File | Edit | View | Transform | Generate | Analyze | Favorites | Options | Window
	File | Edit | View | Transform | Generate | Analyze | Favorites | Options | Window  Click on a menu above for Help. Edit Waveform View menus  ____________________ File displays file-handling options for Cool Edit 2000. Edit contains basic waveform editing options. View options for changing the display or viewable area. Transform contains waveform transformation, or DSP options. Generate selections for creating tones, noise, and silence. Analyze provides information about the file or selection being viewed. Favorites gives easy access to favorite or custom functions. Options contains customizaton and special features options. Window is used to navigate between open waveforms.


	File | Edit | View | Transform | Generate | Analyze | Favorites | Options | Window  Click on a menu above for Help. The Analyze menu provides information about the file or selection being viewed.   Click on a menu item below: _______________________   Frequency Analysis   Statistics...


Frequency Analysis
  Frequency Analysis	Alt+Z

The Frequency Analysis window contains a graph of the frequencies at the insertion point (yellow arrow cursor) or at the center of a selection. This window "floats", meaning that you can click in the waveform on the main Cool Edit 2000 window to update the analysis while the Frequency Analysis window is on top. The Frequency Analysis performs a 2048 point Fast-Fourier-Transform to determine the frequencies.

The information in this dialog is like one "slice" or line in the Spectral View of the waveform. The most prominent frequency is interpolated and displayed in a window below. You can move the mouse over the graph area to display the frequency and amplitude components of that frequency.

Graph Cursor Frequency FFT Size	FFT Window Type Linear View Range Reference Scan
	When you set the FFT size to 1024 or lower, the Frequency Analysis window updates in real time while you play your file. You can also generate a step-by-step animation by clicking on the main waveform window and then holding down on the Right Arrow key. As the cursor scrolls across the display, Cool Edit 2000 displays the spectral information in the Analysis window.
	When you view stereo data, the left channel is shown in Cyan, and the right shows in Magenta.
   /Analyze/Frequency Analysis


Graph

Graph depicts the frequency spectrum along the x-axis (left to right), and amplitude, in dB, along the y-axis (bottom to top). The Cursor readout below the graph shows the current x, y position of your mouse.


Cursor

Displays a running update of your current x, y mouse position in the graph, in Hz and dB.


Frequency

This is the most prominent frequency present at the insertion point (yellow arrow cursor), or at the center of a selection. Frequency is given in Hz, followed by its musical equivalent (parentheses) note number and positive/negative cents.


FFT Size

Higher FFT sizes give you more accurate results in terms of frequency (such as the overall frequency estimate), but are also much slower.

	When you set the FFT size to 1024 or lower, the Frequency Analysis window updates in real time while you play your file. You can also generate a step-by-step animation by clicking on the main waveform window and then holding down the Right Arrow key. As the cursor scrolls across the display, Cool Edit 2000 displays the spectral information in the Analysis window (try this zoomed in all the way down to the sample).


FFT Window Type

Different window types display different frequency graphs. The Triangular window gives a more precise frequency estimate, but is also the noisiest, meaning that other frequencies will be shown as present, even though they may be much lower in volume. At the other extreme, the Blackmann-Harris window has a broader frequency band which isn’t as precise, but the sidelobes are very low, making it easier to pick out the major frequency components.


Linear View

Check the Linear View box to display the plot with a linear horizontal frequency scale. Un-check it to display the plot on a logarithmic scale.


Range (24 dB to 240 dB)

Enter the range (from 24 to 240dB) for the vertical scale (the y axis) of the graph.


Reference (dBFS)

This redefines the 0dB point on the scale to be the given value. For example, entering -20 dBFS will move the graph up 20dB, showing any frequencies that were previously at -20dB, at the 0dB mark. To see higher precision at very low amplitudes, you can enter the appropriate offset to move the scale up towards the top, then decrease the Range setting  to ‘zoom in’ vertically.


Scan

Clicking Scan will scan the highlighted selection and show all frequencies present in that selection.


Statistics
  Statistics...

Use the Statistics dialog to get the following details about the current waveform:

General

Minimum/Maximum Sample Value

Peak Amplitude

Possibly Clipped Samples

DC Offset

Minimum/Maximum RMS Power

Average RMS Power

Total RMS Power

Copy Data to Clipboard

RMS Window Width

0 dB RMS set to Full Scale

Recalculate RMS

Histogram Tab

	You can jump to the exact location in the waveform for certain values by clicking on the appropriate arrow to the right of that value.
   /Analyze/Statistics


Minimum/Maximum Sample Value

Shows the maximum and minimum sample values in the range. Press the [ > ] button associated with the value to place the cursor at that location.


Peak Amplitude

Peak Amplitude is the absolute maximum sample value given in decibel form. Press [ > ] to jump to the peak amplitude in the waveform.


Possibly Clipped Samples

Counts the samples which may be clipping; at -32768 or 32767 (for 16-bit), for example. Press [ > ] to jump to the first such sample.


DC Offset

The measure of the DC ('Direct Current' or center of the waveform). Positive values are above the center line (zero volts) and negative values are below.


Minimum/Maximum RMS Power

This is the Root Mean Squared (closer to what the ear hears) amplitude of the waveform that is scanned using a window of the size given below as the RMS Window Width. The [ > ] buttons jump to the average quietest and loudest sections of the waveform.


Average RMS Power

Average RMS Power represents the average power of the entire selection. This is a good measure of the overall loudness of the waveform selection.


Total RMS Power

This represents the total power of the entire selection given as RMS amplitude


Copy Data to Clipboard

Use this button to copy all information displayed to the clipboard. You can then paste the information into a text editor or elsewhere.


RMS Window Width

Cool Edit 2000 takes the RMS over a window of this size when calculating the RMS minimum and maximum values.


Recalculate RMS

After adjusting the RMS Window Width, click this button to recalculate the RMS values based on the new window size.


Histogram

This section displays a histogram of the RMS amplitude values in the highlighted selection of audio.  This can be useful for determining future amplification amounts, dynamics compression amounts, etc. The graph shows which amplitudes are most common - the more audio there is at a particular amplitude, the more the graph will show for that amplitude.


edit waveform view edit menu
	File | Edit | View | Transform | Generate | Analyze | Favorites | Options | Window  Click on a menu above for Help. The Edit menu contains basic waveform editing options.   Click on a menu item below: _______________________   Undo (Can't Undo)   Enable Undo   Repeat Last Command   Set Current Clipboard   Copy   Cut   Paste   Paste to New   Mix Paste...   Copy to New   Select Entire Wave   Delete Selection   Delete Silence   Trim   Zero Crossings   Find Beats   Auto-Cue   Snapping   Adjust Sample Rate...   Convert Sample Type...   Edit Tempo...


undo function
  Undo (Can't Undo)	         Ctrl+Z

Undo allows you to back up through previous edits, such as deletion, Transforms, etc., provided that Enable Undo is checked. If this option is not checked (or if there is no action to undo), you will see Can't Undo instead. Cool Edit 2000 allows virtually unlimited (limited only by hard drive space) levels of Undo.

	Undo information is stored as a temporary file on your hard drive, and when working with very large audio files, Cool Edit 2000 may need some time to save this Undo information. To avoid this, you can disable Undo by removing the check from /Edit/Enable Undo before processing, or you can simply press the "Skip" button in the Saving Undo Data dialog while Undo information is being saved.
	If you find that you do not have enough disk space to save Undo information, you can change the Temp Directory to a different drive, if available. You can do this under /Options/Settings/System/Temp Directory.
   /Edit/Undo

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More About...

  Enabling and disabling Undo

  Drive space and temporary files


  Enable Undo

Enables/disables the Undo function. Because Undo requires extra disk space for its temporary files, and time to save them before processing, you may want to disable the Undo feature. For example, if you are running a function on a 5-minute file, you may not want to wait while the undo information is saved.   /Edit/Enable Undo

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More About...

  Undo

  Undo Settings

  Drive space and temporary files


repeat last command
Repeat Last Command 	     F2 (or F3)

Select /Edit/Repeat Last Command or press F2 to repeat the last function that modified waveform data. Press F3 to repeat the command immediately, bypassing any settings dialogs. In this case, Cool Edit 2000 will automatically apply the last settings used.

   /Edit/Repeat Last Command


set clipboard
Set Current Clipboard	Ctrl+1… Ctrl+6

Use this option to set the working clipboard. Cool Edit 2000 has five separate internal clipboards for cutting, copying and pasting audio. This allows you to work with multiple pieces of audio “in memory” at the same time; so you can, for example, copy different drum hits to each clipboard, and intersperse them throughout your file at choice locations. The current clipboard can also be set to the Windows clipboard (necessary to copy data between applications).

	These internal clipboards save audio in your temporary directory as wave files, and they are retained even after Cool Edit 2000 closes. To change this behavior, use the Delete clipboard files on exit setting in Options/Settings/System.
   /Edit/Set Current Clipboard


Copy

Copies selection or wave to the Windows clipboard.


Paste

Inserts waveform data from the Windows clipboard at the cursor location, or replaces the currently selected data. If the format of the waveform data in the clipboard differs from the format it is being pasted into, Cool Edit 2000 converts it before pasting.


Paste to New

Creates a new file and inserts waveform data from the Windows clipboard. The new file automatically adopts the properties (sample rate, etc.) from the clipboard material.


copy
  Copy	Ctrl+C

This copies the current selection or wave to the internal clipboard.

	Cool Edit 2000 can use two different clipboards: the standard Windows clipboard or its own internal one. The internal clipboard is faster and can handle larger copy and paste operations, but it cannot copy to or paste from other applications. If you want to copy data to another application, use /Edit/Windows Clipboard/Copy.
   /Edit/Copy

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More About...

  Selecting Data

  Using the Windows Clipboard


cutting
  Cut	Ctrl+X

Removes the current selection and places it on the internal clipboard.

	Cool Edit 2000 can use two different clipboards: the standard Windows clipboard or its own internal one. The internal clipboard is faster and can handle larger copy and paste operations, but it cannot copy to or paste from other applications. If you want to copy data to another application, use /Edit/Windows Clipboard/Copy.
   /Edit/Cut

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More About...

  Selecting Data

  Using the Windows Clipboard


pasting
  Paste	Ctrl+V

Inserts data from the internal clipboard at the insertion point, or replacing the currently selected data. If the format of the waveform data on the clipboard differs from the format of the file it is being pasted into, Cool Edit 2000 converts it before pasting.

	Cool Edit 2000 can use two different clipboards: the standard Windows clipboard or its own internal one. The internal clipboard is faster and can handle larger copy and paste operations, but it cannot copy to or paste from other applications. When you choose /Edit/Paste, Cool Edit 2000 pastes the data from its internal clipboard if there is audio data there and uses the Windows clipboard only if the internal clipboard is empty. If you want to paste data from another application, use /Edit/Windows Clipboard/Paste.
   /Edit/Paste

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More About...

  Using the Windows Clipboard


Paste to New	Ctrl+Shift+N

Creates a new file and inserts waveform data from the internal clipboard. The new file automatically adopts the properties (sample rate, etc.) from the clipboard material.

	Cool Edit 2000 can use two different clipboards: the standard Windows clipboard or its own internal one. The internal clipboard is faster and can handle larger copy and paste operations, but it cannot copy to or paste from other applications. If you want to paste from another application, use /Edit/Windows Clipboard/Paste to New.
   /Edit/Paste to New

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More About...

  Paste

  Using the Windows Clipboard


mix paste
  Mix Paste...	Ctrl+Shift+V

Use Mix Paste to mix any audio data from either the Windows or the internal clipboard with the current wave. Clipboard data is inserted or overlapped starting at the current insertion point or selection. If the format of the waveform data on the clipboard differs from the format of the file it is being pasted into, Cool Edit 2000 converts it before pasting.

