see Using the Script Editor window on multiple audio files without having to process each file
page 232. individually. For more information, see Using the Batch

Batch Converter Allows you to modify and manipulate

Converter on page 238.

ToolTips

Using 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 features.

Turning off ToolTips

1.

From the View menu, choose Too lb ar s. The Preferences dialog is displayed.

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, the command is not executed.

Keyboard shortcuts

The Keyboard map allows you to customize the keyboard shortcuts available in the Sound Forge interface. You can access the Keyboard
map by choosing Customize Keyboard from the Options menu. For more information, see Customizing keyboard shortcuts on page 325.

Monitoring levels in digital audio

The Sound Forge channel meters display peak levels during playback. Use the meters to monitor levels and ensure no clipping occurs in
your file.

Decibels

The standard method for digital metering is to use the maximum possible sample value as a reference point. This value is referred to as
0 dB. Decibels are used to represent fractions logarithmically. In this case, the fraction is: sample amplitude divided by the maximum
possible amplitude. The actual equation used to convert to decibels is: dB = 20 log (amplitude/32,768).

To illustrate this, consider a sine wave with a peak amplitude of 50 percent of full scale. Inserting the values in the appropriate places
yields 20 log (0.50) = -6.0 dB. Each time a signal’s amplitude is divided by two, its dB value is decreased by 6 dB. Likewise, doubling the
amplitude of a signal increases its dB value by 6 dB. Dividing the sine wave until its peak amplitude is equal to 1 produces lowest peak
dB possible, -90.3 dB.

Why are dBs used when talking about audio? Decibels are typically used when dealing with sound pressure levels because of the vast
range of sound (about 120 dB) that the human ear can perceive. It’s also easier to say -90 dB than 0.000030 (1/32,768).

LEARNING THE SOUND FORGE PRO WORKSPACE | 43

Digital versus analog levels

Mono-compatibility meter

Phase scope

Peak meter

VU/PPM Meters

When recording to an analog medium such as magnetic tape, recording engineers typically try to keep VU (volume unit) meters as close
to zero as possible. This ensures a high signal-to-noise ratio while preserving adequate headroom to keep the tape from saturating and
distorting. In addition, occasional peaks above 0 do not cause problems because the tape saturation point is not an absolute.

However, this is not true in the digital realm, where amplitudes are stored as discrete numbers instead of continuous variables. The
flexible recording ceiling of analog is replaced by the absolute maximum sample values of digital audio. Stored signals must never have
a value above these maximums, as the wave peaks are literally clipped. This clipping adds audible distortion and though it can go
unnoticed, it can also ruin an entire project. Therefore, sample with the understanding that digital audio has absolutely no headroom.

Setting digital audio levels

Because digital audio has no headroom, setting the sampling level becomes critical. If the loudest section of the audio is identified in
advance, the recording level should be set so that the peak is as close to 0 dB as possible to maximize the dynamic range of the digital
medium. If the loudest section of audio is unknown, allow 3 to 6 dB of headroom for unexpected peaks.

Tip:

From the Too l s menu, choose Find and use the Find dialog to identify the largest peak in your file.

Using the channel meters

From the View menu, choose Channel Meters to open or close the channel meters. By default, Sound Forge software provides peak
meters that you can use to monitor your audio levels. You can also choose to display VU/PPM (peak program) meters, a phase scope, and
a mono-compatibility meter.

The peak meters display instantaneous levels during playback to help you determine the loudest level in your audio signal and whether
the signal is clipping.

To prevent clipping, keep an eye on your peak meters. Peak levels should never exceed 0 dB. You can use the Status tab in the
Preferences dialog to calibrate the VU/PPM meters to their associated levels on the peak meters and adjust the VU meters’ sensitivity.

Showing or hiding the Channel Meters window

From the View menu, choose Channel Meters to open or close the channel meters window. You can dock the Channel Meters window
on any edge of the Sound Forge workspace.

44

| CHAPTER 2

Showing or hiding meters

Click the clipping
indicator to reset it.

Clipping
indicator

You can display a peak meter, VU/PPM, a phase scope, and mono-compatibility meter for each channel. To toggle the display of each
meter, right-click the Channel Meters or Hardware Meters window and choose a command from the shortcut menu.

A check mark appears to indicate which meters are currently visible.

• For more information about VU/PPM meters, see Using the VU/PPM meters on page 46.

• For more information about phase scopes, see Using phase scopes on page 48.

• For more information about mono-compatibility meters, see Using the mono-compatibility meters on page 48.

Resetting clipping indicators

When audio levels are too high, clipping can occur. A red indicator appears at the top of the meter to show when audio is clipping. Do
any of the following to reset the indicator:

• From the Options menu, choose Channel Meters, and then choose Reset Clip from the submenu.

• Click to reset the indicator, or right-click the meters and choose Reset Clip from the shortcut menu.

You can also detect and mark clipped audio using the detect clipping tool. For more information, see Detecting and marking clipping on
page 117.

Changing the meters’ display resolution

The peak meters display levels in dB FS. To change the resolution of the meters, do either of the following:

• From the Options menu, choose Channel Meters, choose Peak Range from the submenu, and then choose a display range.

• Right-click the channel meter, choose Peak Range from the submenu, and then choose a display range.

Note:

Choosing a wide range allows you to see low-level signals at the expense of precision display at high levels.

Changing the meters’ display options

You can choose whether labels, peaks, and valleys are displayed in the meters and whether the meters are displayed on top of other
windows when they are not docked.

Do either of the following to change the meters’ display options:

• From the Options menu, choose Channel Meters, and then choose a command from the submenu.

• Right-click the meters and choose a command from the shortcut menu.

Command Description

Expand Meters Toggles expanded-width meters. Turning off expanded meters can conserve screen space.

Interleave Meters Toggles interleaved or stacked display of VU/PPM meters with the corresponding channel meters.

Show Labels Toggles the meter level labels on and off.

Hold Peaks When selected, the highest peak levels are represented by a thin line on the meter.

Hold Valleys When selected, the lowest peak levels are represented by a thin line on the meter.

LEARNING THE SOUND FORGE PRO WORKSPACE |

45

To change the layout of the meters in the Channel Meters window, right click the meters, choose Layout from the shortcut menu, and
then choose a command from the submenu.

Command Description

Horizontal/Vertical/Auto Choose a command to change the orientation of the meters in the Channel Meters window.

Stretch to Fit Stretches the meters to fit the window.

Narrow Width Toggles narrow- or normal-width meters. Using narrow meters can conserve screen space.

Interleave Peak/VU Toggles interleaved or stacked display of VU/PPM meters with the corresponding channel meters.

Routing channels to hardware outputs

You can change channel assignments from the Audio tab in the Preferences dialog or the Channel Meters window. Changing the setting
in either location updates your preferences and affects all open data windows.

To change a channel’s output device using the Channel Meters window, click the channel number and choose a new output port from
the menu:

For more information on changing channel assignments in the Preferences dialog, see Audio tab on page 322.

Using the VU/PPM meters

You can display volume unit (VU) and peak program (PPM) meters in the Channel Meters and Hardware Meters windows to help you
determine the perceived loudness of your audio signal (peak program meters provide faster response times to volume increases than
VU meters). For more information on channel meters, see Using the channel meters on page 44. For more information on hardware meters, see

Using the hardware meters on page 111.

VU/PPM meters are especially helpful when you’re mastering. Comparing two audio files’ VU/PPM readings will help take the guesswork
out of matching levels.

Right-click the Channel Meters or Hardware Meters window and choose Show VU/PPM from the shortcut menu to toggle the display of
the VU/PPM meters.

VU/PPM readings should fall near the 0 (or reference) mark. 0 VU is merely a reference level, and your signal may exceed 0 VU. To prevent
clipping, keep an eye on your peak meters. Peak levels should never exceed 0 dB. You can use the Status tab in the Preferences dialog to
calibrate the VU/PPM meters to their associated levels on the peak meters and adjust the VU meters’ sensitivity. For more information, see

Status tab on page 320.

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46

Choosing a VU or PPM scale

To change the scale of the meter, choose Channel Meters from the Options menu, choose VU/PPM Scale, and then choose a setting
from the submenu (you can also right-click the meter to set its options).

VU and PPM scales are most useful for displaying the average volume of the signal. The meter represents the RMS average level during
playback, and their attack and decay are not as sensitive as the peak meter.

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.

Item Description

Traditional VU The traditional VU meter is displayed with a scale of –10 dB to +2 dB. 0 dB on the VU meter equals 4 dBu.

Extended VU The extended VU meter is displayed with a scale of –30 dB to +8 dB. 0 dB on the VU meter equals 4 dBu.

Logarithmic VU Displays the meters in a logarithmic scale (like the Sound Forge peak meters) instead of the linear scales traditionally

UK PPM The UK peak program meter (also known as a BBC meter) is a Type II meter and is displayed with a scale of 1 to 7,

EBU PPM The EBU peak program meter is a Type II meter and is displayed with a scale of –12 to +12, which corresponds to -12

DIN PPM The DIN peak program meter is a Type I meter and is displayed with a scale of –50 dB to +5 dB, which corresponds to -

Nordic PPM The Nordic peak program meter is a Type I meter and is displayed with a scale of –42 dB to +12 dB, which corresponds

associated with VU meters.

which corresponds to a range of -12 to 12 dBu:

UK Marks dBu

7 12

6 8

5 4

4 0

3 4

2 8

1 -12

dBu to 12 dBu. 0 on the EBU PPM equals 0 dBu.

The EBU PPM and UK PPM respond identically to increases in volume, but the EBU PPM decays more slowly.

44 dBu to 11 dBu. 0 dB on the DIN PPM equals 6 dBu.

to -42 dBu to 12 dBu. 0 dB on the Nordic PPM equals 0 dBu.

