Sound Forge 4.5 Manual

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    I N T R O D U C T I O N1

    INTRODUCTION

    INTRODUCING SOUND FORGE 4 .5Thank you for purchasing Sound Forge 4.5 and for your continued support of

    Sonic Foundry products. Sound Forge 4.5 brings new, powerful features to the

    Sound Forge product line such as built-in Batch Conversion, Spectrum

    Analysis and full support for creating Loops for Sonic Foundrys ACID.

    If you are an avid Sound Forge user, you will find 4.5 to be a great leap

    forward. If you are new to Sound Forge, we are sure that you will find out what

    thousands of Sound Forge users already know Sound Forge is the only

    solution for all of your audio editing needs.

    READING THE MANUALThe manual is separated into five major sections: Introduction, Using Sound

    Forge, Sampling, MIDI/SMPTE, Sound Forge Reference, Troubleshooting, and

    Appendices.

    INTRODUCTION

    This section includes installation and registration procedures, and a general

    overview of digital sound.

    USING SOUND FORGE

    This section demonstrates Sound Forge through pictures and examples, and

    provides suggestions for how to best use it.

    SAMPLING

    This section introduces samplers, the Sound Forge Sampler Tool, and provides

    tips for sampling.

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    MIDI/SMPTE

    This section addresses MIDI, the Sonic Foundry Virtual MIDI Router, MIDI

    Triggers, and using MIDI/MTC synchronization.

    SOUND FORGE REFERENCE

    This section describes all menus and dialogs and can be quickly referred to

    when you have a specific question about a menu or dialog option.

    TROUBLESHOOTING

    This section contains the most common questions we have received from our

    users and includes some excellent tips.

    APPENDICESThis section covers a variety of topics and can be used for general information,

    as well as reference.

    GETTING STARTED

    The first thing you should do is to register your copy of Sound Forge by fillingout the enclosed registration card and returning it to Sonic Foundry within 30

    days of purchase. Alternatively, you will be given the option to register online

    via our web site at the end of the installation process.

    You must be registered for us to provide you with technical support and

    upgrade information. Also, we want to be able to let you know about

    additional products and updates as they are made available.

    SYSTEM REQUIR EMENTS

    In order to use Sound Forge you will need:

    Intel Pentium or Alpha AXP microprocessor

    Microsoft Windows 95 or Windows NT 4.0 or later

    Windows-compatible sound card

    VGA display

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    CD-ROM drive

    16 MB RAM

    5 MB hard-disk space for program installation

    INSTALLATION

    The install utility SETUP.EXE on the setup CD creates any necessary folders and

    copies all files required by Sound Forge.

    Sound Forge requires Microsoft DirectX Media 5.2a or higher to be

    installed on the computer.The setup program will notify you if it does

    not detect DirectX Media 5.2a or higher on your computer and will

    prompt you to install it from the Sound Forge CD-ROM.

    To install Sound Forge, do the following:

    1. After placing the Sound Forge CD-ROM in the CD-ROM drive, AutoPlay

    will launch an installation menu. Press Install and follow the instructions.

    2. If you have disabled the CD-ROM AutoPlay feature, run Setup from Run inthe Windows Start menu by typing E:\SETUP, where E is the letter of your

    CD-ROM drive. Press Install and follow the instructions.

    I N T R O D U C T I O N3

    N O T E

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    ACTIVATION

    After you have selected a destination to install Sound Forge, you will be asked

    to enter your serial number. This number can be found on the inside of this

    manual on the registration card insert. You must have this serial number

    whenever you wish to run the setup program. Please do not tear out the entire

    insert if you are going to hand mail the registration card.

    Sound Forge does not come with copy protection other than requiring your

    serial number whenever you run the setup program. We feel that it is in your

    best interest that the programs do not come with heavy-duty copy protection.

    We hope you will allow us to continue this policy by abiding by the license

    agreement and giving your friends our phone number rather than a copy of

    the software.