Volume Invert Lock Left/Right Insert Overlap Replace   Modulate	Crossfade From Clipboard From Windows Clipboard From File Loop Paste
   /Edit/Mix Paste

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More About...

  Paste

  Using the Windows Clipboard


Volume

Use the volume slides to paste an amplified/attenuated version of the clipboard wave into the current waveform. You can paste single channels by adjusting the volume slides. Volume is represented as a percentage, so 10% is about -10dB, 50% is -6dB, etc.


Invert

Choose Invert to invert the data on the clipboard before pasting. This is very handy in taking the difference between two samples. For example, after filtering, you can listen to the audio that was filtered by copying the selection, choosing Undo, then Mix Paste with Invert checked. After auditioning, you can restore the original sample with Undo.


Lock Left/Right

When checked, the volume slide bars are locked, so that both left and right volumes can be adjusted at the same time.


Insert

Inserts clipboard waveform data at the current location or selection, replacing any selected data. If no selection has been made, Cool Edit 2000 inserts clipboard material at the cursor location, moving any existing data to the end of the inserted material.


Overlap

When Overlap is checked, the clipboard wave does not replace the currently highlighted selection, but is mixed at the selected volume with the current waveform. If the clipboard waveform is longer than the current selection, the waveform will continue beyond the selection.


Replace

This option will paste the contents of the clipboard starting at the cursor location, and replace the existing material thereafter for the duration of the clipboard data. For example, pasting 1 second of material will replace the 1 second after the cursor with the contents of the clipboard.


Modulate

Modulates the clipboard data with the current waveform. This is similar to overlapping, except that the values of the two waveforms are multiplied by each other, sample by sample, instead of added.

	To quickly modulate by a sine wave, use the Generate Tones function, which has a "Modulate by Source" option.


Crossfade (n milliseconds)

Set a fade time (in milliseconds) to apply to the beginning and end of the clipboard data. Cool Edit 2000 fades in the first n-milliseconds and fades out the last n-milliseconds of pasted data. Use this option for smoother transitions to/from pasted material.


From Clipboard

Choose From Clipboard to paste audio data currently on Cool Edit 2000's internal clipboard.


From Windows Clipboard

Choose From Windows Clipboard to paste audio data currently on the Windows clipboard.


From File

Pastes the contents of a file. If the amount of data you want to paste is too large for the clipboard, you can use Save Selection to save the highlighted selection to a file using a non-compressed file format. Then you can paste the data from the file by using this option. The Select File button pops up a window similar to Cool Edit 2000's Open dialog.


Loop Paste

When checked, the clipboard waveform is pasted the number of times entered. If the clipboard waveform is longer than the current selection, the waveform will continue beyond the selection.


Copy to New

Copy to New creates a new file and inserts the selected waveform data (highlighted region). The new file automatically adopts the properties (sample rate, etc.) from the selected material.

   /Edit/Copy to New


select entire wave
Select Entire Wave	Ctrl+A

Selects the entire waveform, from zero to the end of the wave, regardless of whether the view is zoomed in or not (unlike double-clicking on the waveform, which selects only the visible portion of the wave).

   /Edit/Select Entire Wave

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 Selecting Data


deleting the selection
  Delete Selection	Delete

Removes the current selection. The deleted portion is not copied to the clipboard, and can only be retrieved through Undo, or Revert to Saved if you haven’t saved the file since deleting.

   /Edit/Delete Selection


Delete Silence

Use this to remove periods of silence between words or other sounds.

Silence Definition

Audio Definition

Find Levels

Mark Deletions in Cue List

Limit Continuous silence to

Scan for Silence Now

   /Edit/Delete Silence


Silence Definition

If audio is below the given threshold for more than the given time period, that spot in the audio will be considered silence. For very quiet high quality audio, the dB value will be lower (like -60dB).  For noisier audio, the value may be much higher (like -30dB). Use higher values for the time to keep groups of words together, for example.


Audio Definition

If audio is above this given threshold for more than the number of milliseconds given, audio will be considered valid, and not silence. Use higher values for the time to ignore short periods of audio (like clicks, static, or other noise). If this value is too high however (above 200ms), short words may be skipped.


Find Levels

To make the choice of signal levels easier, press this button to scan the highlighted selection and determine a good starting point for signal levels. If words or phrases are getting chopped off, try lowering the signal level values. If not enough silence is getting removed, try increasing the signal level values.


Mark Deletions in Cue List

If checked, each location where silence was removed will be marked by adding it the cue list.


Limit Continuous silence to

Sets a minimum amount of silence to keep at all times. If a silent region of less than this length is found, it will not be removed at all. If a silent region of more than this length is found, enough silence is removed so that there is exactly this length of silence left. Set this value to zero to remove as much silence as possible.

	A setting of 150ms or so will leave a nice natural pause where the larger region of silence was found (making a speaker sound more natural).  If too much silence is removed, the speaker will sound very artificial.


Scan for Silence Now

This pre-performs the silence deletion, but instead of actually deleting, it reports back how much silence was removed, and how many sections of silence were found.


trimming a wave
  Trim	Ctrl+T

The exact opposite of Delete Selection, meaning that everything is deleted except the selected portion. Use Trim to remove unwanted material around a selection. The deleted portion(s) are not copied to the clipboard, and can only be retrieved through Undo, or Revert to Saved if you haven’t saved the file since trimming.

   /Edit/Trim


Zero Cross Adjustment
  Zero Crossings

Adjusts the beginning and end points of the current selection to the nearest place where the waveform crosses the center line (zero amplitude point). Having a selection begin and end on a Zero Crossing is useful in deleting or inserting a selection in the middle of a waveform. If you don’t line up the amplitudes (at zero, in this case) on both sides of the selection, the endpoints drawn together when the highlighted selection is removed are at different amplitudes, often resulting in an audible pop or click at that point.

To use Zero Crossings:

1. Select the general region you wish to "zero in" on.

2. Choose /Edit/Zero Crossings and the appropriate submenu choice:

Adjust Selection Inward (F4)

Adjust Selection Outward

Adjust Left Side to Left

Adjust Left Side to Right

Adjust Right Side to Left

Adjust Right Side to Right

   /Edit/Zero Crossings


Adjusts both region boundaries inward to the next available zero crossing.


Adjusts both region boundaries outward to the next available zero crossing.


Adjusts the left region boundary left ward to the next available zero crossing.


Adjusts the left region boundary rightward to the next available zero crossing.


Adjusts the right region boundary leftward to the next available zero crossing.


Adjusts the right region boundary rightward to the next available zero crossing.


Find Beats

Cool Edit 2000 lets you find the boundaries that make up musical beats in an existing music selection. This allows you to easily find start and end loop points for constructing drum loops and similar phrases.

To use Find Beats:

1. Place the play cursor in the waveform to the left of your targeted loop starting point.

2. Select /Edit/Find Beats/Find Next Beat (Left) to locate the beginning of the next beat; and press the “{“ key (shift+left bracket) until you arrive at the desired loop starting point.

3. Select /Edit/Find Beats/Find Next Beat (Right) to select from the current cursor position (now the loop start) to the next beat; and press the “}“ key (shift+right bracket) until you arrive at the desired end for your loop.

4. Press the Play Loop button in the transport toolbar to audition your loop.

After any necessary tweaking you can then save, paste, or add the loop to the cue list.

   /Edit/Find Beats

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More About...

  Using Find Beats to capture a loop


Auto Cue
Auto-Cue

Use Auto-Cue to define spoken/musical phrases or beats and add them to the Cue List automatically.

To use Auto-Cue:

1. Select the general region in which you wish to find phrases or beats.

2. Choose /Edit/Auto-Cue and the appropriate submenu choice:

Adjust Selection to Phrase

Find Phrases and Mark

Find Beats and Mark

Auto-Cue Settings

   /Edit/Auto-Cue


Adjust Selection to Phrase

Selects phrase within the selected region by adjust the highlight inward, ignoring any silence before and after the audio. This does not add to the Cue List.


Find Phrases and Mark

Scan highlighted area, marking non-silent regions in the cue list.


Find Beats and Mark

Scan highlighted area, marking all beats found in the cue list.


Silence Definition_1
Auto-Cue Settings

Silence definition:  If audio is below the given threshold for more than the given time period, that spot in the audio will be considered silence.  For very quiet high quality audio, the dB value will be lower (like -60dB).  For noisier audio, it may be much higher (like -30dB).  Use higher values for the time to keep groups of words together for example.

Audio definition:  If audio is above this given threshold for more than the number of milliseconds given, audio will be considered valid, and not silence.  Use higher values for the time to ignore short periods of audio (like clicks, static, or other noise).  If this value is too high (above 200ms), short words may be skipped.

Find Levels:  To make the choice of signal levels easier, press this button to scan the highlighted selection and determine a good starting point for signal levels.  If words are getting chopped off, try lowering the signal level values.  If not enough silence is removed, try increasing the signal level values.


Snap to Waves

This option snaps waveform blocks to the beginning or ending points of other waveform blocks. The beginning and ending points of waveform blocks become the “magnets”.

	This option is only available in Multitrack View.


Snap to Cues

With Snap to Cues checked, the selection will snap to any time locations currently in listed the Cue List. Cool Edit 2000 displays Cue markers in the Edit Waveform View as red arrows above and below the wave and Cue ranges as blue brackets above and below the waveform, and as red and blue dotted lines in Multitrack View.


Snap to Ruler (Fine)

With this option, the selection or waveform block will snap to each subdivision (in the current time display format: SMPTE Bars and Beats, etc.) along the vertical time ruler. Zooming in will create further sub-divisions to snap to, allowing you to Snap To with more precision.


Snap to Ruler (Coarse)

This option has the selection or waveform block snap to the major numeric divisions (the labeled divisions) (in the current time display format: SMPTE Bars and Beats, etc.) along the vertical time ruler. Use this option if you do not want too much sensitivity in Snapping. Zooming in will label with more detail, allowing you to Snap To with more precision.


adjust sample rate
Adjust Sample Rate...

This setting will let you play an audio file at any sample rate that is supported by your soundcard. This will not convert the audio file data to the new rate (the only thing changed is the playback speed not the data itself). If you choose a higher sampling rate, Cool Edit 2000 plays back the sound at a higher pitch. A lower rate results in a lower pitched sound.

Sample Rate

Channels

Resolution

	Adjust Sample Rate will let you change only the audio file's sample rate. In order to change the bit resolution or mono/stereo interpretation, you must re-open the waveform as Raw PCM and choose the desired settings.
	Certain combinations of sample rate, channels, and resolution may not be available on your system. To see the capabilities of your system, check the Devices tab under /Options/Settings. Although you can create and edit any sample type, your sound card may not be capable of playing it properly.
   /Edit/Adjust Sample Rate

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More About...

  Sample Rates

  Convert Sample Type


Sample Rate

The sampling rate you choose determines the overall bandwidth (how many frequencies can be encoded within the audio signal), with higher sampling rates yielding a wider bandwidth. You may enter any sample rate directly, or choose a common sample rate from the list. Note that most sound cards support only certain sample rates.


Channels

You cannot adjust this setting in Adjust Sample Rate.


Resolution

You cannot adjust this setting in Adjust Sample Rate.


convert sample type
  Convert Sample Type...	F11

This function directly converts the sample-rate, bit resolution, and channel format of an audio file that's currently loaded in Cool Edit 2000 into a new format type (such as 44KHz/16-bit/stereo to 22KHz/8-bit/mono). Unlike /Edit/Adjust Sample Rate, Convert Sample Type directly processes the samples within the file, or re-samples the data, so that the audio will retain the same pitch and duration as the original file.

Every aspect of conversion can be adjusted to suit your needs, including quality level, relative L/R volume levels, and Dithering amount.