Adjusting the VU/PPM 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 Status tab of the Preferences dialog.

The PPM scales use a fixed integration time:

Scale Integration time

UK PPM 10 ms

EBU PPM 10 ms

DIN PPM 5 ms

Nordic PPM 5 ms

LEARNING THE SOUND FORGE PRO WORKSPACE |

47

Using phase scopes

You can display a phase scope in the Channel Meters and Hardware Meters windows to find phase cancellation among the channels in
an audio file. For more information on channel meters, see Using the channel meters on page 44. For more information on hardware meters,
see Using the hardware meters on page 111.

Right-click the Channel Meters or Hardware Meters window and choose Show Phase Scope from the shortcut menu to toggle the
display of the phase scope.

To change the display, right-click the Channel Meters or Hardware Meters window, choose Phase Scope Style from the shortcut menu,
and then choose a setting from the submenu:

Style Description

Lissajous - XY Plot Displays the right and left channels plotted along the X and Y axes of the

graph.

Lissajous - Rotated Displays the right and left channels plotted along the X and Y axes of the

graph. This setting is identical to the Lissajous - XY Plot setting, but the graph is
rotated 45 degrees.

Polar - Linear Plot Displays the right and left channels plotted vertically on the graph.

Polar - Circular Plot Displays the right and left channels plotted on a circular graph.

Using the mono-compatibility meters

You can display a mono-compatibility meter in the Channel Meters and Hardware Meters windows to detect correlations or differences
between the channels of a file that can cause phase cancellation when downmixing to mono. For more information on channel meters,
see Using the channel meters on page 44. For more information on hardware meters, see Using the hardware meters on page 111.

Right-click the Channel Meters or Hardware Meters window and choose Show Mono-Compatibility Meter from the shortcut menu to
toggle the display of the mono-compatibility meter.

When the channels are similar, the right (or top) half of the meter is illuminated:

When the channels exhibit phase cancellations, the left (or bottom) half of the meter is illuminated:

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48

Controls

Fad er

Drag to set value

Slider

Envelope point

Envelope

Time axis

Amplitude or
frequency axis

A major step in mastering Sound Forge software is becoming familiar with the controls used to set and adjust feature parameters,
including faders, sliders, and envelope graphs.

Faders and sliders

Faders and sliders are frequently used to edit effect and process parameters. To use either control, drag the control to the desired
position and release.

Resetting fader and slider values

Double-click to return the control to its default value.

Fader and slider shortcuts

There are numerous keyboard shortcuts available when using faders and sliders.

If you want to Then use the following shortcuts

Change the value in small
increments

Change the value in larger Page Up and Page Down
increments

Set the control to its maximum Home and End
and minimum values
respectively

Up Arrow, Down Arrow, Left Arrow, and Right Arrow

—or—

Hover the mouse over the fader or slider control and press Ctrl while moving the
mouse wheel.

—or—

Hover the mouse over the fader or slider control and move the mouse wheel.

Envelope graphs

Envelope graphs are used to configure the shape of frequency or amplitude envelopes applied to audio waveforms.

LEARNING THE SOUND FORGE PRO WORKSPACE | 49

Understanding the envelope graph

Reposition multiple envelope points

Place the pointer on the envelope and
double-click to add a point.

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.

2.

Release the mouse 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 multi-directional arrow and the selected
points move together.

4.

Release the mouse button. The entire envelope graph adjusts.

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.

Adding an envelope point

1.

2.

Deleting an envelope point

Right-click the point to be deleted and choose Delete from the shortcut menu. The point is deleted and the envelope adjusts.

50

Hover over the envelope.

Double-click the mouse. A point is added to the envelope graph and can be positioned as needed. For more information, see Moving

an envelope point on page 50.

| CHAPTER 2

Delete all points

Delete all envelope points by clicking the Reset Envelope button.

Displaying the waveform on an envelope graph

Certain envelope graphs (such as in the Graphic Fade dialog) allow you to view the audio waveform on the graph. If the selection is
small, the waveform is automatically displayed. Otherwise, selecting an option from the Show wave drop-down list displays the
waveform.

Displaying multichannel waveforms

The Show Wave drop-down list allows you to specify how multichannel files appear in the envelope graph.

Multichannel files

When a data window displays a multichannel file, all channels are shown at the same time.

Working with multichannel files

When playing, editing, or processing multichannel files, you can select a single channel or all channels. However, certain processing
tasks cannot be performed on an individual channel of a multichannel file. For more information, see Single-channel editing on page 53, or

Editing Multichannel Audio on page 109.

LEARNING THE SOUND FORGE PRO WORKSPACE | 51

Selecting data in multichannel files

Drag within a channel to select that channel only. Double-click a channel number to select the entire channel.

Drag across channels to select multiple channels. Drag along the divider between channels (or the loop bar above

the ruler) to select all channels.

Hold Ctrl and click a channel to add or remove it from
the current selection.

When editing a multichannel file, you can use the mouse to select data by clicking and dragging in a data window. There are several
options for data selection in multichannel files.

1.

Open a multichannel file.

2.

From the Edit menu, choose To ol , and then choose Edit from the submenu to select the Edit tool.

Tip:

3.

Select the data:

Press Ctrl+D or click the Edit Tool button ( ) on the Standard toolbar.

52 | CHAPTER 2

Toggling channel selections

After you place the cursor or create a selection in a multichannel file, you can cycle through channel options by pressing Tab.

Previewing channels

The single channel selection option allows you to preview channels in a multichannel file individually.

1.

Open a multichannel file and select all data.

2.

Click the Play Normal button ( ). All channels play. Click the Stop button ( ).

3.

Press Tab. The first channel is selected.

4.

Click the Play Normal button ( ). Only the first channel plays. Click the Stop button ( ).

5.

Press Tab. The second channel is selected.

6.

Click the Play Normal button ( ). Only the second channel plays. Click the Stop button ( ).

Single-channel editing

You have the ability to cut, copy, and paste data in single channels of a multichannel file. However, channel lengths must always remain
equal in multichannel files. For more information on cutting, copying, and pasting data, see Editing audio on page 71.

LEARNING THE SOUND FORGE PRO WORKSPACE | 53

54 | CHAPTER 2

Getting Started

Chapter 3

The Sound Forge® Pro 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 basics is
essential. This chapter is designed to provide you with information on Sound Forge fundamentals.

Creating a project

You can use Sound Forge project files to organize and work with your media files nondestructively. When you save a project file, two
things are created: a .frg file and a subfolder that contains your media file and all of the temporary files created while working on your
project. The .frg 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. When 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 General 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 Pro Project File (*.frg).

4.

In the File name box, type a name for the file.

5.

Click the Save button. A .frg file is created with the name you specified, and a folder with a similar name (projectname_frg, for
example) is created in the same location for the temporary files.

Important:

unusable.

The associated project folder created by this process should not be deleted, as this will cause your project file to be

Getting media files

The software can open a variety of audio and video files. There are two main methods for locating, previewing, and opening media files:

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

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

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

Note:

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.

To have pulldown fields automatically removed when opening 24 fps progressive-scan DV video files, select the Allow pulldown

GETTING STARTED | 55

Using the Open dialog

File information

Select to automatically
preview files

1.

From the File menu, choose Open. The Open dialog appears.

Tip:

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

You can also click the Open button ( ) on the Standard toolbar or press Ctrl+O.

Feature Description

Files of type Use this drop-down list to specify the file format displayed in the system. A variety of file formats are supported.

Tip:

Choose the CD Audio (*.cda) option from this list to extract audio tracks from a CD.

Recent Use this drop-down list to locate recently accessed folders.

Open as read-only

Auto play

Append to current data
window

Select this check box if you want to open sound files but you do not want to alter the data in the files.

This feature is useful if you only need to play the file or copy sections from the file. You can still change the
Regions List, Playlist, and summary information for the file, but these changes must be saved to a new file.

Select this check box to automatically preview files as you select them in the Open dialog.

If you have multiple files selected, you can select the Append to current data window check box to add the
selected files to the end of the current data window.

Note:

required sample rate or bit-depth conversion before appending the files. If the formats of the selected files do not
match, they will play back at the target format without any conversion. If the sample rates do not match, for
example, pitch will not be preserved.

When the check box is not selected, multiple files will be opened to separate data windows.

Open as CD tracks Select this check box if you want to create a disc-at-once CD track when opening a file.

If you have multiple files selected, you can select the Append to current data window check box to add the
selected files to the end of the current data window and create a disc-at-once CD track for each file.

When the check box is not selected, multiple files will be opened to separate data windows.

Note:

long, silence will be added as needed.

Merge L/R to stereo Select this check box and hold the Ctrl button while selecting two mono files in the browse window. The two

2.

Locate and select a media file using the Look in drop-down list at the top of the dialog.

mono files will be merged to the left and right channels of a new stereo file.

The first file you select will be placed in the left channel, and the second file will be placed in the right channel.

Compressed files are not supported for merging.

When appending files to a data window, be sure to use files with matching formats, or perform any

Disc-at-once CD tracks must be at least four seconds long. If you select a file that is less than four seconds

56 | CHAPTER 3

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. The file is opened and a data window containing the waveform appears.

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 or mix the data. Click the right mouse button while dragging to toggle mix, paste, and CD
track 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 Start
Preview, Stop Preview, and Auto Preview buttons (

main workspace (for audio files) or to the Video Preview window (for video files).

Note:

Preview from the View menu.

To preview video files, you must have the Video Preview window open. To display the Video Preview window, choose Video

). When you preview a file, its stream is sent to the channel meters on the

1.

Select a file in the Explorer window.

2.

Click the Start Preview button ( ) to listen to the file.

3.

Click the Stop Preview 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.

GETTING STARTED | 57

Using the Favorites folder

Select the Favorites folder (
contains shortcuts to folders that you use often.