    I N T R O D U C T I O N4

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    FA X

    (608) 256-7300

    You can fax us your questions 24 hours a day.

    INTERNET

    support@sonicfoundry.com

    You may also send us email via the Internet.

    WEB

    http://www.sonicfoundry.com

    Our web page at http://www.sonicfoundry.com is another resource for

    program updates, and technical information and support.

    COMPUSERVE

    GO SONICWe maintain a forum on CompuServe that provides support as well as tips and

    updates. To reach our forum, simply access CompuServe and type GO SONIC

    at any prompt.

    OVERVIEW OF DIGITAL SOUNDIf you are new to digital sound editing, it will be well worth your time to

    become familiar with some of the basic concepts. In this section we cover the

    most important fundamentals. However, we strongly recommend that you

    page through a book on digital audio and sound recording if you want to get

    the most out of Sound Forges editing and digital signal processing features.

    SOUND WAVESYou can think of air pressure as the density of air molecules. When an object

    vibrates or moves, it displaces air molecules causing a pressure change. This in

    turn, causes other air molecules to move. We dont hear air pressure changes

    caused by the weather. Instead, we hear air pressure differences that vary

    rapidly over time.

    When you hear a sound, you are sensing changes in the air pressure around

    your eardrum.These vibrations are then picked up by your ears and converted

    to electrical signals that your brain interprets as sound. If we were to graph the

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    I N T R O D U C T I O N7

    air pressure at your eardrum as a function of time while you were listening toa short sound, it might look like the waveform that follows.

    LOUDNESS AND PITCHWhen there is no sound wave, the air pressure is constant. This is perceived assilence.As the sound wave reaches your eardrum, the air pressure changes above

    and below the normal atmospheric pressure.The amount of change is perceived

    as the loudness of the sound. The loudness of a sound, called its amplitude, is

    usually measured as a fraction of a standard level, often in decibels (dB).

    The rate at which the air pressure changes is perceived as the pitch. Inscientific terms, this term corresponds to the frequency of the wave. The

    frequency is usually measured in Hertz (Hz), or cycles per second.

    Sounds in nature are not as simple as the sine wave we graphed above. In

    reality, a sound would look something like the one drawn below.This irregular

    waveform does not have a periodic amplitude or frequency.

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    T IMBRE

    Complex waveforms like the one shown above are constructed by combining

    a number of simple waveforms (like the one in the first drawing) of different

    amplitudes and frequencies. This is why we perceive both high and low

    pitched sounds at once when we hear most natural sounds.

    The characteristic sound of a waveform (be it produced by a grand piano or a

    violin) is called its timbre.Timbre, also referred to as tone color, is said to be

    rich or full when there are many different frequencies in a sound.A sound from

    a sine wave is considered dull by most people since it has only one frequency.

    The different frequencies in a sound, combined with the varying amplitudes

    of each frequency, make up the spectral content of a waveform. The spectral

    content, which you might say is the more scientific term for timbre, usually

    varies over time. Otherwise, the sound remains static and again sounds dull.

    The spectral characteristic of a waveform over time is the signature of a tonethat allows you to describe it as string-like or horn-like.

    ANALOG RECORDING AND PLAYBACK

    Lets say youre recording with a microphone. As you hold the microphone up

    in the air and scream, the microphone converts the changes in air pressure into

    changes in electrical voltage.This is called an analog signal.

    If you were to graph the changing voltage inside a microphone cord, it would

    look exactly like the graph of the air pressure going up and down. To record

    your scream, you would send the signal to a medium such as magnetic tape

    which can store a replicate of the analog signal.

    To playback your recording, you need something to create the differences in

    air pressure that our ear interprets as sound, i.e. an audio speaker. Speakersoperate by moving a cone from one position to another in a consistent

    manner. In order to move the cone either forward or backward the speaker

    must be driven by an electrical current. During playback, a tape or record

    player generates a current that is then fed to an amplifier.When connected to

    a speaker, the current moves the s