Conversion Presets Sample Rate Low/High Quality Pre/Post Filter Mono/Stereo Left Mix Right Mix	Resolution Enable Dithering Dither Depth (bits) p.d.f. Noise Shaping
	Higher quality settings do take longer to process, but it is worth the wait, as the resultant waveform will best retain the original audio file’s overall fidelity.
   /Edit/Convert Sample Type

   This function supports Presets.

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More About...

  Sample Rates

  Resolution

  Dithering


Conversion Presets

You can choose any saved presets you have created from the drop down list. If you have a sample type that you convert to often, use the Save As... button to add those settings to the Preset list. Use Delete to remove entries from the list.


Sample Rate

The sampling rate you choose determines the overall bandwidth (how many frequencies can be encoded within the audio signal), with higher sampling rates yielding a wider bandwidth. You may enter any sample rate directly, or choose a common sample rate from the list. Note that most sound cards support only certain sample rates.


Low/High Quality

Higher values retain more high frequencies while still preventing aliasing of higher frequencies to lower ones. A lower quality setting requires less processing time, but will result in certain high frequencies being "rolled-off”, leading to muffled-sounding audio. Because the filter's cutoff slope is much steeper at higher quality settings, the chance of ringing at high frequencies is greater (frequencies just below the Nyquist may be abnormally boosted in level). Usually values between 100 and 400 do a great job for most conversion needs.

	You should use high quality settings whenever you downsample from a high sample rate to a low rate. When upsampling, a low quality setting will sound almost identical to a high quality setting. The difference lies in the larger phase shift that exists at higher frequencies, but since the phase shift is completely linear, it's very difficult to notice. Downsampling, at even the lowest quality setting, generally won't introduce any undesired noisy artifacts. Instead, it may just sound slightly muffled because of the increased high end filtering.
	Quality settings as they relate to sample rate conversion. p. 144


Pre/Post Filter

To prevent any chance of aliasing, the pre-filter on downsampling, or post-filter on upsampling will remove all frequencies above the Nyquist limit, thereby keeping them from generating false frequencies at the low end of the spectrum. In general, you should enable this option for best results.


Mono/Stereo

Choose whether the new sample type will be mono or stereo. If you decide to convert to Stereo from Mono, or to Mono from Stereo, you can adjust the left and right channel volumes.


Left Mix

When converting from Mono to Stereo, you can choose the relative amplitude with which the original mono signal will be placed into each side of the new stereo signal. This way, you can place the mono source on the left channel only, the right channel only, or any balance point in between. If you are converting to from Stereo to Mono, this percentage controls the amount of signal from the respective channel that will be mixed into the final mono waveform. The most common mixing methods are to use 50% of both left and right channels when converting to Mono, and 100% for both values when converting to Stereo.

	To do a vocal cut you can convert the stereo waveform to mono with a Left Mix of 100% and a Right Mix of -100%. Most vocal tracks are positioned in the middle of the stereo field in-phase, so converting the signal so that it's out-of-phase will often greatly reduce the vocal track's level.


Right Mix

When converting from Mono to Stereo, you can choose the relative amplitude with which the original mono signal will be placed into each side of the new stereo signal. This way, you can place the mono source on the left channel only, the right channel only, or any balance point in between. If you are converting to from Stereo to Mono, this percentage controls the amount of signal from the respective channel that will be mixed into the final mono waveform. The most common mixing methods are to use 50% of both left and right channels when converting to Mono, and 100% for both values when converting to Stereo.

	To do a vocal cut you can convert the stereo waveform to mono with a Left Mix of 100% and a Right Mix of -100%. Most vocal tracks are positioned in the middle of the stereo field in-phase, so converting the signal so that it's out-of-phase will often greatly reduce the vocal track's level.


Resolution

Choose the bit resolution to convert to. Converting to a lower resolution enables the Dither options below.


Enable Dithering

Enables/disables Dithering. If Dithering is not enabled, Cool Edit 2000 truncates instead (bits that are not used are simply chopped off and discarded). This gives a "crackly" effect that fades in and out on very quiet audio passages. Use Dither to reduce noise and distortion to figures below their current levels through the addition of small amounts of white noise (a random signal that includes all the frequencies across the entire audio spectrum). Although a small amount of noise is introduced into the circuit, the result is far preferable to the increased distortion that you would otherwise be listening to in low-level signals. When converting to lower resolutions, dithering allows you to hear sounds that would otherwise be masked by the noise and distortion limits of 8-bit audio (or quieter than the 16-bit limit provides when converting from 32-bit.) If Dither isn't checked, quiet audio passages will just fade in and out of a disruptive, "choppy" sound that resembles falling rain or static. Whether or not dithering is used depends on the audio that's being converted and, of course, your preferences.

	Why is -94dB SNR better than -infinity? p. 161


Dither Depth (bits)

This sets the bit amount of Dither to be applied. Generally, values of 0.2 to 0.7 give the best results without adding too much noise. If Dithering is disabled, Cool Edit 2000 simply truncates the data, which can give a "crackly" effect that fades in and out on very quiet audio. With about 0.2 bits of dithering or more, you can hear a soft constant hiss in the background instead. Note, however, that as this value is lowered, other unwanted harmonic distortion noise will appear. You can usually get away with lower values for the Dither Depth when you use noise shaping curves.


p.d.f.

The "Probability Distribution Function" controls how the dithered noise is distributed away from the original audio sample value. A rectangular function means there is an equal chance that the noise value added will lie anywhere between +1 and -1 (i.e. the likelihood of a value of -0.8 being chosen is the same as that of 0.2, or 0.3, or any value between -1 and +1). The Triangular function chooses random numbers that are generally closer to 0 than to the edges -1 or +1 (i.e. the chance of 0 being chosen is twice as great as the chance of choosing 0.5 or -0.5). All dithering distribution functions can linearize the quantization noise, meaning that the noise heard does not depend on the frequency of the dithered audio, thus no harmonic distortion appears. The SNR Loss is measured against the undithered case. If modulation is present, the audible noise floor will rise and fall depending on the amplitude of the signal, so generally one doesn't want this either.

p.d.f. Rectangular Triangular Gaussian Shaped Triangular Shaped Gaussian	SNR Loss 3dB 4.8dB 6dB 4.8dB 6dB	Modulation Yes No Negligible No Negligible
Generally, a Triangular p.d.f. function is a wise choice, because it gives the best tradeoff between SNR, distortion, and noise modulation. The shaped versions force the noise to be skewed so that more high frequency noise and less low frequency noise exists.


Noise Shaping

The various noise shaping curves determine the placement when moving noise to different frequencies. The same amount of noise overall is present, but you can choose less noise to be placed at one frequency at the expense of placing more noise at another. So different curves will result in different types of background noise. The type of curve to use depends on the source audio, final sample rate, and bit resolution. By introducing noise shaping, you may be able to get away with lower Dither Depths to reduce the overall background noise level, without introducing much unwanted harmonic noise.

Curve A B C1 C2 C3 D	Sample Rate <= 32KHz <= 32KHz >= 44.1KHz >= 44.1KHz >= 44.1KHz 48KHz


edit tempo
Edit Tempo...

This option calculates the tempo, or Beats per Minute (BPM), based on the currently highlighted selection. Cool Edit 2000 uses the BPM value in displaying ruler information for the Bars and Beats time format. Also, any settings that follow the base time format will work in Bars and Beats mode as well (like Viewing Range).

Bars Highlighted

Extract

Current Beat At

Song Start

Beats per Minute

Beats per Bar

Ticks per Beat

   /Edit/Edit Tempo

__________________

More About...

  Display Time Format


Bars Highlighted

Displays the number of bars highlighted in a selection, according to the Bars and Beats time format. If this number is incorrect (which it likely will be if you have not yet defined the tempo), you can enter the correct value here to be used in extracting tempo information.


Extract

Use this button to extract tempo information from the highlighted selection. First, you have to fill in correctly the Beats per Bar field below (4 for 4/4 music, 3 for 3/4,etc.), and enter the number of known highlighted bars. The "Extract" button will then calculate the tempo and fill in the Beats per Minute and the Offset values.


Current Beat At

This is the bar/beat information for the left edge of the selection (or the current cursor point, if no selection is made). When extracting from a selection, Cool Edit 2000 assumes that this is a down-beat (:1). You can change the actual bar and beat number for the left edge of the selection (or the current cursor point). Changing Current Beat At will update the Song Start value based on the current tempo settings.


Song Start

Song Start is the number of milliseconds into the file before the measure 1:1.00 begins. You cannot edit this value.


Beats per Minute

The number of beats that occur over a 1 minute interval. Calculate this value by using the Extract button.


Beats per Bar

Use Beats per Bar to assign the right number of beats that occur to form one measure. This number is usually the top number in the time signature (e.g. use 4 for 4/4 time, 6 for 6/8 time, or 3 for 3/4 time, etc.).


Ticks per Beat

The number of sections each beat is divided into, or the value displayed after the decimal point: 1:1.12. You can set Ticks per Beat to any value from 2 to 3600. If you use 32 ticks/beat, then a time setting of 4:2.16 would be the eighth note (half way) between beats 2 and 3, in common time.


	File | Edit | View | Transform | Generate | Analyze | Favorites | Options | Window  Click on a menu above for Help. The Favorites menu gives you easy access to favorite or custom functions.   Click on a menu item below: _______________________   Favorites List   Edit Favorites...


Favorites List

Any Favorites you have created are listed according to their position in the Current Favorites list in /Favorites/Edit Favorites.

   /Favorites/Favorite Name


user presets
Edit Favorites...

Use Edit Favorites to create, delete, edit, and organize items appearing in the Favorites menu. Edit Favorites can instantly call up any customized Cool Edit 2000 Transform or Generate effect, Script, or even 3rd-party tool (command line executable). The menu can also contain sub menus for easy organization.

Name Hot Key Function Cool Edit Transform Edit Transform Settings Copy from last command Show Dialog Use Current Settings Script Script Collection Choose Script File Script Pause at Dialogs Tool Command Line Browse	Special Add/Update Delete Up Down Favorites List
   /Favorites/Edit Favorites


Name

The name of the item to appear in the Favorites menu. Create hierarchical menus by using a backslash. For example "Effects\Hall Reverb" places the item under "Hall Reverb" in the "Effects" sub menu.


Hot Key

You can assign a key combination to serve as a shortcut to any of your Favorites. Place a check next to Ctrl, Shift, Alt, or any combination of the three to act as the first part of your shortcut. Then select a key for the second part of your shortcut (the key to press while holding the checked combination), and type the letter or number (no symbols) in the box to the right. If you want to use Function keys, choose them from the drop-down list.


Cool Edit Transform

Choose the particular Transform or Generate item you would like to add from the drop-down list. A list of the last used settings for the item chosen appears in a window just below the Transform list.


Edit Transform Settings

Click on this button to call up the settings window that corresponds to the particular Transform function. You can then change the settings to be used when this item is chosen from the Favorites menu.


Copy from last command

Copies all the settings from the last function that was started successfully.


Show Dialog

Check Show Dialog to bring up the settings dialog for the particular Transform when you call the Favorite. The settings dialog will show the settings you chose in Edit Transform Settings. Un-check Show Dialog to automatically use the chosen settings to run the function.


Use Current Settings

Check this option to apply to the Favorite the settings last used for that particular Transform.


Script Collection

Displays the current script collection in use.


Choose Script File

Brings up a browse dialog to choose a script collection (*.scp) file.


Script

This drop-down list contains all scripts available in the selected collection. Choose the particular script you want to run.


Pause at Dialogs

If checked, the script stops at each settings dialog to allow you to modify the values. Otherwise, the entire script will run to completion before control returns.


Command Line

Type the command line for the tool you want to run here, including any command line switches the particular tool may need.


Browse

Click to browse for a particular tool.