Tip:

Favorites are saved in the following folders:

) or choose Favorites from the Address Bar to view the contents of the Favorites folder. This folder

• Windows XP: C:\Documents and Settings\<user name>\Application Data\Sony\Sound Forge Pro\10.0\ExplorerFavorites.txt

• Windows Vista or Windows 7: C:\Users\<user name>\AppData\Roaming\Sony\Sound Forge Pro\10.0\ExplorerFavorites.txt

The file is saved whenever you close the Explorer window or exit the application. You can copy the file to different computers or user
accounts to migrate Favorites settings.

To see this file, you must have the Show hidden files and folders radio button selected on the View tab of the Folder Options Control
Panel in Windows.

Adding a folder to the Favorites folder

1.

Browse to the folder you want to add.

2.

Right-click the folder and choose Add Folder to My Favorites from the shortcut menu to create a shortcut to the folder.

Removing a folder from the Favorites folder

1.

Select the Favorites folder.

2.

Right-click the folder you want to delete and choose Delete from the shortcut menu.

Note:

Obtaining or editing CD information

If Sound Forge can access information about a track or CD (either from the file or CD itself or from a local cache), it automatically reads
and displays this information when you insert a CD or browse your computer. However, if this information is not available, the software
can retrieve information over the Internet from Gracenote® MusicID™.

Once Sound Forge obtains information from Gracenote MusicID, it is saved to a local cache so the information appears more quickly the
next time the tracks are displayed.

If the software cannot connect to the Gracenote Media Database and the appropriate CD information is not available on your computer,
the tracks are simply listed numerically. In this case, you can edit CD information and submit it to the Gracenote Media Database.

Deleting a folder from Favorites deletes only the shortcut to the folder; the target folder is unaffected.

Notes:

• Using Gracenote MusicID requires an active Internet connection.

• For more information on using Gracenote MusicID, refer to the Gracenote Web site at http://www.gracenote.com/company_info/FAQ/

FAQ s/ .

Locating matching CD information using Gracenote

1.

Insert a CD in your drive.

2.

Browse to the CD and click the MusicID button ( ) in the Explorer window.

Gracenote MusicID attempts to obtain matching CD information and displays artist, album, and track data:

• If the service locates an exact match, this information automatically appears. No additional action is necessary.

• If the service locates multiple possible matches, the Match dialog appears. Proceed to step 3.

| CHAPTER 3

58

3.

Choose a method for completing the CD information:

• If none of the possible matches is appropriate, click the Submit New button. The Gracenote MusicID Disc Information dialog

• Select the appropriate match from the list and click the Accept Match button. The artist, album, and track information is

Editing and submitting CD information to Gracenote

If a CD is not currently part of the Gracenote Media Database, you can submit it for inclusion.

1.

Insert a CD in your drive.

2.

Browse to the CD and click the MusicID button ( ) in the Explorer window. The Gracenote MusicID Disc Information dialog
appears.

3.

Use the Gracenote MusicID Disc Information dialog to edit information about the CD. For help on submitting CD information, click
the Help/Guidelines button in this dialog.

4.

When you are finished entering the information, click the OK button to submit it for inclusion in the Gracenote database.

appears, allowing you to complete information for the CD and submit it for inclusion in the Gracenote Media Database. For
help on submitting CD information, click the Help/Guidelines button in this dialog.

When you are finished typing information, click the OK button to submit your data.

displayed based on your selection in the right side of the PC pane.

Extracting audio from CDs

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.

2.

3.

4.

Tip:

Using Explorer views

You can control the information that appears in the Explorer window by clicking the Views button (
options are explained below:

Use the Explorer window to browse to and select your CD drive. The CD’s audio tracks appear in the right pane of the Explorer
window.

Select the tracks you want to extract.

Drag the tracks to the main Sound Forge workspace. The software begins extracting the selected tracks into individual data
windows.

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.

Item Description

Tree View Displays all of the available drives and folders that you can choose from to find files.

Region View Displays any regions that have been defined in the selected media file.

Summary View Displays a short description of the selected media file at the bottom of the Explorer window.

Details Displays the file size, date, and when the file was last created or last modified.

All Files Displays all file types in the active folder.

To extract a single audio track into a new data window, double-click the track in the right pane of the Explorer window.

) and selecting a view. These

Peak files

When you first open a file, the entire file is scanned and a peak file is created. 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. This peak file is automatically updated whenever the original file is edited.

GETTING STARTED | 59

Working with video files

Video strip

The Sound Forge application has the ability to open and save many video file formats. The video files cannot be edited within the
software, but this functionality allows you to attach, detach, and edit audio for the video. Once you’ve edited the audio, you can preview
the audio and video together.

When you open a media file containing video, the data window displays the video portion in a video strip above the audio.

For more information, see Working with Video on page 273.

60

| CHAPTER 3

Playing a file

Overview bar
current position

Status box value

Cursor
position

After you open a file, you can play it by clicking the Play All button ( ) on the transport bar. For more information, see Transport toolbar

on page 37.

Viewing the current position

As a file plays, the current playback position is indicated in the data window in three ways:

• A cursor travels across the visible portion of the data window.

• The current playback position in relation to the entire file appears in the overview bar.

• The first selection status box in the playbar displays the current position in the user-specified format. For more information, see

Selecting status formats on page 80.

Data window scrolling during playback

From the Options menu, choose Scroll Playback (or press F6) to enable automatic data window scrolling during playback. When the
cursor moves off of the current window, it will quickly scroll to show another full window of data.

To enable smooth scrolling, select the Scroll Smoothly option from the Options menu (or press Shift+F6). When this option is selected,
the cursor will slowly move back to the center of the display, and the wave data will scroll past it. This allows you to view upcoming data
while the file is being played.

GETTING STARTED | 61

Playing a file from a specified point

Selection status bar

Selection status bar

You can begin playback from any point in a file.

1.

Click to position the cursor in the data window. A flashing cursor (spanning the height of the waveform display) is displayed.

2.

Click the Play button ( ) on the transport bar. The file plays from the cursor position.

If you do not hear playback, you may have inadvertently created a small selection. To determine if you created a selection, examine
the status boxes in the bottom-right corner of the data window.

• If only the first box contains a value, there is no selection.

• If all three boxes contain values, a selection has been created. Clear the selection by clicking anywhere in the data window.

For more information, see Viewing selection status on page 63.

Tip:

When Options > Seek Cursor on Playback is selected, playback will restart when you position the cursor. If you do not want to

interrupt playback when positioning the cursor, clear this command.

Playing in Loop Playback mode

You can play an entire file or a selection in Loop Playback mode. In Loop Playback mode, the audio is played in a continuous loop.

Click the Loop Playback button (

Tip:

When Options > Seek Cursor on Playback is selected, playback will restart when you position the cursor. If you do not want to

interrupt playback when positioning the cursor, clear this command.

) on the transport bar (or press Q) to turn Loop Playback mode on and off.

Playing a selection

You can play specific portions of audio data by creating selections in the waveform display.

1.

Drag the mouse within the data window. Notice that the waveform is selected as the mouse is dragged.

2.

Click the Play button ( ). Only the selection plays.

Tip:

When Options > Seek Cursor on Playback is selected, playback will restart when you position the cursor. If you do not want to

interrupt playback when positioning the cursor, clear this command.

| CHAPTER 3

62

Viewing selection status

No selection

Selection

Cursor position Selection start Selection end Selection length

When a selection exists, the boxes in the selection status bar in the bottom-right corner of the data window contain values. These values
indicate the start, end, and length of the selection. Double-click a box to edit the value.

Selecting the status format

You can display status values in any supported format. You can change the format by right-clicking and choosing a new format from the
shortcut menu. For more information, see Selecting status formats on page 80.

GETTING STARTED | 63

Viewing selection statistics

Choosing Statistics from the Too ls menu displays a Statistics window showing information about the current selection or, if there is no
selection, on the entire file.

The following table describes all statistical categories displayed in the Statistics window.

Statistical Category Description

Ruler Format Choose a setting from the drop-down list to determine the format you would like to

Level Format Choose a setting from the drop-down list to specify how the left- and right-channel

Cursor position The cursor position (in samples) from the start of the audio file.

Sample value at cursor The actual number stored by a single sample. The maximum allowed sample value is

Maximum/minimum sample The maximum and minimum sample values and the locations (in samples) where they
position and sample value occur.

RMS level The Root Mean Square of the sample values relative to the RMS value of a maximum-

Average value The sum of all sample values in the selected region divided by the number of samples.

Zero crossings The number of times per second that the waveform fluctuates from a negative to a

Copy to Clipboard Copies all contents of the Statistics window to the clipboard. This can be useful if you

use for the Cursor position, Minimum sample position, and Maximum sample
position categories. For more information, see Selecting status formats on page 80.

levels at the cursor position will appear.

• Valu es Appears as an integer. The range is from -8388608 to 8388607 in 24-bit
audio, -32768 to 32767 in 16-bit audio and -128 and 127 in 8-bit audio.

• Decibels Appears as decibels. A value of 0 dB corresponds to maximum absolute
amplitude and negative infinity (-Inf.) corresponds to complete silence. In 16-bit
audio, -90.3 dB is the lowest possible dB value (sample value of 1).

• Percentages Appears as a percentage ranging from -100 to 100 percent.

often referred to as 100% or 0 dB.

These values may help determine if clipping will occur in the audio file. These values
can also be used to determine the noise level of a signal for use with the Noise Gate
effect (a built-in XFX plug-in installed with Sound Forge). For example, to determine
the noise amplitude of a file, run Statistics on a region of noisy silence.

amplitude square wave (the loudest possible recording).

On short intervals, this value relates to the volume level of the audio file. If used on a
large selection with large volume variation, this value becomes less meaningful.

