Silence |
Use it to replace the audio data as silence. |
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Insert Silence |
Use it to insert periods of silence. |
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Delete Silence |
Use it to remove periods of silence from selected audio data. |
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Amplify + |
Increases the volume of an audio file or selected parts. |
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Amplify - |
Decreases the volume of an audio file or selected parts. |
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Fade In |
This function amplifies the end of a selection.
Adjust the slider(s) for the amount of amplification or attenuation you want to apply. To achieve a fading in effect, choose a Final Amplification greater than that of your Initial Amplification. For fade outs, do the opposite by setting the Final Amplification to the lesser value. Setting both the initial and final amplifications to the same value results in a constant amplification. The signal remains unchanged whenever an amplification value of 100% or 0dB is selected. |
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Fade Out |
This function amplifies the beginning of a selection.
Adjust the slider(s) for the amount of amplification or attenuation that you want to apply. Adjust the Final Amplification to fade the selection in or out. The signal will remain unchanged whenever an amplification value of 100% or 0dB is selected. |
Stretch +/- |
Use it to change the pitch (frequency) and tempo (duration) of the audio signal. It can also change either pitch or tempo without affecting the other. For example, you can use Stretch to transpose a song to a higher key, or to slow a passage down without changing the pitch. Pitch and tempo can also be varied over the length of the audio, giving the effect of slowing down and speeding up, or raising and lowering pitch. |
Pitch Shift |
This effect shifts the frequency spectrum of the input signal. It can be used to disguise a person's voice, or make the voice sound like that of the "chipmunks", through to "Darth Vader". It is also used to create harmony in lead passages, although it is an "unintelligent" harmonizer. |
Resample |
Resamples the existing audio data array. Recalculates the samples using a different rate than which it was originally created. |
Adjust Channels |
If you want to save only one channel, just set this channel as 100%, another as 0%. This function is very easy to make duetto. Just mix the left channel audio with right channel audio. |
Chorus |
The Chorus differs from the Flanger in only a couple of ways. One difference is the amount of delay that is used. The delay times in a Chorus are larger than in a Flanger, usually somewhere between 20 ms. and 30 ms. (the Flanger's delay usually ranges from 1 ms. to 10 ms.) This longer delay doesn't produce the characteristic sweeping sound of the Flanger. The Chorus also differs from the Flanger in that there is generally no feedback used. |
Delay |
Delay is an echo effect that replays what you have played one or more times after a period of time. It's something like the echoes you might hear shouting against a wall. You can use this function to create single echoes, as well as a number of other effects. Delays of 35 milliseconds (ms) or more will be perceived as discrete echoes, while those falling within the 35-15 ms range can be used to create a simple chorus or flanging effect. (These effects will not be as effective as the actual chorus or flanging effects, as the delay settings will be fixed and will not change over time).
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Flanger |
Use this function to create a flanging effect by slightly delaying and phasing a signal at predetermined or random intervals. Flanging is created by mixing a signal with a slightly delayed copy of itself, where the length of the delay is constantly changing. It is actually one specific type of phasing (Phaser).
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Invert |
This function simply inverts the samples, so that all positive offsets are negative and all negative offsets are positive. Inverting does not produce an audible effect, but it can be useful in lining up amplitude curves when creating loops, or pasting. On stereo waveforms, both channels are inverted. |
Noise |
Inserts a noise in an audio file. |
Normalize |
Amplifies the highlighted selection to within the specified percentage of the maximum level. Use Normalization to achieve the greatest amount of amplification that will not result in clipping (when set to 0dB or 100%). Use the Normalize function if you are recording a script in which you want to normalize an audio file to a specific percentage of maximum. |
Phaser |
The phaser achieves its distinctive sound by creating one or more notches in the frequency domain that eliminate sounds at the notch frequencies. Phasing is very similar to flanging. If two signals that are identical, but out of phase, are added together, then the result is that they will cancel each other out. If, however, they are partially out of phase, then partial cancellations, and partial enhancements occur. This leads to the phasing effect. |
Reverberate |
Use this function to do a reverberate effect. It is the sound you hear in a room with hard surfaces where sound bounces around the room for a while after the initial sound stops. Reverberate is used to simulate the acoustical effect of rooms and enclosed buildings. In a room, for instance, sound is reflected off the walls, the ceiling and the floor. The sound heard at any given time is the sum of the sound from the source, as well as the reflected sound. An impulse (such a hand clap) will decay exponentially.
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Reverse |
Reverse the selected part of an audio file. |
Vibrato |
This function enables you to set the desired Depth, Frequency and Phase of amplitude vibration. |
Trim |
Trim the audio data. |
Compressor |
Reduces the dynamic range of the audio signal. A compressor is basically a variable gain device, where the amount of gain used depends on the level of the input. In this case, the gain will be reduced when the signal level is high which makes louder passages softer, reducing the dynamic range. This effect equals dynamic volume regulator.
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Expander |
The expander is a type of dynamic processor. As the name implies, it increases the dynamic range of a signal such that low level signals are attenuated while the louder portions are neither attenuated or amplified.
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