Special

Use this option if you'd like to enter a separator bar into the Favorites list to separate one function type from others. You can do this by entering a series of dashes (eg "------") into the Name box. If you want more than one separator, enter a different number of dashes, or change the text so that it doesn't match something already in the list (e.g. "------2" is considered a valid separator; the 2 after the dashes will be ignored). To create a separator bar for a sub menu, enter the sub menu path first (e.g. "Effects\------"). You can also enter any text you would like the Favorites menu to display. The text will be nonfunctional, of course.


Add/Update

Add the Favorite currently being edited to the list, or update an item in the list if its name already exists. If you modify the settings for a current favorite, you must press Update to make the changes permanent. To add a completely new item to the list, just type a new name in the Name field, and choose the appropriate settings.


Delete

Removes the selected item from the Favorites list.


Up

Moves the selected item up in the list. The order of this list is the same as in the Favorites menu.


Down

Moves the selected item down in the list. The order of this list is the same as in the Favorites menu.


Favorites List

This list displays items currently in the Favorites menu. Choose any item in the Favorites list to call up the settings for that item. If you change some of those settings, be sure to press Update to permanently change the settings in the list. The order of this list is the same as in the Favorites menu.


edit waveform view file menu
	File | Edit | View | Transform | Generate | Analyze | Favorites | Options | Window  Click on a menu above for Help. The File menu displays file handling options for Cool Edit 2000.   Click on a menu item below: _______________________   New...   Open...   Open As...   Open Append...   Revert to Saved   Close   Save   Save As...   Save Copy As...   Save Selection...   Save All   Flush Virtual File   Free Hard Drive Space...   MRU File List   Exit


new wave
  New...	Ctrl+N

Use /File/New to create a new waveform. When you create a new waveform, Cool Edit 2000 will ask you to specify the waveform's properties. Higher sampling rates, stereo, and/or higher bit resolutions will result in higher quality sounds, but do require more hard disk space.

Sample Rate

Channels

Resolution

	Certain combinations of sample rate, channels, and resolution may not be available on your system. To see the capabilities of your system, check the Devices tab under /Options/Settings. Although Cool Edit 2000 can create and edit those files, your sound card may not be able to play them properly.
   /File/New

__________________

More about...

  Digital Audio Fundimentals

  Sample Rates

  Resolution


Sample Rate

The sampling rate you choose determines the overall bandwidth (how many frequencies can be encoded within the audio signal), with higher sampling rates yielding a wider bandwidth. You can enter any sample rate directly, or choose a common sample rate from the list. Note that most sound cards support only certain sample rates.


Channels

Mono waveforms support one channel of audio information. Stereo files require twice the disk space, because they represent two channels of information, a left channel and a right channel.


Resolution

Select the bit resolution for the file:

8-bit

For use in telephony/Internet applications

16-bit

Standard professional/CD quality

32-bit

Work at the 32-bit level for best quality when processing your audio. When done, you can convert down to 16- or 8-bit for output using dither and achieve better results then if staying in the 8- or 16-bit domain. You can also use 32-bit for sound cards that go beyond the 16-bit standard (as in a 24-bit card). Press the Options button in the Save As... dialog to access 32-bit options.

	It is best to remain at the 32-bit level while working in Cool Edit 2000, and convert down for output.


open a wave;opening files
  Open...	Ctrl+O

Opens an existing sound file. Cool Edit 2000 supports a wide variety of data types. When you load a file for editing, Cool Edit 2000 converts the waveform type to its own internal temporary file type for faster editing and better handling of larger file sizes.

Recent Directories

Look In

File Name

Files of Type

Don't ask for further details

Show File Information

Auto Play

	You can open several files at once (appended one after another) by selecting them with Shift (for contiguous selection) or Ctrl (for non-contiguous selection) pressed.  When you open multiple files simultaneously, Cool Edit 2000 converts all file types to that of the first opened file.
	When you open a file in Cool Edit 2000, you are working on a temporary copy of the file.  The original file is not altered until you choose the Save command
   /File/Open

__________________

More about...

  File Formats

  Forcing Cool Edit 2000 to open a file as a specified format

  Opening/appending several files at once


Recent Directories

Displays the most recently used directories to allow faster access to common locations.


Look In

Navigates through all available drives and directories.


File Name

You can specify the name of the file you want to open here, if it resides in the current directory. Entering *.extension displays all files with that extension at your current location, and *.* displays all files.


Files of Type

Select from the list of supported file types to display any files with a corresponding extension.


Don't ask for further details

If checked, Cool Edit 2000 will not prompt you for more information about the file format after you select a file to open.  For example, if you double-click on a raw (headerless) PCM file, Cool Edit 2000 will not prompt you for the sample rate, bit resolution, A-law/mu-law compression, or other information about the file.  Instead, it will use the settings specified when you last opened a headerless file.


Show File Information

Displays basic information about the audio file, such as the file format, uncompressed file size, and running time.


Auto Play

If enabled, you can audition any selected file in the Open dialog, provided that its format can be played on your system. You can play individual files even when Auto Play is not checked by selecting them and clicking on the Play button, and you can stop Auto Play for the current file by clicking on the Stop button (which replaces Play when Auto Play is playing).


open as
Open As...

Open As... lets you specify the sample format before opening a file to allow automatic conversion to a sample-rate, bit-rate or channel-type. Open As... uses a "quick-and-easy" conversion method, i.e. if the target sample rate is different, it will not try to pre-filter or post-filter the samples. This function works great for opening files as different bit rates and number of channels, but for differing sample rates, open the file with Open, then use Convert Sample Type.

Recent Directories

Look In

File Name

Files of Type

Don't ask for further details

Show File Information

Auto Play

   /File/Open As...

__________________

More about...

  File Formats

  Sample Rates

  Resolution


Recent Directories

Displays the most recently used directories to allow faster access to common locations.


Look In

Navigates through all available drives and directories.


File Name

You can specify the name of the file you want to open here, if it resides in the current directory. Entering *.extension displays all files with that extension at your current location, and *.* displays all files.


Files of Type

Select from the list of supported file types to display any files with a corresponding extension.


Don't ask for further details

If checked, Cool Edit 2000 will not prompt you for more information about the file format after you select a file to open.  For example, if you double-click on a raw (headerless) PCM file, Cool Edit 2000 will not prompt you for the sample rate, bit resolution, A-law/mu-law compression, or other information about the file.  Instead, it will use the settings specified when you last opened a headerless file.


Show File Information

Displays basic information about the audio file, such as the file format, uncompressed file size, and running time.


Auto Play

If enabled, you can audition any selected file in the Open dialog, provided that its format can normally be played on your system. You can play individual files even when Auto Play is not checked by selecting them and clicking on the Play button, and you can stop Auto Play for the current file by clicking on the Stop button (which replaces Play when Auto Play is playing).


append a wave
Open Append...

You can append waveforms to the end of the current waveform with /File/Open Append.  If the waveform being appended is of a different type, Cool Edit 2000 quickly converts it during opening.  For best results, only append files of the same sample rate, because no interpolation is required in those cases. If no waveforms are currently open, multi-selected waveforms are appended and opened as a single, large waveform.

Recent Directories

Look In

File Name

Files of Type

Don't ask for further details

Show File Information

Auto Play

   /File/Open Append...

__________________

More about...

  Sample Rates

  Resolution


Recent Directories

Displays the most recently used directories to allow faster access to common locations.


Look In

Navigates through all available drives and directories.


File Name

You can specify the name of the file you want to open here, if it resides in the current directory. Entering *.extension displays all files with that extension at your current location, and *.* displays all files.


Files of Type

Select from the list of supported file types to display any files with a corresponding extension.


Don't ask for further details

If checked, Cool Edit 2000 will not prompt you for more information about the file format after you select a file to open.  For example, if you double-click on a raw (headerless) PCM file, Cool Edit 2000 will not prompt you for the sample rate, bit resolution, A-law/mu-law compression, or other information about the file.  Instead, it will use the settings specified when you last opened a headerless file.


Show File Information

Displays basic information about the audio file, such as the file format, uncompressed file size, and running time.


Auto Play

If enabled, you can audition any selected file in the Open dialog, provided that its format can normally be played on your system. You can play individual files even when Auto Play is not checked by selecting them and clicking on the Play button, and you can stop Auto Play for the current file by clicking on the Stop button (which replaces Play when Auto Play is playing).


re-open
Revert to Saved

Reloads the current waveform from disk, discarding any edits that were made since the last time you saved the file.

   /File/Revert to Saved


closing a waveform
Close	Ctrl+W

Closes the waveform you are currently editing. If you haven’t saved since the last modification, Cool Edit 2000 asks you if you would like to save the file. When you close a waveform, its associated temporary file is removed. This frees up hard disk space.

   /File/Close


Save
  Save	Ctrl+S

Saves the current waveform back to disk, overwriting the original without confirmation. If the data does not yet exist as a file (you haven’t previously saved it), Cool Edit 2000 will bring up the Save As... window.

   Edit Waveform View:   /File/Save

__________________

More about...

  Save As...


Save As
  Save As...

Use /File/Save As... to save the current waveform to a new name, location, or format.

Recent Directories

Save In

File Name

Save as Type

Save extra non-audio information

Options

	Use the Windows PCM (.wav) format Options to access 20- to 32-bit file support32bit_topic.
   Edit Waveform View:   /File/Save As...

__________________

More about...

  File Formats


Recent Directories

Displays the most recently used directories to allow faster access to common locations.


Save In

Navigates through all available drives and directories.


File Name

Specify a name for the file here.


Save as Type

Select the format you want to save as from the supported list. Some formats do not correspond to certain sample types. In that case, Cool Edit 2000 asks if you want to convert the file before saving.


Save extra non-audio information

If you do not want to save header fields such as copyright, author, etc., uncheck this box.


Options

Some file formats support various options that you can modify here.


Save Copy As
Save Copy As...

Save Copy As works the same as Save As, except that the last used Save Copy As file type, directory, and name are remembered, as opposed to defaulting to the file format of the original waveform.


save selection
  Save Selection...

/File/Save Selection allows you to save just the highlighted selection to a file. Its properties are identical to those in Save As...

Recent Directories

Save In

File Name

Save as Type

Save extra non-audio information

Options

   Edit Waveform View:   /File/Save Selection...

__________________

More about...

  File Formats


Recent Directories

Displays the most recently used directories to allow faster access to common locations.


Save In

Navigates through all available drives and directories.


File Name

Specify a name for the file here.


Save as Type

Select the format you want to save as from the supported list. Some formats do not correspond to certain sample types. In that case, Cool Edit 2000 asks if you want to convert before saving.


Save extra non-audio information

If you do not want to save header fields such as copyright, author, etc., uncheck this box.


Options

Some file formats support various options that you can modify here.


Save All

Saves all currently open waveforms back to disk, overwriting the originals without confirmation. If the data does not yet exist as a file (you haven’t previously saved it), Cool Edit 2000 will bring up the Save As... window.

   /File/Save All

__________________

More about...

  Save As...


Flush Virtual File

This option "frees" any virtually opened file for use by other applications. File formats that Cool Edit 2000 can interpret directly without decompressing or converting (such as a Windows WAV), are opened virtually, meaning no temporary files are used. This feature saves disk space and can be quite useful when you are working with very large files. However, with files of this type, Cool Edit 2000 has "control" over them while open and they cannot be opened, deleted, or moved by another application until you close them in Cool Edit 2000. /File/Flush Virtual File allows you to keep a file open in Cool Edit 2000 while making it available to other applications.

   /File/Flush Virtual File


Most recently-used file list (File menu)
Most recently used file list

Displays the eight files that were most recently opened. You can quickly re-open any of these files by selecting one from the list with the mouse or by typing the number associated with the desired file

   /File/1..8 filename path


exit
Exit	Ctrl+Q

Closes Cool Edit 2000. At close time, Cool Edit 2000 asks if you want to save any unsaved files that were modified. Any temporary files that were created will be removed.