If this value is not zero, it usually indicates a DC offset in the recording process.

positive value.

This value can be used as a rough estimate of the frequency of the audio data for very
simple waveforms.

want to compare statistics of multiple files in a spreadsheet.

64 | CHAPTER 3

Note:

To copy specific data or cells, select the cells that you want to copy and press

Ctrl+C.

Creating data windows

1.

From the File menu, choose New. The New Window dialog appears.

2.

Complete the New Window dialog:

a.

b.

c.

For more information, see Editing file properties on page 99.

3.

Click OK. A new data window with the specified attributes appears.

Tip:

information, see Editing default data window names on page 317.

From the Sample rate drop-down list, choose a sample rate.

From the Bit-depth drop-down list, choose a bit depth.

Choose a setting from the Channels drop-down list to select the number of channels stored in the file.

New windows are automatically named for you. You can customize this automatic naming feature to suit your needs. For more

Active data windows vs. inactive data windows

When multiple data windows are displayed on the workspace, only the window currently being edited is active, and all operations affect
this window exclusively.

Activating a window

To activate a data window, click anywhere within it. The title bar changes to the color defined as the active window color and the
previously active window is deactivated.

Note:

Choosing Focus to Data Window from the View menu also results in the focus being returned to the current data window.

Copying data to a new file

You can create new audio files by copying data to a new data window.

1.

Open an audio file and create a selection.

2.

From the Edit menu, choose Copy, or click the Copy button ( ). The selection is copied to the clipboard.

3.

Create a new data window. For more information, see Creating data windows on page 65.

4.

From the Edit menu, choose Paste, or click the Paste button ( ). The selected data is pasted in the new data window.

GETTING STARTED | 65

Working with files

Select file type

Select recent directories

Select template

Tem pla te descr ipt ion

Select saving metadata option

Select video options

You can save a file in a variety of formats, including popular audio formats such as WAV and AIFF, and streaming media formats such as
Windows Media®. You can save a file using a standard template, or you can customize the settings to suit your needs. Once you create
custom settings, you can save those settings as a template.

You have the option to save all open files at once or to save all open files as a workspace file.

Saving a file

1.

Click anywhere in the data window to select it.

2.

From the File menu, choose Save.

Note:

without your input.

When saving a new file, the Save As dialog appears. If the file was previously saved, choosing Save automatically saves the file

Using the Save As/Render As dialog

The Save As dialog allows you to save an audio file with a new name, in an alternate format, or with new attributes.

The Render As dialog allows you to render a file using a standard template, or you can customize the settings to suit your needs. Once
you create custom settings, you can save those settings as a template.

66 | CHAPTER 3

1.

Click anywhere in the data window to activate it.

2.

From the File menu, choose Save As to display the Save As dialog.

If you’re working with a Sound Forge project file, you can use the Save As dialog to save your project to a different name or
location. Choose Render As to save your project as a media file.

3.

Select the folder where you want to save the file:

a.

b.

4.

In the File name box, type a name for the file or select a file in the browse window to replace the existing file.

5.

From the Save as type drop-down list, choose a file format.

If the selected file type supports it, you can choose an encoding template from the Te mp la te drop-down list, or click Custom to
create a new template. For more information, see Creating custom rendering settings on page 68.

If you know that the file format is unsupported, select Raw Audio and click the Custom button to display the Custom Template
dialog, where you can specify format parameters. For more information, see Creating custom templates on page 68.

6.

In the Tem pl a te drop-down list, choose a setting that will be used to save your file, or click the Custom button to create a new
template. For more information, see Creating custom templates on page 68.

From the Save in drop-down list, choose a drive and folder.

—or—

From the Recent drop-down list, choose a folder where you have previously saved files.

Notes:

• When you convert from mono to stereo, the data will be stored in both channels. When converting from stereo to mono, the data
from both channels will be mixed to a single channel.

• When determining bit rates, 1K=1024.

7.

If you want to preserve metadata (such as embedded data from other applications, regions, markers, disc-at-once CD tracks,
commands, playlist, and sampler information) in your file, select the Save metadata with file check box.

If the check box is not selected, the data will be ignored when you save the file.

Note:

an external file with an .sfl extension (using the same name as your media file). Metadata can be saved internally for the following file
formats: MP3, Windows Media Format (WMA and WMV), WAV, WAV6 4, SFA, PCA, and Scott St udios.

8.

If you are saving to a format with a different aspect ratio than your source media settings, then select the Stretch video to fill
output frame (do not letterbox) check box.

Note:

frame to preserve the aspect ratio. For more information, see Saving a video file on page 278.

9.

If you see unacceptable video artifacts in the rendered video (these artifacts are most obvious with MPEG and streaming formats),
then clear the Fast video resizing check box.

Note:

Saving a video file on page 278.

10.

Click the Save button.

If the file type selected in the Save as type drop-down list doesn’t support metadata, you are prompted to save the metadata in

When this check box is not selected, black bars may appear at the top and bottom (letterboxing) or sides (pillarboxing) of the

Turning this option off can correct the artifacts, but your rendering times will increase significantly. For more information, see

GETTING STARTED | 67

Creating custom templates

If the file type you select supports it, you can create custom settings for saving files by clicking the Custom button.

When you click the Custom button, a Custom Settings dialog appears. Adjust the settings for the different template properties as
needed. For help on the different settings, click the Help button (

When you are finished editing the template properties, click the OK button.

Saving custom templates

You can save a custom template to use again by typing a template name in the Te m pl at e box and clicking the Save Template button
( ).

Deleting custom templates

You can delete a custom template by selecting the template from the Tem p la te drop-down list and clicking the Delete Template
button (

Note:

If a file type supports custom templates, a Custom button appears next to the Te mp l at e drop-down list after you choose the file

type.

).

) or press Shift+F1.

Creating custom rendering settings

The Custom Settings dialog appears when you click Custom in the Render As dialog. You can use the Custom Settings dialog to create
custom encoding templates for many of the file formats available in the software.

1.

From the File menu, choose Render As. The Render As dialog appears.

2.

Choose your preferred file format from the Save as type drop-down list. If the format allows you to create custom settings, the
Custom button becomes active.

3.

Click Custom. The Custom Settings dialog appears.

4.

Make the appropriate setting changes for the chosen file format. For help on individual settings, click the Help button (

).

Tip:

To save the custom settings for future use, type a name for the template in the Tem p la te box and click the Save Template button

( ).

5.

Click OK. The Custom Settings dialog closes.

Copy rendering templates between computers or user accounts

You can make your customized rendering templates available on another computer or user account by copying .sft files to the
appropriate location in the new account or computer.

Rendering templates are stored in the following folders:

• Windows XP: C:\Documents and Settings\<user name>\Application Data\Sony\File Templates\<plug-in name>

• Windows Vista or Windows 7: C:\Users\<user name>\AppData\Roaming\Sony\Render Templates\<plug-in name>

Notes:

• The Application Data/AppData folder is not visible unless the Show hidden files and folders radio button is selected on the View tab of
the Windows Folder Options control panel.

• You can find a plug-in’s name by clicking the About button in the Save As/Render As dialog.

68 | CHAPTER 3

To make a template available on another computer or user account, copy the .sft file to the same location in another account.

For example, to make JSmith’s custom wave template available for the AJones user account in Windows XP, copy the appropriate .sft2
file from this folder:

C:\Documents and Settings\JSmith\Application Data\Sony\Render Templates\wave\

to this folder:

C:\Documents and Settings\AJones\Application Data\Sony\Render Templates\wave\

Tip:

C:\Documents and Settings\<user name>\Application Data\Sony\File Templates\<plug-in name>\<plug-in GUID>.

If you’re copying templates from an older Sony Creative Software application, templates are saved as .sft files in the following folder:

Saving all open audio files

Choosing Save All from the File menu automatically prompts you to save all open audio files on the current workspace.

Note:

Pressing Shift while choosing the Save All command automatically saves all open files without prompting you to approve each

save.

Saving files as a workspace

To accommodate complex editing scenarios, you can save the entire workspace as an alternative to saving individual files. Workspaces
are saved as Sound Forge Workspace (.sfw) files. When you open a workspace file, all files are restored to their previous sizes, positions,
and magnifications. In addition, each file’s current cursor position, custom views, and plug-ins in the Plug-In Chainer are restored. For

more information, see Creating and using views on page 98 and Using the Plug-In Chainer on page 196.

Saving the current workspace

1.

From the File menu, choose Wo rksp ace, and choose Save As from the submenu. The Save Workspace dialog appears.

2.

Browse to the folder where the file will be saved.

3.

Type a name for the file in the File name box and click Save.

Opening a workspace

1.

From the File menu, choose Wo rksp ace, and choose Open from the submenu. The Open Workspace dialog appears.

2.

Browse to the folder containing the desired .sfw file.

3.

Select the desired file and click Open.

GETTING STARTED | 69

Working with projects

Projects are new to Sound Forge software; however, if you’ve used ACID or Vegas software, then you’ll be quite familiar with how to use
Sound Forge projects. You should note that Sound Forge projects do function slightly different than ACID and Vegas projects.

A project file is not a multimedia file. It contains pointers to the original source files, so you can edit your project nondestructively
without changing your source files. When you edit a Sound Forge project, you can undo edit operations even past your last save. For

more information, see Using Undo and Redo on page 78.

Saving projects

1.

Click anywhere in the data window to activate it.

2.

From the File menu, choose Save As to display the Save As dialog.

3.

Select the folder where you want to save the file from one of the following locations:

• From the Save in drop-down list, choose a drive and folder.

• From the Recent drop-down list, choose a folder where you have previously saved files.

4.

In the File name box, type a name for the file or select a file in the browse window to replace the existing file.

5.

