The default key commands for Wave, Spectrum, and Loudness Envelope modes are 1, 3, and 5 on the upper keyboard row, so this quickly accomplished.
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To avoid this, switch to the Wave view before scrolling or zooming, then switch back to Spectrum or Loudness Envelope mode. This process can be slow, especially when working with long audio files. Adobe Audition has had spectral editing since version 1.5, but my experience is that WaveLab’s version works better on plosives.īoth Spectrum and Loudness Envelope modes completely recalculate the display when you scroll or zoom. By editing the lower frequencies only, nasty P- and T-sounds can be tamed without affecting the intelligibility of the audio. The Loudness Envelope shows vocal plosives quite clearly for editing, and the Spectrum editor takes care of those as well. The results are every bit as good as I get using a broadband noise reduction plug, but without the artifacts. By adjusting the crossfade time, WaveLab smoothes out the areas where the filtered audio meets the unfiltered. The selection can also be faded out and back in for a more subtle approach. The selected noise can be “damped” or filtered out in the editor with a linear phase filter whose slope is variable up to 96 dB per octave, or can be set to “infinite” which Steinberg says gives a slope in excess of 1000 dB/octave. With the Spectrum selector you can select a portion of that line that appears in a quiet passage, and extend that selection through the entire audio file. For example, low rumble due to air conditioning is usually visible as a line running through the Spectrum view. The Spectrum option is particularly useful because it shows things that may not be visible in any other view, and the editor allows for surgical removal. Together these two modes make quick work of cleaning up audio. Both these displays are independent in the overview and main windows, so one can choose to view Loudness Envelope in the overview window and Spectrum in the main window. Besides presenting loudness more accurately than the waveform, the Loudness Envelope shows you areas that have likely been compressed. The Loudness Envelope displays a graph of RMS loudness over time for the overall signal, as well as within three definable frequency bands. This is great for highlighting troublesome transients. You can change the vertical scale of frequencies from logarithmic to linear, and scale the color range in such a way that only the loudest frequencies show brightly. What’s more, you can view the frequency content in color with the most intense frequency ranges in yellow and the least intense in blue, or you can view the entire thing in grayscale. Spectrum shows a spectrographic image with frequency on the vertical axis and intensity represented by color, and a Spectrum editor allows you to define and select specific frequency regions for editing. In addition to the familiar wave display, you can now choose to view audio in Spectrum or Loudness Envelope modes. The most noteworthy addition to WaveLab has to be the two new display modes.
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Our readers have come to expect excellence from our products, and they can count on us to maintain a commitment to producing rigorous and innovative information products in whatever forms the future of publishing may bring.All the cool tools from previous versions are still there, including high-quality audio scrubbing and assignable key commands, so let’s start with the new stuff. Through our commitment to new products-whether digital journals or entirely new forms of communication-we have continued to look for the most efficient and effective means to serve our readership.
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