   /File/Exit


free space
Free Hard Drive Space...

The Free Hard Drive Space function provides a way to manage Cool Edit 2000's use of the space available on your drive. This dialog can be entered into at any time by choosing it from the from the File menu, or it will automatically pop up if space available nears zero. On systems with lots of hard drive space, undo levels will be cleared automatically, so this box may not appear often.

Waveform

Undo History

Lower Hard Drive Reserves

Total Avialable Space

Cancel Last Operation

   /File/Free Hard Drive Space...

__________________

More about...

  Drive Space

  The way Cool Edit 2000 works


Waveform

The Waveform list displays the names of the currently open waveforms. Select the name of the file for which you would like to remove Undo instances. You can also press the Close File button to the right to close the selected file if no longer needed. This will free up hard drive space as well.


Undo History

Lists the "undone actions" that are currently being retained in memory. Each instance listed here consumes hard drive space equivalent to the amount used by the original file (the one highlighted in the Waveform list). For example', `if the file selected in the Waveform list is a 500k file, each item in the Undo History list uses an additional 500k.  To remove items from the History list, select it from the list and press the Clear Undo(s') button. All items at the selected level and below are removed.


Lower Hard Drive Reserves

Cool Edit 2000 creates temporary files for use when performing edits on your audio. The Primary and Secondary drives listed here are those set in Options/Settings/System, and are used to store these temp files. You can enter an amount (in MB) to keep free on each drive, which Cool Edit 2000 will not make use of should available space get that low. The Set Reserves button registers the Reserve amounts you have entered with the rest of the program. Press this button before exiting the dialog if you wish to keep the settings listed there.


Total Available Space

This displays the total amount of available space for use by Cool Edit 2000 (the sum of your Primary and Secondary Drives). This value should grow as you free up space.


Cancel Last Operation

You can press this button to stop any action in progress, such as a Transform, or other edit. This becomes useful only if the Free Hard Drive Space dialog has been invoked automatically by Cool Edit 2000, indicating you have run out of space.


	File | Edit | View | Transform | Generate | Analyze | Favorites | Options | Window  Click on a menu above for Help. The Generate menu has selections for creating tones, noise, and silence..   Click on a menu item below: _______________________   Silence...   DTMF Signals...   Noise...   Tones...


Generate Silence
  Silence...

This function generates silence (entered in seconds) from the current playbar cursor position, pushing any following audio back in time, and thereby lengthening the duration of the waveform. Silence will replace any selected area.

	To "silence out" a selection, use /Transform/Silence.
   /Generate/Silence


Generate DTMF Signals
  DTMF Signals...

This function generates Dual Tone Multi-Frequency (DTMF) signals used for dialing telephone numbers over the PSTN. These signals are recommended internationally by the International Telegraph and Telephone Consultative Committee (CCITT) as the signals for push-button telephones. The DTMF signals generated by telephone push-button keypads are different from the Multi-Frequency (MF) tones generated by the telephone network to transmit information.

Dial String

Tone Time

Break Time

Pause Time

Pause Character

DTMF Signals

MF Signals (CCITT R1)

Custom

Amplitude

Reset to DTMF

	The presets in this function save everything, including the dial string. To see how effective these tones are, try entering your favorite phone number to generate the tones for it. Then hold the receiver of your phone next to the speaker and play the wave. Your phone will dial the number you entered!
   /Generate/DTMF Signals

   This function supports Presets.


Dial String

Enter the phone number for which you want to generate tones. You may enter other characters such as the '*' and '#' symbols, as well as extra digits 'a', 'b', 'c', and 'd'. Entering the pause character (defined in Pause Character below) inserts a pause of a defined length.


Tone Time

Enter the milliseconds for which the tones will last. The standard time for DTMF tones is 100ms.


Break Time

Milliseconds of silence between successive tones.


Pause Time

Enter the number of milliseconds to use for a pause (when the pause character is used in the string).


Pause Character

When you enter this character in the Dial String, Cool Edit 2000 interprets it as a pause, and will insert silence for the duration specified in Pause Time.


DTMF Signals

Cool Edit 2000 generates DTMF (normal push-button telephone type) signals using combinations of the frequencies 697Hz, 770Hz, 852Hz, 941Hz and 1209Hz, 1336Hz, 1477Hz, and 1633Hz.


MF Signals (CCITT R1)

Cool Edit 2000 generates MF (internal to telephone networks) signals using paired combinations of the frequencies 700Hz, 900Hz, 1100Hz, 1300Hz, 1500Hz, and 1700Hz.


Custom

Allows you to specify the combinations of frequencies to be used in generating signals. Press this option to enable the frequency entry boxes on the keypad chart below. Click in an entry box to change that frequency.


Amplitude

This determines the volume level (in percent) of the tones generated, where 100% means maximum volume without clipping.


Reset to DTMF

Clears any custom frequency entries and replaces them with the standard DTMF frequency combinations.


Noise Generator
  Noise...

This function generates random noise in a variety of colors. Traditionally, color is used to describe the spectral composition of noise. Each color has its own characteristics. Cool Edit 2000 inserts noise from the current playbar cursor position, pushing any following audio back in time, and thereby lengthening the duration of the waveform. Selecting an area and generating noise replaces the selection (deleting existing audio).

Brown

Pink

White

Spatial Stereo

Independent Channels

Mono

Inverse

Intensity

Duration

	If a selection range is highlighted, it is not replaced by the noise generated. In this case, Cool Edit 2000 inserts noise at the left insertion point represented by the yellow arrows.
	You can use noise as the basis for creating weird SFX (sound effects), for creating soothing sounds like waterfalls (great for use with the Brainwave function), or for generating signals that can be used to check out the frequency response of a speaker, microphone, etc.
   /Generate/Noise


Brown

Brown noise has a spectral frequency of 1/f^2. This means, in English, that there is much more low-end, and there are many more low-frequency components to the noise.  This results in thunder- and waterfall-like sounds. Brown noise is so called because, when viewed, the wave follows a Brownian motion curve. That is, the next sample in the waveform is equal to the previous sample, plus a small random amount. When graphed, this waveform looks like a mountain range. The wave pattern is very predictable.


Pink

Pink noise has a spectral frequency of 1/f and is found mostly in nature. It is the most natural sounding of the noises. By equalizing the sounds, you can generate rainfall, waterfalls, wind, rushing river, and other natural sounds. Pink noise is exactly between brown and white noise (which is why some people used to call it tan noise, but pink was more appealing). It is neither random nor predictable. It has a fractal-like nature when viewed. When zoomed in, the pattern looks identical to when zoomed out, except at a lower amplitude.


White

White noise has a spectral frequency of 1. In other words, equal proportions of all frequencies are present. Because the human ear is more susceptible to high frequencies, white noise sounds very "hissy". Cool Edit 2000 generates white noise by choosing random values for each sample.


Spatial Stereo

Cool Edit 2000 generates Spatial Stereo noise by using 3 unique noise sources, and spatially encoding them to appear as if one is coming from the left, the other from the center, and the last from the right. When you listen to it with stereo headphones, your mind perceives sound coming from all around, not just in the center. To choose the distance from center of the left and right noise sources, you can enter a delay value in microseconds. About 900 to 1000 microseconds corresponds to the maximum delay perceivable, and a delay of zero is identical to Mono noise (left and right channels are the same).


Independent Channels

Cool Edit 2000 generates this noise by using 2 unique noise sources, one for each channel. The left channel's noise is completely independent of the right channel's noise.


Mono

Cool Edit 2000 generates Mono noise by using 1 noise source, with the left and right channels set equal to the same noise source.


Inverse

Cool Edit 2000 generates Inverse noise by using 1 noise source as well, but this time with the left channel's noise exactly inverse of the right channel's noise. When you listen to it with stereo headphones, the effect is that of the sound coming from the center of your head instead of out in space somewhere.


Intensity (2 to 40)

With higher intensities, the noise becomes more erratic, and sounds harsher and louder. You can adjust the slider, or enter the value numerically in the entry box.


Duration

Enter here the number of seconds of noise you want to generate.

	For very long periods of noise, it is faster to generate a shorter period of about 10 to 20 seconds, delete excess noise at the beginning and end so that the waves are starting and ending at the midpoint, then copy, and loop (using /Edit/Mixpaste) as many times as needed.


Generate Tones
  Tones...

Generate Tones will create a simple waveform, with control over. Generating tones is a great way to provide a base sound to create spectacular special sound effects.

Initial Settings Final Settings Lock to these settings only Copy from Initial Settings Base Frequency Modulate By Modulation Frequency Log Sweep Frequency Components (Overtones)	dB Volume Start Phase Phase Difference Change Rate Flavor Duration Modulate Demodulate Overlap (mix)
   /Generate/Tones

   This function supports Presets.


Initial Settings

When Lock to these settings only is off, choose this tab to select the initial tone settings. The tone generated will gradually go from the initial state to the final.


Final Settings

When Lock to these settings only is off, choose this tab to select the final tone settings. The tone generated will gradually go from the initial state to the final.


Lock to these settings only

If checked, the overtones, base frequency, modulation, modulation frequency, frequency multipliers, and overtone intensities are constant -- they do not vary over time. Un-check this box to dynamically change the proportion of any overtone over time by choosing the initial and final proportions. You can also dynamically change the frequency multipliers, base frequency, modulation, and modulation frequency for interesting effects. Click on the appropriate tab to change Initial and Final settings.


Copy from Initial Settings

Press this button (available when viewing the Final Settings) to copy the initial tone settings to the Final Settings window for editing.


Base Frequency

Enter here the main frequency to be used for sound generation.


Modulate By

This setting modulates the Base Frequency in pitch over a user-defined range. For example, a 100Hz setting modulates the original frequency by +- 100Hz (i.e.: a 1000Hz tone would modulate between 900Hz and 1100Hz).


Modulation Frequency

This is the rate (times per second) at which the frequency modulates. Entering a value of 10, for example, generates tones that warble in pitch at the rate of 10 times per second.


Log Sweep

With a separate Base Frequency used in the Final Settings, check this box to sweep the base frequency up logarithmically. Otherwise, the sweep is done linearly.


Frequency Components (Overtones)

Up to 5 overtones can be added to the fundamental frequency (Base Frequency). You can enter the multiplier for each overtone below the slider (the actual frequency will be this many times the fundamental.) You can mix each of the individual components (0 to 100%) in proportion to one another, and you can adjust the overall gain (signal level) via the stereo sliders. If Lock is not checked, all of these can change over the duration of the audio file, so that they morph from the initial to final settings.

	You can generate many really great effects with just these 5 overtones. Just experiment and have fun!


dB Volume (-80 dB to 0 dB)

Use the Volume sliders to select the overall gain for each channel. You can control both channels independently when generating stereo tones.


Start Phase

This is the starting location in the cycle that will be produced. If you start at 0 degrees phase, waves will start at the baseline. If you start at 90 degrees, the wave will start at full amplitude (generating a noticeable click as well). If you are working in great detail with tones and need to have the phase "just so", this option allows you to control that.


Phase Difference

This setting purposefully allows the left channel to be out of phase with the right channel. A value of 0 will be completely in-phase, and 180 will be completely out of phase.


Change Rate

Use this setting to dynamically change the relative phase between the two channels of a stereo audio file over time at a given rate. For example, if you enter 1Hz, the phase difference will cycle through 360 degrees each second.


Flavor

Choose the type of waveform to use. Sine waves sound soft, while Triangle and Sawtooth waves are sharper. Each flavor has a particular sound unique unto itself.