From the Save as type drop-down list, choose Sound Forge Pro Project File (*.frg). Sound Forge software creates a .frg file in the
folder you specified and creates a subfolder to store your sound and temporary files.

Note:

create.

Warning:

Because a Sound Forge project contains all your original sound data plus all PCM temporary files, they can take some time to

Deleting a project’s [filename]_frg folder will break the project.

Saving the project path in the rendered file

1.

Save your Sound Forge project. The project must be saved before you can embed the project reference in the rendered file.

2.

Follow the steps in Using the Save As/Render As dialog on page 66 to choose the file type and location for rendering your files and
then select the Save project as path reference in rendered media check box.

Note:

This check box will be unavailable if you did not save your project or if you are rendering using a third-party file format plug-in.

3.

Click Ye s if you want to open the file in a new window or click No if you want to close the dialog and return to the Sound Forge
window.

Note:

If you modify the project file after rendering, the project data will no longer match the rendered file. To edit a project using a

path reference, the project file and all media must be available on your computer.

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70

Editing a media file’s source project

When your Sound Forge project uses source media files that are rendered with an embedded project path reference, you can easily
open the source project in the associated application if you need to edit the media. By saving your project path reference when you
render files in ACID, Sound Forge, or Vegas, you can quickly access the media from Sound Forge via the Edit Source Project shortcut
menu.

Note

: The project information in the rendered file is only a reference to a project file. If you modify the source project file after rendering,
the project data will no longer match the rendered file. To edit a project using a path reference, the project file and all media must be
available on your computer.

1.

Right-click one of the following items:

• The waveform in a data window

• A media file in the Explorer window

2.

From the shortcut menu, choose Edit Source Project. An ACID, Vegas, or Sound Forge window will open with the source project.

If you are editing a source project using a computer other than the computer where the project was created, then the editing
computer must meet the following requirements:

• The software that was used to create the project must be installed and the project file extension (.acd, .acd-zip, .veg, or .frg)
must be registered on the editing computer.

• The editing computer must have the same version (or later) of the software as the computer where the project was created.

• The project file must exist on the editing computer using the same file path as on the computer where the project was
created.

• The project’s source media must exist on the editing computer. If the media files do not use the same file path as on the
computer where the project was created, you will be prompted to choose a new folder or replacement files.

3.

Edit the project as necessary.

4.

Render the edited project using the same name as the original media file and close the editing application.

Note

: If you are editing an existing track, your project will automatically be updated with the latest rendered media file.

GETTING STARTED | 71

Editing audio

New Sound Forge users should remember that even the most complex editing is derived from a few simple operations: copy, paste, cut,
delete (clear), trim/crop, and mix. The following table provides a brief description of the basic editing operations.

Editing Operation Description

Copy Copies data from the window to the clipboard.

Paste Inserts the contents of the clipboard into the window at the current cursor position. If

a selection exists in the data window, the pasted data replaces the current selection.

Cut Deletes data from the window and copies it to the clipboard.

Delete (Clear) Deletes data from the window, but does not copy it to the clipboard.

Trim/Crop Deletes all data in the window with the exception of the selection.

Mix Mixes data from the clipboard with the data in the current window, starting at the

current cursor position or the start of the current selection.

Copying

You can copy audio data from a data window to the clipboard without changing the original file. Once audio data is on the clipboard,
you can paste it into existing files or use it to create new files.

Copying data to the clipboard

1.

Open the Voiceover.pca file. This file is located in the same folder as the application.

2.

Create a selection containing “Wow.”

3.

From the Edit menu, choose Copy, or click the Copy button ( ). The selected data is copied to the clipboard, but the waveform is
unchanged.

Previewing clipboard contents

To preview the contents of the clipboard, choose Clipboard from the View menu, and choose Play from the submenu.

Tip:

You can view detailed information on the size and attributes of the clipboard contents in the Clipboard Contents window. From the

View menu, choose Clipboard, and then choose Contents from the submenu to display the Clipboard Contents window.

Recycling clipboard contents

Once audio data is on the clipboard, you can paste or mix it into an infinite number of windows. Data remains on the clipboard until you
replace it with new data.

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72

Pasting

Once audio data is on the clipboard, you can paste or mix it into an existing data window or use it to create a new data window.

Pasting data in an existing data window

Notes:

• Pasting into a multichannel file will insert data to all channels—the channels in a multichannel file must always be equal in length.
Silence is pasted to the unselected channel. If multiple channels are selected, the same data is pasted to all selected channels, and
silence is pasted to the unselected channel. If no channels are selected, the same data is pasted to all channels.

• Pasting data of different sample rates will cause the data in the clipboard to play at the same rate as the rate of the window in which the
data is pasted.

• If any regions, markers, or loops are present in with the original sound data, they will also be pasted into the destination sound file. To
turn this feature off, turn off the Paste Markers/Regions command on the Options menu.

1.

After you have cut or copied your data, move the cursor to the beginning of the Voiceover.pca file by clicking the Go to Start
button ( ) in the playbar.

• For more information on cutting or copying data, see Copying on page 72 or Cutting on page 74.

• For more information on the playbar, see Playbar on page 34.

2.

From the Edit menu, choose Paste, or click the Paste button ( ). The clipboard data is inserted into the file and the data for “Wow”
appears on the left side of the waveform.

Note:

If there is a selection, the Paste command deletes the selected data before inserting.

3.

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

1.

Choose the Edit tool (

2.

Drag the mouse in the data window to create a selection anywhere in Voiceover.pca.

Tip:

If the Always open dropped files in new window check box on the General tab of the Preferences dialog is cleared, you can
also hold Ctrl while dragging a file (or region) from the Explorer window to a data window to paste sound data. When the check box is
selected, dropping a file on the Sound Forge workspace always creates a new data window.

3.

Hold Ctrl and drag the selection to the location where you want to paste the data. The cursor appears as a mouse pointer with the
letter P (

You can click the right mouse button while dragging to toggle mix, paste, and CD track drag-and-drop modes.

Tip:

before moving the mouse vertically adjusts the selection length.

), and a vertical line appears to show you where the paste will occur.

When dragging a selection to paste sound data, drag up or down before moving the mouse left or right. Dragging left or right

).

GETTING STARTED | 73

4.

When you release the mouse button to drop the selection, the selection is pasted.

Pasting in a new data window

To use data from the clipboard to create a new data window, go to the Edit menu, choose Paste Special, and choose Paste to New from
the submenu. A new window containing the clipboard data is created.

Cutting

Cutting allows you to remove a section of sound data from a data window and store it on the clipboard until you paste or mix it into
another file. Cutting sound data replaces the previous contents of the clipboard. When deciding between cut and copy, consider the
following information:

• Copying data has no effect on the original file.

• Cutting data modifies the original file.

Cutting data from a window

Note:

channels in a multichannel file must always be equal in length.

1.

Create a selection containing the second “Wow” (there should be two if you are following the examples) in Voiceover.pca.

2.

From the Edit menu, choose Cut, or click the Cut button ( ). The selected data is removed from the file and placed on the
clipboard.

If you cut data from individual channels of multichannel files, the waveform will contain silence at the end of the cut channel. The

3.

Click the Play All button ( ). “Wow. Sound editing just gets easier and easier” plays back.

74

| CHAPTER 3

Previewing a cut

You can preview cuts prior to performing the edit. This option allows you to determine if you made the selection accurately and if the
results are desirable by playing the data before and after the current selection.

1.

Create a selection anywhere in Voiceover.pca.

2.

From the Tra nspo rt menu, choose Preview Cut/Cursor (or press Ctrl+K). The selection is ignored and the audio before and after the
selection is played to allow you to preview the cut.

Notes:

•The Tra nspo rt menu is available only when the Show Transport menu check box is selected on the General tab in the Preferences

window. For more information, see General tab on page 312.

• To set the amount of pre- and post-roll that will be played when you preview a cut, choose Preferences from the Options menu and
choose the Previews tab. Type values in the Pre-roll and Post-roll boxes in the Cut preview configuration section of the dialog.

• If there is no selection, the playback will pre- and post-roll around the cursor position.

Configuring cut pre-roll and post-roll lengths

Frequently, the default pre-roll and post-roll lengths are insufficient to evaluate the accuracy of an edit. For this reason, you can
configure pre-roll and post-roll lengths.

1.

2.

3.

From the Options menu, choose Preferences. The Preferences dialog appears.

Click the Previews tab.

Configure the Pre-roll and Post-roll values in the Cut preview configuration area of the dialog and click OK.

Deleting

Deleting a selection permanently removes it without placing it on the clipboard. To delete data, choose Delete (Clear) from the Edit
menu (or press the Delete key).

Notes:

• If you delete data from individual channels of multichannel files, the waveform will contain silence at the end of the deleted channel.
The channels in a multichannel file must always be equal in length.

•If the Treat as Cutlist command (available in the Edit menu, Playlist/Cutlist submenu) is selected, deleting a selection creates a region
in the Cutlist window, but does not remove the selection. For more information, see Configuring the Playlist as a Cutlist on page 132.

GETTING STARTED | 75

Trimming/Cropping

Trimming allows you to retain a selection while deleting all surrounding data.

1.

Create a selection containing “Wow, sound editing just gets easier” in Voiceover.pca, but do not select the second “and easier.”

2.

From the Edit menu, choose Trim/Crop (or press Ctrl+T). Only “Wow, sound editing just gets easier” remains in the data window.

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

1.

Open and play the Drumhit.pca file. The file contains a snare drum and crash cymbal sound.

2.

Choose the Edit tool (

3.

Drag the mouse over the data window to select the entire waveform.

Tip:

If the Always open dropped files in new window check box on the General page of the Preferences dialog is cleared, you can

also drag a file (or region) from the Explorer window to a data window to paste sound data. When the check box is selected, dropping a
file on the Sound Forge workspace always creates a new data window. For more information, see General tab on page 312.