Sine  Fundamental, no harmonics (pure tone)

Triangle  Odd harmonics with amplitude of 1 to itself (squared)

Square  Odd harmonics with amplitude of 1 to itself

Sawtooth  All harmonics with amplitude of 1 to itself


Duration

This setting lets you enter the length of the generated tone (in seconds).


Modulate

Modulate requires a highlighted selection. Instead of generating new tones, the currently highlighted wave data is  "ring modulated", or multiplied, by the current tone settings. This is great for adding really weird special effects.


Demodulate

Like Modulate, Demodulate requires a highlighted selection. Demodulate can be used on a previously modulated source with interesting results.


Overlap (mix)

Checking Overlap in the Source Modulation section will mix the generated tones on top of the selected audio.


edit waveform view options menu
	File | Edit | View | Transform | Generate | Analyze | Favorites | Options | Window  Click on a menu above for Help. The Options menu contains customization and special features for Cool Edit 2000.   Click on a menu item below: _______________________   Loop Mode   Timed Record   Monitor VU Level   Syncronize Cursor Across Windows   Scripts & Batch Processing...   Settings...   Keyboard Shortcuts   Toolbars


Loop Mode

The Loop Mode option switches the play button between Loop and Play states. When Loop Mode is check-marked, the Play button will continuously loop the current selection (or the entire file, if nothing is selected); when it is off, it the Play button plays the selection (or file) once and then stops playback.

   /Options/Loop Mode


Timed Record

This option can be used to set a finite time limit allowed when recording, or to specify a time when Cool Edit 2000 will auto-start and stop recording. With the Timed Record option check-marked, pressing the record button on the transport toolbar will bring up a dialog box prompting you to enter the recording time.

Maximum Recording Time:  Select No Time Limit for normal operation or specify a time limit. When your time limit is up, Cool Edit 2000 will automatically drop you out of record mode. Upon pressing OK, Cool Edit 2000 will be placed into record mode,  either until the stop button is pressed, or the time length has expired.

Start Recording – Choose Right Away for normal operation, or choose a specific day and time. If recording is to begin at specific time, upon pressing OK the record button will blink, and recording will start when the CPU time reaches the time specified. Recording will then continue for the length given, or forever if no time limit is chosen.

    /Options/Timed Record


Monitor Record Level
  Monitor Record Level	F10

This option will activate Cool Edit 2000’s Level Meters and start monitoring the recording source, which is useful for setting recording levels before recording. To stop monitoring, press the Stop console button.

	Monitoring may also be started and stopped by double-clicking directly on the Level Meters.
	To access the Level Meters configuration menu, right-click in the meter area. The following options are available:
   /Options/Monitor Record Level

__________________

More about...

  Level Meters


cursor sync
Synchronize Cursor Across Windows

With this command check-marked, the playback cursor bar or currently highlighted selection will retain it's position when switching between open waveforms within Cool Edit 2000. For example, if you are looking at 1.wav and highlight from 0:01:00 to 0:02:00 and then switch to 2.wav using /Window/c:\sounds\2.wav or the Waveforms List, 2.wav would also have 0:01:00 to  0:02:00 highlighted. This can be useful if are switching between different versions of the same wavefile during editing. When unchecked, the positions of each of the waveform's previous cursor or range areas will be retained and re-displayed. If the waveform that you are switching to does not contain the currently selected time location (as in a .5 sec waveform, in our example) then switching acts this way, as well.

   /Options/Synchronize Cursor Across Windows


Scripts
  Scripts...

Cool Edit 2000 Scripts allow you to save a series of actions (such as a cut/paste or applying a transform) to be performed again with the click of a button. Scripts are similar to Macros; your exact mouse moves, and any tweaking of parameters are stored, and repeated in the same sequence when recalled. As an example, suppose you have a combination of effects with particular settings (an EQ setting, a Hall reverb, etc) that you like to apply often and in combination to achieve a certain sound. You can record these steps, and specific settings, to be carried out again by simply calling the script.

There are three types of scripts. The type created depends upon your state when you initiate the recording:

1. Scripts that start from scratch. These scripts start with no waveform opened, and their first command is /File/New.

2. Script that works on the current wave. This type of script operates on the entire waveform. It requires a file to be opened, but with no selection made. Actions begin at the playback cursor position in the waveform, and will affect any data present at that point.

3. Scripts that work on a highlighted selection. This type requires a highlighted selection to be made. All actions in the script pertain only to the portion that is highlighted, leaving the rest of the waveform untouched.

Title of Collection Scripts List Open/New Run BatchRun Edit Title Record	Stop Add Clear Script Type Pause at Dialogs Alert when complete Execute Relative to Cursor Description
	Again, to create a particular type of script, simply match your current state with that of the target for the script. For example, if you wish a script that starts from scratch, then close all open waveforms before recording the script.
	While all scripts will be displayed in the script list, only scripts whose type matches your current status (open waveform with a highlighted selection, for instance) will be allowed to run.
	A single script can be run on a batch of files by pressing the Batch Run button. For more information, see Batch Processing.
   /Options/Scripts & Batch Processing


Title of Collection

This text area displays the title of the currently opened script collection. If the collection in use has not yet been named, New Collection will be displayed. To name a script, press the Edit button and look for the Collection: entry (the first line). Overwrite New Collection with your title.


Scripts List

This area lists the names of all scripts in the currently opened collection. Highlight a script in the list to edit or run it.


Open/New

Pressing this button brings up a standard Open dialog with which you can browse your directories for script (.SCP) files. Double click an existing .SCP file to open that script collection. To create a new script collection, navigate through the dialog to the directory that you would like to save the .SCP file, and enter a name for it in the File Name: field. Next, press Open to save the file (it will then open for use as the current script collection).


Run

Runs the currently selected script. If the script type is not compatible with your current state (i.e. trying to run from scratch  script with a file open) it will not run until your condition matches the requirements (in this case, closing all open files).


Batch Run

A single script can be run repeatedly over a group of source files. The script must have been recorded in a "Works on Current Wave" mode, that is, before the script was recorded there must have been an open waveform (perhaps blank) and no highlighted selection. The Batch Run button will only be selectable if a script of this type is selected from the Scripts list.

Pressing this button will bring Batch Process dialog, allowing you to select the files to process.

  Click here for information on how to Batch Process files.


Edit

This will open the currently selected script as a text file for editing.


Title

Before creating a new script, you must first supply a title here.


Record

After titling your soon-to-be script, hit the Record button to begin capturing the steps to be included.


Stop

After completing all of the steps to be included in the script, return to the Cool Scripts dialog and press Stop.


Add

This button will add the script you have just created to the currently open Script Collection. Remember that if you wish to supply a description for the script (in the Description text area below) do so before hitting this button.


Clear

This option allows you to clear the script you have just recorded, if you do not wish to add it to the collection. This button is only available immediately after pressing Stop. If you wish to remove a script after it has been added, you will need to edit the script by pressing the Edit button.


Script Type

These three fields indicate what type of script is currently highlighted in the Scripts List. There are three possible script types, with each operating upon either the entire waveform, a selection, or from scratch. The type of the script currently selected will darken, leaving the other two "greyed out".


Pause at Dialogs

Check this option  to have the script stop at each dialog, allowing you to modify the values of that function.  Pressing Cancel in any dialog will stop the script, pressing OK will continue it.


Alert when complete

A dialog box will signal the completion of the script if this option is checked.


Execute Relative to Cursor

When using "Works on Current Wave" script types, you can have all script operations performed relative the original positioning, as opposed to at the original position. For example, suppose you have a script which was originally recorded with a cursor position of 0:10:00. Checking this option will apply the script at the current cursor location, plus 10 seconds (if your cursor is at 0:05:00, the results would be at 0:15:00). With this option unchecked, the script will be performed at the original location (0:10:00 in our example).

	To have a script which you will likely execute at the current cursor position, record the script at a 0:00:00 position, and check this option.


Description

Immediately after recording a script, you may enter a description in this text area for the script you have just recorded. This description will appear (in a non-editable form) when the user of the script highlights the script to run.

	The only time you can enter a description in this box is after recording, not before, and not after it has been added to a script collection file. If you wish to enter or edit a description thereafter, you can do I so by pressing the Edit button to edit the text file directly.


  Batch Processing

A single script can be run repeatedly over a group (batch) of source files.  The script must have been recorded in a works on the current wave mode. That is, before the script was recorded there must have been an open waveform (perhaps blank) and no highlighted selection.  The Batch Run button will only be selectable if a script of this type is selected from the Scripts list.

Source Files

Add Files...

Remove

Destination Directory

Output Format

Output Filename Template

Disable Undo

Overwrite Existing Files

Open Raw PCM As...

Begin Processing

   Edit Waveform View:   /Options/Scripts & Batch Processing


Source Files

This is the list of files to be included in the batch for processing. Press the Add Files… button to add a file to the list, or Remove to remove a file from the list. To remove multiple files from the list, hold down on the SHIFT key for contiguous selections, or the CTRL key for noncontiguous selections.

	The wave files can be in different formats if desired.


Add Files...

This button brings up a standard Open dialog, allowing you to add files to the batch for processing. To add multiple files to the list, hold down on the SHIFT key for contiguous selections, or the CTRL key for noncontiguous selections.


Remove

This button removes any selected files from the Source Files list.


Destination Directory

This is the directory to which the processed files will be saved, after the script has been run on them. You can select the Destination Directory by typing in the path here, or by pressing the Browse button.


Output Format

This selects the file format that all processed waveforms will be saved as. You may choose from any of Cool Edit 2000's supported file types, as well as enter any appropriate options for the target format by pressing the Options button, if available.


Output Filename Template

The names of files in your batch can be modified before being saved to the Destination Directory. When running a batch, the processed file's extension will automatically change to that of the format chosen in Output Format (e.g. *.AIF for Apple AIFF).  You can, however, force another extension, or alter the filename itself (portion before the "."), by using the filename template. The are two characters to use when altering the Output Filename Template:

 A question mark '?' will signify that a character does not change.

 A star '*' will denote the entire original file name or entire original file extension.

Here are some examples of how filenames will be saved given the original file name and the filename template:

Filename zippy.aif toads.pcm funny.out biglong.wav bart.wav	Template *.wav q*.voc b???????.* ????.wav *x.wav	Result zippy.wav qtoads.voc bunny.out bigl.wav bartx.wav


Disable Undo

This will disable the saving of undo information for the duration of the batch run. Unless the batch was written expecting the Undo function to be enabled, this is a completely save thing to do, and it speeds up processing since undo information does not continually need to be saved.


Overwrite Existing Files

With this option checked, files will always be saved to the Destination Directory after performing the script, regardless of weather a file of the same name already exists at this location. If this box is unchecked, and the destination filename already exists, the batch will not even attempt to run the script on the file in question, but skip it instead.


Open Raw PCM As…

If a source file is unreadable, or in a RAW format without any header information, then the batch needs to know what file type to assume for the data. Pressing this button allows you to define a global file type for interpretation in such cases; you will need to set the sample rate, channels, resolution, and formatting. This ensures that the batch will run continuously without interruption by dialogs asking for input data formats on header-less files.


Begin Processing

Press this button to begin batch processing all files in the Source Files list.


Various Options
  Settings... 	F4

You can customize Cool Edit 2000's colors, use of memory and hard disk space, spectral view, behavior when pasting, and miscellaneous other settings in /Options/Settings. Click on a category below to see the individual settings available.

General

System

Colors

Spectral

Data

Devices

   /Options/Settings


  Settings... 	F4

You can customize Cool Edit 2000's colors, use of memory and hard disk space, spectral view, behavior when pasting, and miscellaneous other settings in /Options/Settings. Click on a category below to see the individual settings available.

General

Highlight after Paste

Auto-play on command-line load

Play From Cursor

Live update during record

Auto-scroll during Play and Record

Show center line on top

Show Tip of the Day at startup

Decibel Rise

Rise Time

Mouse Wheel Zoom Factor

Maximum Display on Load

Custom Time Code Display

Display boundry lines at

System

Colors

Spectral

Data

Devices

   /Options/Settings/General


  Settings... 	F4

You can customize Cool Edit 2000's colors, use of memory and hard disk space, spectral view, behavior when pasting, and miscellaneous other settings in /Options/Settings. Click on a category below to see the individual settings available.

General

System

Total Buffer Size (seconds)

Number of Buffers

Quick Play

Cache Size

Use System's Cache

Asynchronous Access

Peaks Cache

Save Peak Cache Files

Rebuild Wave Display Now

Temporary Directories

Send 24-bit Using 3-byte Packed Format

Delete clipboard files on exit

Enable Undo

Undo Levels (minimum)

Purge Undo

Colors

Spectral

Data

Devices

   /Options/Settings/System


  Settings... 	F4

You can customize Cool Edit 2000's colors, use of memory and hard disk space, spectral view, behavior when pasting, and miscellaneous other settings in /Options/Settings. Click on a category below to see the individual settings available.

General

System

Colors

Color Scheme Presets

Save As...

Delete

Display Element

Example

Change Color

Spectral

Data

Devices

   /Options/Settings/Colors


  Settings... 	F4

You can customize Cool Edit 2000's colors, use of memory and hard disk space, spectral view, behavior when pasting, and miscellaneous other settings in /Options/Settings. Click on a category below to see the individual settings available.

General

System

Colors

Spectral

Windowing Function

Resolution (bands)

Window Width

Logarithmic Energy Plot

Linear Energy Plot

Reverse Color Spectrum Direction

Data

Devices

   /Options/Settings/Spectral


  Settings... 	F4

You can customize Cool Edit 2000's colors, use of memory and hard disk space, spectral view, behavior when pasting, and miscellaneous other settings in /Options/Settings. Click on a category below to see the individual settings available.

General

System

Colors

Spectral

Data

Auto-convert all data to 32-bit upon opening

Dither Transform Results

Smooth Delete and Cut Boundaries

Crossfade Time

Downsampling Quality Level

Pre Filter

Upsampling Quality Level (30 to 1000)

Post Filter

Dither amount for saving 32-bit data to 16-bit files (0 to 1)

Devices

   /Options/Settings/Data


  Settings... 	F4

You can customize Cool Edit 2000's colors, use of memory and hard disk space, spectral view, behavior when pasting, and miscellaneous other settings in /Options/Settings. Click on a category below to see the individual settings available.

General

System

Colors

Spectral

Data

Devices

MIDI Out (Music preview)

Waveform Playback

Waveform Record

Adjust for DC

Limit Playback To

   /Options/Settings/Devices


Highlight after Paste

When performing a Paste operation (including Mix Paste), you can elect to have the inserted selection automatically highlighted, or to have the cursor placed at the end of the pasted selection. Check this box to enable highlighting.

	Leave this option unchecked for easier multiple pastes, one after the other.


Use old style file open/save dialogs

Check this box to have Cool Edit 2000's File Open and File Save dialogs similar to those used in 16-bit Windows applications, as opposed to the Windows 95 style.  You may wish to use the older style if you are used to them and do not want the extra features of Windows 95 Explorer dialogs such as New Folder, Delete, Move, List View with file sizes and dates, etc.  One advantage to the older style is that directories are listed separate from files.


Auto-play on command-line load

When launching Cool Edit 2000, this option will automatically play a file that has been specified on the command line. For example, if you choose Start - Run and enter "c:\cool\cool96.exe thisfile.wav" as your command line, then Cool Edit 2000 will open, and begin playing thisfile.wav.


Play From Cursor

When no selection is highlighted, you can have playback begin from either the current playback cursor location, or from the left edge of the waveform display. Check this box to start playback from the current cursor position.


Live update during record

This enables live waveform drawing while recording. On faster machines, you can have the waveform displayed in real-time as audio is being recorded. However, if you find the recorded audio becoming choppy, leave this option disabled. In Spectral View mode, and at lower spectral resolutions (around 256) a nice scrolling spectral plot can be performed while recording with this option on.


Auto-scroll during Play and Record

If enabled, the waveform display will scroll in sync with playback. This only affects when you are zoomed in on a portion of a waveform, and play past the viewed portion (by pressing Shift+Play, for example).


Show center line on top

Check this box to have the center line (zero amplitude) for each channel displayed on top of the waveform itself. If disabled, the waveform is displayed on top of the center line.


Show Tip of the Day at startup

Check this box to have Cool Edit 2000 show a Tip of the Day each time the program is started.


Decibel Rise (dB)

This is rise in amplitude needed to constitute a beat when using the Find Beats function. The waveform must rise by this amount within the specified Rise Time to be considered a beat.


Rise Time (ms)

This is the amount of time (in milliseconds) in which the amplitude must rise by the Decibel Rise setting in order to be considered a beat when using the Find Beats function.


Mouse Wheel Zoom Factor

This is the amount to zoom in when rotating the mouse wheel found on Intellipoint compatible devices. Values from 10% to 80% work well. Higher values will zoom in further when you roll the mouse wheel. Rolling the wheel forwards (away from you) will zoom in, and backwards (towards you) will zoom out. The waveform zooms at the point where your mouse is over. If your mouse is outside the window, it zooms in and out from the center of the display.

	When in the multitrack view, pressing down on this middle button and dragging is another way to pan the waveform around.


Maximum Display on Load (seconds)

This is the maximum number of seconds into the audio file to display when a file is first loaded. When working with large files, you may wish to limit the initial display area to 10 or 20 seconds so that you do not have to wait for the entire waveform to draw. Setting this value to zero means there is no limit on the initial display size.

	If you have the Peak Files feature enabled (see /Options/System), then waveform redrawing will not be an issue; after the file has been loaded once, subsequent redraws will be instantaneous.


Custom Time Code Display (FPS)

This field is used to define the number of frames per second (FPS) assigned to the Custom time format (/View/Display Time Format). Some common settings are 30 (SMPTE non-drop), 24 (film sync), and 25 (EBU).


Display boundary lines at (dB)

This designates the position at which the boundary lines in the waveform display are positioned. A value of 0 dB will display the boundaries at the maximum amplitude value possible, before clipping would occur.

	By setting a boundary of -1dB or so, and keeping your audio within it, you can maintain some headroom which can come in useful when applying audio transformation functions.


Total Buffer Size (seconds)

Different sound card drivers can require different memory buffer settings. Cool Edit 2000's default settings should work fine for most sound cards, but if you hear "choppiness" (skips or dropouts) in recording or playback, you may need to adjust the buffer size or number of buffers used. Use this field to reserve memory for recording and playback by entering a buffer size (in seconds). A greater buffer size will allow for increased multitasking while audio is being played, at the expense of taking more of your computer's memory.

	If you do experience break-up in your audio, or you cannot Stop after you have started recording, increase the buffer size, or switch to a faster (non-compressed) hard drive.


Number of Buffers

Different sound card drivers can require different memory buffer settings. Cool Edit 2000's default settings should work fine for most sound cards, but if you hear "choppiness" (skips or dropouts) in recording or playback, you may need to adjust the buffer size or number of buffers used. Use this field to adjust the number of buffers.

	If you do experience break-up in your audio, try reducing the number of buffers. Increasing the number of buffers may also help for some configurations.


Cache Size

Cool Edit 2000 maintains its own data buffer, and reserves for it the amount of memory specified in this field. Recommended cache sizes are from 1024 kb to 4096 kb.  Cache sizes greater than about 4096 kb will tend not to increase speed notably for most processing, and sizes below about 1024 kb will tend to slow processing down.


Use System's Cache

Check this option to let Windows handle all disk caching. Keep in mind that Cool Edit 2000 usually handles caching better than Windows can. However, this option reserves the least amount of memory, so it may be desired for systems with low RAM (less than 16MB).


Asynchronous Access

It is best to leave this option checked. It enables multiple file read and write operations to go on at the same time, and if the system supports asynchronous hard drive access, things will run smoother and faster. Windows 95 does not support this, but other (and future) operating systems do (and will), and leaving the option checked will not adversely affect operation on Windows 95.


Peaks Cache

This determines the number of samples per block to be used when storing peak (.pk) files. Larger values will reduce the RAM requirement for large files at the expense of slightly slower drawing at some zoom levels. If RAM is an issue on your system, and you are working with very large files (several hundred megabytes or more in size),  you should consider increasing the Peaks Cache to 1024 or even 1536 or 2048.


Save Peak Cache Files

Peak files store information about how to display .WAV files, and can make file loading almost instantaneous by greatly reducing the time it takes to draw the waveform (especially with larger files). If enabled, all .WAV files will have peak files saved with them (in the same directory) with the extension .PK following the original audio file name. Un-check this box if you do not wish to have Cool Edit 2000 save peak files on your hard drive.

	You can safely delete peak files (.pk) from your hard drive at any time. If this option is checked, a new peak file will be created in such a case.


Rebuild Wave Display Now

Press this button to have Cool Edit 2000 rescan the current file for sample amplitudes, and redraw the waveform.


Temporary Directories

Cool Edit 2000 creates temporary files for use when performing edits on your audio. Use these two fields to specify the paths to the directories in which these files will reside. You will need to have enough space available in these directories to accommodate the total size of all the audio files you wish to edit simultaneously. You can also specify an amount to leave "free" for headroom purposes for both the primary and secondary directories.

	For best results, select separate physical hard drives for the primary and secondary Temp Directories.


Send 24-bit Using 3-byte Packed Format

If checked, all 32-bit audio buffers will be sent to the sound card(s) in packed 3-byte PCM format. If not checked, 32-bit audio is sent in unpacked 4-byte PCM format. If the card doesn't support unpacked, then the packed will be attempted instead automatically.


Delete clipboard files on exit

Cool Edit 2000 can retain the data on its various clipboards between working sessions by saving the information to your hard drive. Check this option to disable this feature so that all clipboard data is deleted when you exit the program.


Enable Undo

This option enables/disables the Undo function. Because Undo requires extra disk space for its temporary files, and time to save them before processing, you may wish to disable the Undo feature. For example, if you are running a function on a 5 minute file, you may not want to wait while the undo information is saved.


Undo Levels (minimum)

This number specifies how many levels of Undo (how many edits you can go back through) that Cool Edit 2000 will save. This is a minimum figure; more Undo levels will be created if there is enough disk space available. If space is at a minimum, Undo levels will be removed as necessary. If Cool Edit 2000 must remove Undo levels beyond this minimum setting, it will warn you about it, and give an option to cancel the operation.


Purge Undo

Press this button to erase all Undo levels below the specified minimum, freeing up the hard disk space used by them. For example, if you have 5 levels of Undo set, Purge Undo will delete all levels below level 5, so you will have at most only 5 levels of Undo after the purge.  To purge all undo levels, uncheck "Enable Undo" and the entire undo history will be removed when you perform the next operation on the waveform. You can also remove all undo levels by entering 0 for Undo Levels and then pressing Purge to expunge the entire undo history.


Color Scheme Presets

Most color assignments in Cool Edit 2000 can be adjusted to your preference, and saved as a preset for later recall. This drop down menu contains all of the available presets, to choose one simply select it from the list. The currently selected color scheme will be displayed in the Example window


Save As...

Press Save As... to save the current color scheme as a preset.


Delete

This button deletes the currently selected preset.


Display Element

This list contains all elements which can be can be given custom colors. Choose a display element and press Change Color... to choose a new color for that element. The example to the right will change to reflect the newly chosen color.


Example

This area shows the elements within the waveform display, and their current color. The example will change to reflect the current preset, or changes made to any display elements.


Change Color

This button brings up a standard Windows color selection dialog. Use this dialog to choose a color for the currently highlighted item in the Display Element list.