4.

Drag the selection to the beginning of the Voiceover.pca file. The cursor appears as a mouse pointer with the letter M ( ), and a
shaded selection box appears to show you where the mix will occur. An envelope is drawn to show you the mix and fade levels.
(The last-used settings from the Mix/Replace dialog are used by default.)

You can click the right mouse button while dragging to toggle mix, paste, and CD track drag-and-drop modes.

Tip:

When dragging a selection within the same data window, drag up or down before moving the mouse left or right. Dragging left or

right before moving the mouse vertically adjusts the selection length.

If you want the Fade In and Fade Out curves to pay attention to the destination selection and file length when mixing between files,
select the Auto-crossfade Mix with selection check box on the Editing tab of the Preferences dialog.

5.

When you release the mouse button to drop the selection, the Mix/Replace dialog appears. If you want to bypass the Mix/Replace
dialog, hold Shift when you release the mouse button.

).

76

| CHAPTER 3

To customize your mix settings, choose a setting from the Preset drop-down list in the Mix/Replace dialog, or adjust the controls as
needed:

Item Description

Source Drag the Source fader to adjust the volume of the selection you want to mix.

Destination Drag the Destination fader to adjust the volume of the selection you want to mix over.

Fade In Type a value in the Fade In box (or use the spinner) to set the length of the fade in between the source and destination

Proportional Fade Select the Proportional fade lengths check box if you want to specify fade lengths as a percentage of the selection.
Lengths

Fade Out Type a value in the Fade Out box (or use the spinner) to set the length of the fade out between the source and

More Click to display additional controls at the bottom of the dialog that you can use to change the selection you want to

6.

Click the OK button to apply the mix.

Changing this setting has the same effect as dragging the sustain portion of the wet gain envelope in the data window.

Select the Invert Data check box to invert the source audio at the baseline (reverse the phase). Inverting data can help
match transitions and compare the phase relationship of the two sound files.

Changing this setting has the same effect as dragging the sustain portion of the dry gain envelope in the data window.

Select the Invert Data check box to invert the destination audio at the baseline (reverse the phase). Inverting data can
help match transitions and compare the phase relationship of the two sound files.

audio.

Changing this setting has the same effect as dragging the attack portion of the envelope in the data window.

Click the Fade Cu rves button

destination audio.

Changing this setting has the same effect as dragging the attack portion of the envelope in the data window.

Click the Fade Cu rves button

process.

( ) and choose a curve type from the menu to set the speed of the fade in.

( ) and choose a curve type from the menu to set the speed of the fade out.

Mixing audio from the clipboard

1.

Open and play the Drumhit.pca file. The file contains a snare drum and crash cymbal sound.

2.

Verify that the Drumhit.pca window is active and choose Select All from the Edit menu, or press Ctrl+A. The entire waveform is
selected.

3.

From the Edit menu, choose Copy, or click the Copy button ( ).

4.

Activate the Voiceover.pca data window and click the Go To Start button ( ) on the playbar. The cursor moves to the start of the
file.

5.

From the Edit menu, choose Paste Special, and choose Mix from the submenu, or click the Mix button ( ). The Mix/Replace
dialog appears.

GETTING STARTED | 77

6.

Performed operations

Undone operations

Play button

Verify that the Source and Destination volume faders are set to 0 dB and click OK. The drum hit is mixed equally with the spoken
passage.

Preview the file and notice that mixing does not change the length of the file.

Using Undo and Redo

You can easily undo and redo edit operations, even prior to your last save operation.

• You can undo any edit operation by choosing Undo from the Edit menu, or by clicking the Undo button (
toolbar.

• You can redo any undone edit operation by choosing Redo from the Edit menu, or by clicking the Redo button ( ) on the
Standard toolbar.

) on the Standard

Important:

menu, click the General tab, and select the Allow Undo past Save check box. When this option is enabled, your undo/redo history is
retained until you close the file or exit the software.

The ability to undo past save is disabled by default. To enable this functionality, choose Preferences from the Options

Using the Undo/Redo History window

The Undo/Redo History window may seem confusing at first, but you will find it invaluable once you have mastered it. This window
allows the audio file to be auditioned in various versions by undoing and redoing multiple operations.

To display the Undo/Redo History window, choose Undo/Redo History from the View menu (or press Alt+7).

Note:

The undo/redo history for an audio file is retained until you close the file or exit the software. If you want to retain undo/redo

history indefinitely, you should work with a Sound Forge project (.frg) file.

78 | CHAPTER 3

Undoing and redoing

1.

Verify that the Voiceover.pca data window is active and choose Undo/Redo History from the View menu. The Undo/Redo History
window appears. If you have performed the previous procedures, the window should look like the figure below:

Notice that the Mix operation appears at the top of the Undo pane. The most recent operations always appear at the top of the
appropriate list.

In the Undo pane, click the Play button ( ) corresponding to the Mix operation. The audio file plays without the drum track.

2.

Select the Mix operation and choose Undo from the Edit menu. The drum track is extracted from the Voiceover.pca data window
and the Mix operation moves to the Redo pane.

3.

In the Redo pane, click the Play button ( ) corresponding to the Mix operation. The audio file plays with the mixed drum track.

4.

Select the Mix operation again and choose Redo from the Edit menu. The drum track is remixed into the Voiceover.pca waveform
and the Mix operation is returned to the Undo pane.

5.

Select the Trim/ Cro p operation in the Undo pane and click the Undo button ( ). Only the Mix operation is undone and moved to
the Redo pane. This is due to the fact that operations can only be undone or redone in the order originally performed.

GETTING STARTED | 79

6.

Double-click the Cut operation in the Undo pane. The Cut and Tr im/ Cro p operations are both undone in the waveform and moved
to the Redo pane.

Tip:

To quickly undo and redo operations in the Undo/Redo History window, double-click the operation.

Clearing the Undo/Redo History for the current file

Clearing the current file’s Undo/Redo History frees up disk space by deleting the file’s temporary undo/redo files. However, deleting
these temporary files prevents you from undoing changes made to the file since it was last saved (or beyond, if you have the Allow
Undo past Save check box enabled on the General tab of the Preferences dialog). To clear the undo/redo history for the current file, go
to the Edit menu and choose Clear Undo/Redo History.

Note:

A file’s undo/redo history is also automatically cleared when you close the file or exit the software.

Selecting status formats

The status format determines how a file’s position and length information is displayed. The following table briefly describes supported
status formats (hh=hours, mm=minutes, ss=seconds, and ff=frames). For more information, see SMPTE Timecode on page 339.

Format name Description Format

Samples Number of samples Numbered (starting with zero)

Time Hours, minutes, seconds, and milliseconds hh:mm:ss.sss

Seconds Seconds and fractions of seconds sssss.sss (to three decimal places)

Time & Frames Hours, minutes, seconds, and frames. hh:mm:ss.ff

Absolute Frames Frames and fractions of frames Numbered (starting with zero, to

Measures & Beats Measures, beats, and quarter beats measures:beats.quarters

SMPTE Film Sync (24 fps) SMPTE at 24 frames per second for hh:mm:ss:ff

SMPTE EBU (25 fps, Video) SMPTE at 25 frames per second for hh:mm:ss:ff

SMPTE Non-Drop (29.97 fps, Video) SMPTE at 29.97 frames per second hh:mm:ss:ff

SMPTE Drop (29.97 fps, Video) SMPTE at 29.97 frames per second using hh:mm:ss:ff

SMPTE 30 (30 fps, Audio) SMPTE at 30 frames per second hh:mm:ss:ff

Audio CD Time Hours, minutes, seconds, and frames with a hh:mm:ss:ff

synchronizing with film

European Broadcasting Union

dropped frame numbers

frame rate of 75 frames per second for
creating disc-at-once CDs.

three decimal places)

80 | CHAPTER 3

Experimenting with status formats

You can experiment with the Voiceover.pca file to see how status formats affect values in the selection status bar display boxes.

1.

Open the Voiceover.pca file.

2.

From the Options menu, choose Status Format, and choose Samples from the submenu.

3.

Select all data in the Voiceover.pca window by choosing Select All from the Edit menu. Notice the selection status boxes.

• The first selected sample is sample 0.

• The last selected sample is 220,507.

• The total number of samples in the selection is 220,507.

4.

From the Options menu, choose Status Format, and choose Time from the submenu. Notice that status values change from
samples to hours, minutes, and seconds.

5.

From the Options menu, choose Status Format, and choose SMPTE Non-Drop (29.97 fps, Video) from the submenu. Notice that
status values change to hours, minutes, seconds, and frames.

6.

Experiment with each status format and make note of how each format appears.

Notes:

• Selecting a new format changes the status format for the current data window only.

• To quickly change a file’s status format, right-click any of the data window’s status display boxes and choose a new format from the
shortcut menu.

Configuring the Measures & Beats format

Choosing the Measures & Beats format allows you to specify the beats per minute and beats per measure values used to calculate
measures and beats.

Changing a file’s beat values

1.

From the Options menu, choose Status Format, and then choose Edit Tempo from the submenu. The Edit Tempo dialog appears.

2.

Type an appropriate value in the Tempo in beats per minute box.

3.

Type an appropriate value in the Number of beats in a measure box and click OK.

Alternately, you can make a selection in the file equal to one measure, and then type the number of beats in the sample measure in the
Selection length in beats box. The Tem p o value is automatically calculated based on the selection length and number of beats.

GETTING STARTED | 81

Changing the default beat values

The previous procedure changes the beat values for the current audio file only. Use the following steps to change the Sound Forge
default beat values.

1.

From the Options menu, choose Preferences. The Preferences dialog appears.

2.

Click the Status tab.

3.

Type an appropriate value in the Default beats per measure box.

4.

Type an appropriate value in the Default beats per minute box and click OK.

Publishing files to the Web

You can share your media file with others by publishing it to the Web from within the software. You can upload your file to
ACIDplanet.com or another publishing provider. From the File menu, choose Publish and follow the instructions to set up your
publishing providers and upload your content.

Recovering files after a crash

If Sound Forge software terminates improperly, you can recover all open and unsaved audio files not opened in read-only mode. When
a file is opened, it automatically creates temporary files that it uses to save any changes made to the file. The original file remains
unchanged until it is saved. If the software terminates improperly, the temporary files remain on your hard drive and can be used to
recover any unsaved changes made prior to the crash.

Tip:

You can specify the folder used to store temporary files by choosing Preferences from the Options menu and designating a

Temporary files and record folder location on the General tab.

Recovering files

Click the Recover button to restore the changes and undo history for the files listed in the Files that can be recovered list.

Deleting recovered files

Click the Cancel button to delete the temporary files. The original media files remain unchanged.

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82

Navigating, Zooming, and Selecting

Chapter 4

This chapter introduces some of the Sound Forge® Pro navigation and selection features.

Setting the cursor position

While you can click anywhere in the waveform to position the cursor, there are times when you may need to position the cursor more
precisely. You can use the Go To dialog to move the cursor to a specific point in an audio file and center it in the data window.

Tip:

You can also use a variety of keyboard shortcuts to position the cursor. For more information, see Cursor movement shortcuts on

page 330.

1.

Choose Go To from the Edit menu. The Go To dialog appears.

Tip:

You can also use the following methods:

• Right-click the waveform, choose Cursor, and choose Go To from the submenu.

• Press Ctrl+G.

2.

Set the cursor position using one of the following methods:

• From the Go To drop-down list, choose a preset.

• From the Input format drop-down list, choose a format and type an appropriate value in the Position box.

3.

Click OK. The cursor is placed at the specified position in the data window.

Previewing audio with pre-roll

Many audio editing operations depend upon accurate placement of the cursor in the data window. The Pre-roll to Cursor command
allows you to preview audio data leading up to the current cursor position. This command is extremely useful when recording punch­ins. For more information, see Choosing a recording mode on page 141.

A 1.5 second pre-roll is automatically designated. However, you can change this value if necessary. For more information, see Configuring

cut pre-roll and post-roll lengths on page 75.

1.

Place the cursor anywhere in the data window.

2.

From the Tra nsp ort menu, choose Pre-roll to Cursor (or press Ctrl+Shift+K). Sound Forge software plays the audio leading up to
the cursor and stops at the cursor.

Note:

Preferences window. For more information, see General tab on page 312.

The Tra nsp or t menu is available only when the Show Transport menu check box is selected on the General tab in the

NAVIGATING, ZOOMING, AND SELECTING | 83

Using the overview bar

Title bar

Overview bar

Time ruler

When navigating or editing a file, the overview bar changes to reflect the current position in the file.

The overview bar represents the length of the entire file zoomed out to its maximum position. By observing the overview bar, you can
determine the following items:

• The section of the audio file currently displayed in the data window.

• The location and size of a selection in relation to the audio file and data window.

• The current cursor location.

Understanding the overview bar

1.

Open the Voiceover.pca file and verify that the waveform display is zoomed completely out (1:512 in this case).

Notice that the entire overview bar is dark gray, indicating that the entire file appears in the data window.

2.

Place the mouse pointer over the word “Wow,” and click. A small vertical marker, representing the cursor, appears in the overview
bar.

3.

Create a selection containing the word “Wow.” A shaded block, sized in relation to the size of the selection within the entire audio
file, appears in the overview bar.

84 | CHAPTER 4

4.

Zooming in on a selection decreases the size of the
dark gray area

Click the Zoom In button ( ) twice. The dark gray area in the overview bar becomes incrementally smaller as less of the waveform
appears in the data window.

However, the selection remains the same size and does not move. This allows you to quickly locate a selection, even when another
section of an audio file is displayed.

Navigating in the overview bar

1.

Open the Voiceover.pca file.

2.

Click the Zoom In button ( ) until you reach a 1:32 zoom ratio.

3.

Click outside the dark gray in the overview bar. The cursor position changes, but the cursor is located beyond the scope of the data
window.

4.

Double-click anywhere in the overview bar. The cursor position updates and centers in the data window.

Playing audio in the overview bar

To make navigating a file from the overview bar easier, you can start audio playback from the overview bar.

1.

Open the Voiceover.pca file.

2.

Right-click the overview bar. Playback of the file begins from the cursor location.

3.

Right-click the overview bar again. Playback pauses.

4.

Right-click the overview bar once more and immediately left-click at several random positions in the overview bar. Each time you
click the mouse in the overview bar during playback, the cursor jumps to the new location and playback continues. The feature is
useful for quickly navigating a file and locating general events.

NAVIGATING, ZOOMING, AND SELECTING | 85

Scrubbing

Press Ctrl over the Left-click and
timeline cursor drag to scrub

Keyboard scrub letters

J K

L

Reverse Pause Forward

Scrubbing is a type of timeline playback that gives you precise control over the speed and direction of playback. Both linear and
logarithmic scale scrubbing are allowed.

Tip:

Choose a setting from the JKL/shuttle speed drop-down list on the Editing tab of the Preferences dialog to control the scrub speed

and range when using the keyboard or multimedia controllers.

Scrubbing with the scrub control slider

The scrub control slider (
the slider is dragged, the faster the playback, both forward and in reverse.

Note:

You can also drag the Normal Rate indicator ( ), which is located below the scrub control, to adjust playback speed or double-

click Rate and type a playback rate.

Scrubbing on the timeline

You can scrub the project by using the timeline.

1.

2.

Position the cursor on the timeline, hover the mouse pointer over the cursor and press Ctrl. The mouse pointer changes to a
speaker icon.

Left click and drag the mouse left or right to scrub the timeline. The cursor changes again to a pan/scrub icon.

), located at the bottom of the data window, can be dragged back and forth. The farther from the center that

Scrubbing with the keyboard

Three letters (JKL) are used as a keyboard scrub control.

• Press J for reverse playback. Press again to accelerate the playback rate.

• Press K to pause playback.

• Press L for forward playback. Press again to accelerate the playback rate.

There are several ways to adjust the playback speed:

• Hold K while pressing J or L to emulate a shuttle knob mode.

• Press K+J to turn the knob to the left or K+L to turn the knob to the right.

• Press K again or Spacebar to return to normal mode.

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86

Scrubbing with the audio event locator

Zoom out

Zoom in

Maximize width
of window

Zoom ratio

Waveform at 1:1 zoom ratio

Dragging the mouse within the overview bar initiates playback of small audio loops adjacent to the cursor position. This is not
technically a scrub function, but it serves a similar purpose. It allows you to audition brief audio segments and quickly locate specific
events within a file. Playback stops when the mouse button is released.

Configuring the audio event locator

You can set the amount of pre-roll and loop duration for the audio event locator.

1.

From the Options menu, choose Preferences. The Preferences dialog appears.

2.

Click the Previews tab.

3.

In the Audio event locator section, edit the Pre-roll and Loop time values as desired and click OK.

Zooming and magnifying

Because there are considerably more samples in a sound file than horizontal points (pixels) on the screen, many data samples must be
represented by each horizontal point when audio data displays in the data window. Depending upon the editing operation, you may
want to view the entire file at once or a small portion of data in greater detail. For this reason, you can utilize two varieties of zooming:

time ruler zooming and level ruler zooming. You can also zoom to events when using the Event tool (

).

Zooming the time ruler (horizontal)

The current time ruler magnification ratio appears in the lower-right corner of the data window above the status boxes.

Understanding the zoom ratio

The zoom ratio determines the number of samples represented by each horizontal point on the screen. The zoom ratio is a value of X:Y,
where X is the number of horizontal points and Y is the number of samples. If the ratio is 1:1, each point on the screen represents one
sample. At this zoom ratio, a brief but detailed selection of time is displayed.

Conversely, if the zoom ratio is 1:1024, 1,024 samples are represented by each point on the screen and a greater length of time is
displayed.

For very precise editing, you may want to zoom in more tightly than a 1:1 ratio. Sound Forge allows up to a 24:1 ratio, where 24 points on
the screen represent one sample. This high level of zoom can be useful when editing with the Pencil tool (

Repairing audio glitches manually with the Pencil tool on page 155.

NAVIGATING, ZOOMING, AND SELECTING | 87

). For more information, see

Waveform at 24:1 zoom ratio

Changing the zoom ratio

Level ruler zooming controls

Zoom in

Zoom out

To edit the zoom ratio, use the Zoom In/Out spin control located adjacent to the zoom ratio display.

• Clicking the plus/minus buttons increases/decreases the zoom ratio by single-step increments.

• Dragging the spin control increments the zoom ratio quickly in the corresponding direction.

Notes:

• When a file is opened, the horizontal magnification is set to the value specified by the Normal zoom ratio setting in the Display tab in
the Preferences dialog. To access the Preferences dialog, choose Preferences from the Options menu.

• Right-clicking the waveform display allows you to quickly access time ruler zoom commands from the shortcut menu.

Using zoom time commands

If you prefer using commands, you can control the time magnification from the View menu. The following table briefly describes the
available time zoom commands. You can access these commands from the View menu by choosing Zoom Time and choosing the
desired command from the submenu.

Command Description

In Full Increases the zoom ratio to represent each audio sample with 24 screen pixels (24:1 zoom ratio).

Normal Returns the file to its default zoom ratio.

Out Full Changes the zoom ratio to display the entire file within the data window.

Selection Changes the zoom ratio to maximize the display and center the selection within the data window.

Custom Zoom X:Y Sets the zoom ratio to a custom setting. For more information, see Using custom zoom settings on page 89.

Zooming the level ruler (vertical)

Zooming along the level ruler displays a larger vertical waveform and allows for more precise editing at low audio amplitudes.

Changing the level zoom

To edit the level ruler zoom, use the Zoom In/Out spinner control located above the playbar.

• Clicking the plus/minus buttons increases/decreases the level ruler zoom by single-step increments.

• Dragging the spin control increments the level ruler zoom quickly in the corresponding direction.

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| CHAPTER 4

Level zoom out maximum Level zoom in maximum

At high zoom levels, only low-level samples are visible because the peaks of the waveform move beyond the vertical scope of the data
window. Consider the following data windows.

Both data windows display the same audio file at a 1:1 zoom ratio. The window on the left shows the level ruler zoomed to its maximum
out position. The window on the right shows the level ruler zoomed to its maximum in position. Notice that wave peaks clearly visible in
the left window are out of display range in the right window.

Using zoom level commands

If you prefer using commands, you can control the level magnification from the View menu. The following table briefly describes the
three available zoom level commands. You can access these commands from the View menu by choosing Zoom Level and choosing the
desired command from the submenu.

Command Description

Out Full Decreases the zoom level to minimize the display of the file’s amplitude.

Window Changes the level zoom to display the entire waveform amplitude in the data window.

Selection Maximizes the display of the selection (vertically and horizontally) in the data window.

Formatting the level ruler

You can configure the level ruler to appear in decibels or percent by right-clicking the ruler and choosing Label in Percent or Label in dB
from the shortcut menu.

Using custom zoom settings

You can create two custom time zoom settings for quick access to time magnification levels that you use frequently.

Creating custom zoom settings

1.

From the Options menu, choose Preferences. The Preferences dialog appears.

2.

Click the Display tab.

3.

Select time magnification settings from the Custom zoom ratio 1 and Custom zoom ratio 2 drop-down lists.

4.

Click OK.

Zooming to custom settings

From the View menu, choose Zoom Time, and choose a custom zoom setting from the submenu.

Tip:

You can also click a Custom Zoom button ( or ) on the Navigation toolbar or press 1 or 2 on the numeric keypad.

NAVIGATING, ZOOMING, AND SELECTING | 89

Using zooming shortcuts

Zooming to a selection

1.

Create a selection. If no selection is created, the Zoom Selection function is not available.

2.

Right-click the waveform and choose Zoom Selection from the shortcut menu. The minimum zoom ratio that allows the full
selection to appear in the window is calculated, and the selection is then zoomed and centered in the data window.

Note:

Zooming the window

Right-click the level ruler and choose Zoom Window from the shortcut menu. The maximum zoom level that allows the loudest portion
of the selection to appear in the window is calculated and the entire sound file is adjusted.

Note:

Zooming out full

To quickly display all data in a data window, right-click the waveform, choose Zoom, and choose Out Full from the submenu. This
command sets the zoom ratio and zoom level to the lowest values required to display all data in the window.

Note:

Zooming in full

To quickly set the zoom factor to its maximum magnification, right-click the waveform and choose Zoom In Full from the shortcut
menu. The maximum magnification available is 24:1.

To reverse this function, right-click the waveform, choose Zoom, and choose Out Full from the submenu.

To reverse this function, right-click the level ruler and choose Zoom Out Full from the shortcut menu.

To reverse this function, go to the View menu, choose Zoom Time, and choose Normal from the submenu.

Note:

To reverse this function, right-click the waveform and choose Zoom Normal from the shortcut menu.

Optimizing time and level ruler scaling

To optimize both the time ruler and level ruler display of a selection, double-click the level ruler. Double-clicking the level ruler a second
time restores both displays to their default levels.

Using the Magnify tool

The Magnify tool provides an additional way to magnify a section of an audio file. Yo u can access the Magnify tool in three ways:

• From the Edit menu, choose To o l, and choose Magnify from the submenu.

• Click the Magnify Tool button (

• Click the Edit Tool Selector in the upper-left corner of the data window until the Magnify tool is selected.

Tip:

hold Ctrl while creating a selection to temporarily use the Magnify tool.

When you select the Magnify tool, the cursor appears as a magnifying glass (
how audio data is magnified. By using the Magnify tool and toggle-clicking the mouse, you can toggle between time zoom, level zoom,
and simultaneous time/level zoom. For more information, see Using the mouse on page 21.

When the Allow Ctrl+drag style zoom in data windows check box is selected on the General tab of the Preferences dialog, you can

) on the Standard toolbar.

). You can use this tool to create a selection box indicating

90

| CHAPTER 4

Zooming the time ruler with the Magnify tool

Selection box spans the height of the window

The selection is time zoomed

Selection box spans the width of the window

The selection is level zoomed

Selection displays as a box The selection time and level are zoomed

1.

Drag the Magnify tool on the waveform to make a small selection box.

2.

Toggle-click the mouse until the selection box is the same height as the data window.

3.

Drag the Magnify tool to create a time zoom selection and release the mouse button. The zoom ratio of the selection increases.

Zooming the level ruler with the Magnify tool

1.

Drag the Magnify tool on the waveform to make a small selection box.

2.

Toggle-click the mouse until the selection box is the full width of the data window.

3.

Drag the Magnify tool to create a level zoom selection and release the mouse button. The zoom ratio of the selection increases.

Zooming both time and level with the Magnify tool

1.

Drag the Magnify tool on the waveform to make a small selection box.

2.

Toggle-click the mouse until the selection appears as a box.

3.

Drag the Magnify tool to create a time/level zoom selection and release the mouse button. The level zoom and time zoom of the
selection increase.

NAVIGATING, ZOOMING, AND SELECTING | 91

Selecting audio using start and end values

You can select audio by dragging the mouse or by using keyboard shortcuts. (For more information, see Data selection shortcuts on page 331.)
For the sake of accuracy, however, it is often useful to create selections by entering specific start and end point values. The Set Selection dialog
allows you to create selections in this way or by choosing a preset selection from the Selection drop-down list.

1.

From the Edit menu, choose Selection, and then choose Set from the submenu (or press Ctrl+Shift+D). The Set Selection dialog
appears.

2.

From the Input format drop-down list, choose the format to be used for creating the selection. The values in the Start, End, and
Length boxes change to reflect the specified format.

3.

Configure the selection by typing appropriate values in the Start and End or the Start and Length boxes.

4.

If you are working with a stereo file, choose Left, Right, or Both from the Channel drop-down list, or, for a multichannel file, type
the appropriate channel numbers in the Channel box.

5.

Click OK.

Using the Set Selection dialog

The following sections briefly describe additional controls located in the Set Selection dialog.

Control Description

Play Clicking Play plays the current selection.

Play looped Selecting the Play looped check box allows you to play the selection in Looped

Playback mode.

Snap Zero Clicking Snap Zero forces the Start and End values of the selected area to the next

zero-crossing.

Snap Time Clicking Snap Time forces the Start and End values of the selected area to a whole

time division as designated by the markings on the data window’s time ruler.

Zero-crossing preference

When using a Snap Zero command, you can configure the application to snap to positive slope, negative slope, or either slope zero­crossings.

1.

From the Options menu, choose Preferences, and click the Editing tab.

2.

From the Snap to zero-crossing slope drop-down list, choose the desired slope and click OK.

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92

Selecting audio during playback

Drag the edge of the selection to a new position.

You can create selections during playback using the Mark In and Mark Out commands. These commands place temporary markers in
the data window, which are then used to create a loop region. While you can place these markers by choosing Mark In and Mark Out
from the Selection submenu under the Edit menu, the keyboard equivalents are more useful.

1.

Play the audio file in the current data window.

2.

During playback, press I where the selection will begin.

3.

Press O where the selection will end. A loop region is created using the in and out points you identified.

You can then right-click the bar at the top of the loop region to insert a region, toggle looped playback, or select the loop region.

Tip:

Select the Update loop bar on Mark In/Out check box on the Editing tab of the Preferences dialog if you want the loop bar in a
data window to be updated when you mark the beginning or end of a selection. When the check box is cleared, the loop bar isn’t updated
until you’ve marked both ends of the selection.

Fine-tuning a selection

After creating a selection, you may discover that the start or end point has not been positioned properly. In cases like this, you can try to
reselect the data, but it can be difficult to accurately create selection points. For this reason, you have a number of tools designed to
help you fine-tune selections.

If you find that the selection jumps unexpectedly as you fine-tune it, snapping may be turned on. For more information, see

Understanding snapping on page 95.

Adjusting a selection with the mouse

You can fine-tune selection start and end points by dragging the edge of the selection to a new location.

1.

Open a file and create a selection in the waveform.

2.

Position the mouse pointer over one of the selection edges. The pointer is displayed as a bi-directional arrow (

3.

Drag the selection edge to a new position.

).

4.

Release the mouse button. The selection is updated.

Adjusting a selection with the keyboard

Using the keyboard, you can quickly and accurately select data or update a selection. For more information, see Data selection shortcuts
on page 331.

Restoring a selection

If you lose a selection while editing, you can step backward through the previous five time selections. From the Edit menu, choose
Selection, and then choose Cycle from the submenu, or press Backspace.

From the Edit menu, choose Selection, and then choose Toggle from the submenu (or press S or /) to switch between the last selection
and the last cursor position.

NAVIGATING, ZOOMING, AND SELECTING | 93

Using selection grid lines

From the Options menu, choose Selection Grid Lines to display grid lines that divide the selection into four equal parts. These lines
make creating loops from existing material easier.

To change the number of divisions that will be used, choose Options > Set Grid Divisions, and then choose a setting from the submenu.

For example, if you’re trying to create a loop in 3/4 time, changing the grid divisions to 3 allows you to divide a selection into three beats.

| CHAPTER 4

94