Windowing Function

This is the function that will be used to window the data before being displayed. In general, you can keep this at Blackmann or Blackmann-Harris. The windows are listed in order from the narrowest frequency band/most noise to the widest frequency band/least extra noise.


Resolution (bands)

This setting specifies the number of vertical bands to be used in drawing frequencies. Values of around 256 to 512 give good resolution while not taking too long to draw. Overlap, or Stepping, is achieved by your zoom level.  The more zoomed in you are, the more overlap that occurs, as an entire FFT is performed for each horizontal pixel in the display.  Highlight a one pixel wide area and view the length of the highlight in samples to get the current step size.


Window Width

This is the width of the window, or frame size, used in plotting the spectral data, where 100% is a frame size of your FFT size.  Lower Window Width percentages make lower frame sizes (eg 20% at an FFT size of 1024 gives a 204 sample Frame Size). Generally this is kept at 100%.


Logarithmic Energy Plot

In this mode, colors change with the decibel value of the energy at any particular time and frequency. More details in the very quiet ranges can be seen in this mode, especially if the Range is quite high (above 150dB). Use the range value to adjust the sensitivity in plotting frequencies.


Linear Energy Plot

In the Linear mode, colors are chosen based on percentage of maximum amplitude instead of decibel amplitude. Linear Energy Plot can be useful for viewing the general overview of a signal without getting bogged down by detail at much quieter levels. The scaling factor can be adjusted to highlight audio of different intensities, and can be thought of as a sensitivity value.


Reverse Color Spectrum Direction

If checked, Cool Edit 2000 "reverses" the palette of the Spectral view color scheme.


Auto-convert all data to 32-bit upon opening

In this mode, data is converted to 32-bit when a file is loaded, and all subsequent operations will keep the data in the 32-bit realm. You can convert your data back to 16-bit before saving using Convert Sample Type.


Dither Transform Results

Check this option to enable dithering when processing effects and transforms, such as FFT Filter or Amplify. Most processing done by Cool Edit 2000 uses arithmetic greater than 16-bit, with the results converted back to 16-bit when complete. During this conversion, dithering provides a higher dynamic range and cleaner results, with less distortions and negative artifacts. If this option is disabled, the results are truncated to 16 bits when converting back, thus losing the more subtle information. When enabled, the addition of dither retains this subtle information. The drawback is that with each operation a small amount of white noise is added at the quietest volume level. However, the trade-off between using dither (thus adding noise) and truncating the data (thus creating artifacts and correlated quantization noise) generally favor using dither, so it is best to leave this option enabled. With dithering, you get almost 24-bit sample performance in only 16-bits, as the dynamic range is increased by another 10dB or so, allowing signals as quiet as -105dB.


Smooth Delete and Cut Boundaries

Check this box to have Cut and Delete operations smoothed at the splicing point. This will prevent audible clicks at these locations.


Crossfade Time

This is the time amount used when applying a Crossfade to edit boundaries. The default setting is 3 ms.


Downsampling Quality Level

When pasting different sample formats, Cool Edit 2000 uses this setting for auto-converting the clipboard to the current sample format. Enter a value (30 to 1000) for downsampling quality. Higher values retain more high frequencies while still preventing the aliasing of higher frequencies to lower ones. A lower quality setting requires less processing time, but will result in certain high frequencies being "rolled-off”, leading to muffled-sounding audio. Because the filter's cutoff slope is much steeper at higher quality settings, the chance of ringing at high frequencies is greater (frequencies just below the Nyquist may be abnormally boosted in level). Usually values between 100 and 400 do a great job for most conversion needs.

	You should use high quality settings whenever you downsample from a high sample rate to a low rate. When upsampling, a low quality setting will sound almost identical to a high quality setting. The difference lies in the larger phase shift that exists at higher frequencies, however since the phase shift is completely linear, it is very difficult to notice. Downsampling, at even the lowest quality setting, generally will not introduce any undesired noisy artifacts. Instead, it may sound slightly muffled because of the increased high end filtering.


Pre Filter

To prevent any chance of aliasing, the pre-filter on downsampling will remove all frequencies above the Nyquist limit, thus keeping them from generating false frequencies at the low end of the spectrum. In general, this option should be enabled for best results.


Upsampling Quality Level (30 to 1000)

When pasting different sample formats, Cool Edit 2000 uses this setting for auto-converting the clipboard to the current sample format. Enter a value (30 to 1000) for upsampling quality. Higher values retain more high frequencies while still preventing the aliasing of higher frequencies to lower ones. A lower quality setting requires less processing time, but will result in certain high frequencies being "rolled-off”, leading to muffled-sounding audio. Because the filter's cutoff slope is much steeper at higher quality settings, the chance of ringing at high frequencies is greater (frequencies just below the Nyquist may be abnormally boosted in level). Usually values between 100 and 400 do a great job for most conversion needs.

	You should use high quality settings whenever you downsample from a high sample rate to a low rate. When upsampling, a low quality setting will sound almost identical to a high quality setting. The difference lies in the larger phase shift that exists at higher frequencies, however since the phase shift is completely linear, it is very difficult to notice. Downsampling, at even the lowest quality setting, generally will not introduce any undesired noisy artifacts. Instead, it may sound slightly muffled because of the increased high end filtering.


Post Filter

To prevent any chance of aliasing, the post-filter on upsampling will remove all frequencies above the Nyquist limit, thus keeping them from generating false frequencies at the low end of the spectrum. In general, this option should be enabled for best results.


Dither amount for saving 32-bit data to 16-bit files (0 to 1)

This option enables/disables dithering when saving 32-bit audio to 16-bit. A value of 1 (bit) will enable dithering , while a value of 0 will disable dithering. For semi-dithering, choose a value of 0.5. With dithering, you get almost 24-bit sample performance in only 16-bits, as the dynamic range is increased by another 10dB or so, allowing signals as quiet as -105dB.


MIDI Out (Music preview)

If your system is equipped with MIDI devices, this sets the device, or MIDI channel, to use for sending MIDI data out from Cool Edit 2000. Currently, this only pertains to the Music function.


Waveform Playback

This setting determines the sound card, or outputs to assign to Cool Edit 2000 for playback in the Edit Waveform View. If you have multiple sound cards, or a single card that has multiple outputs, they will show up as choices in this drop-down list. The capabilities of the recording and playback devices are given in the tables below the device, with a Yes or No for different combinations of sample rate/bit-resolution.


Waveform Record

This setting determines the sound card, or inputs to assign to Cool Edit 2000 for recording in the Edit Waveform View. If you have multiple sound cards, or a single card that has multiple inputs, they will show up as choices in this drop-down list. The capabilities of the recording and playback devices are given in the tables below the device, with a Yes or No for different combinations of sample rate/bit-resolution.


Limit Playback To

Use this option to compensate for limitations imposed by your hardware. For instance, if your sound card does not handle 32-bit audio correctly, you can use this option to play 32-bit Multitrack sessions play correctly. You can limit the playback to either 16- or 8-bit and/or mono.


Adjust for DC

Some recording hardware may introduce a DC Bias, which results in the recorded waveform appearing to be above or below the normal center line. You can check this box to have Cool Edit 2000 automatically adjust for any bias introduced in the recording of a waveform when recording into the Edit Waveform view.


shortcuts
Keyboard Shortcuts

Shortcuts are used to speed up the editing process by allowing you to execute almost any command in Cool Edit 2000 from your computer. For example, instead of using your mouse to go to the Edit menu and selecting Cut to cut the highlighted portion of a waveform, you can simply press Ctrl+X.

Function

Shortcut key

Conflicting Keys

   /Options/Keyboard Shortcuts


Function

This list displays all of the assignable commands in Cool Edit 2000. Click on a command name in the list to see or change its Shortcut.


Shortcut key

Use this section if you wish to be able to execute the currently highlighted command from you computer's keyboard. You can select from the Ctrl, Shift, and Alt keys, or any combination of the three, to be used as the first half of the Shortcut combination (the part to hold down), and the second half of the Shortcut (a single key) can be typed in or selected from the drop down list.


Conflicting Keys

If a command’s Shortcut key combination is already in use, you will be informed here.


Toolbars

This option displays or hides the various toolbar button sets available in Cool Edit 2000. Checkmark a menu to have its corresponding toolbar displayed. The selected settings will be saved and displayed during future editing sessions until changed.

	You can also display/hide toolbars by right-clicking on any visible button in the toolbar area.
   /Options/Toolbars


	File | Edit | View | Transform | Generate | Analyze | Favorites | Options | Window  Click on a menu above for Help. The Transform menu contains waveform transformation, or DSP options.   Click on a menu item below: _______________________   Invert   Reverse   Silence Amplitude Delay Effects Filters Noise Reduction Special Time/Pitch


	The Transform menu contains waveform transformation, or DSP options.   Click on a menu item below: _______________________   Invert   Reverse   Silence Amplitude Delay Effects Filters Noise Reduction Special Time/Pitch


	The Transform menu contains waveform transformation, or DSP options.   Click on a menu item below: _______________________   Invert   Reverse   Silence Amplitude   Amplify   Channel Mixer   Dynamics Processing   Envelope   Normalize Delay Effects Filters Noise Reduction Special Time/Pitch


	The Transform menu contains waveform transformation, or DSP options.   Click on a menu item below: _______________________   Invert   Reverse   Silence Amplitude Delay Effects   Delay   Echo   Echo Chamber   Flanger   Reverb Filters Noise Reduction Special Time/Pitch


	The Transform menu contains waveform transformation, or DSP options.   Click on a menu item below: _______________________   Invert   Reverse   Silence Amplitude Delay Effects Filters   FFT Filter   Quick Filter Noise Reduction Special Time/Pitch


	The Transform menu contains waveform transformation, or DSP options.   Click on a menu item below: _______________________   Invert   Reverse   Silence Amplitude Delay Effects Filters Noise Reduction   Noise Reduction Special Time/Pitch


	The Transform menu contains waveform transformation, or DSP options.   Click on a menu item below: _______________________   Invert   Reverse   Silence Amplitude Delay Effects Filters Noise Reduction Special   Brainwave Synchronizer   Distortion   Music Time/Pitch


	The Transform menu contains waveform transformation, or DSP options.   Click on a menu item below: _______________________   Invert   Reverse   Silence Amplitude Delay Effects Filters Noise Reduction Special Time/Pitch   Stretch


  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.

   /Transform/Invert


reverse a wave
  Reverse

Causes a selection to play backwards by reversing the order of its samples. Useful for creating special effects.

   /Transform/Reverse


silence selection
  Silence

This option will silence out the selected range. Unlike deleting, or cutting, a selection (which splices the surrounding material together), Silence leaves the duration of the selection intact, and simply zeros the amplitude within it.

   /Transform/Silence


Average/Right/Left In

This drop-down menu may be present on certain Mono in, Stereo out transforms. This simply lets you choose the input source for the effect when using it on a stereo file.


Clicking this button will apply the filter to the selection using the current settings.


Clicking on this button will close the dialog, leaving the selection unchanged.


Use this button to save the current filter settings for later recall.


This button removes the currently selected preset (if custom) from the list.


This button brings up Help for the current filter.


This area contains the property page(s) associated with the currently selected filter.


This menu contains a list of both user defined (custom) and default presets for the current filter.


This menu contains a list of both user defined (custom) and default presets for the current filter.


amplify
  Amplify...

Amplify increases or decreases the volume of a waveform or selection. You can choose between Constant Amplification (in which the same amount of gain change is applied throughout the audio file) or Fade (in which gain varies over the course of the waveform or selection) by clicking on the appropriate tab.

Amplification

Initial Amplification

Final Amplification

Linear/Logarithmic Fades

Lock Left/Right

View all Settings in dB

DC Bias

Normalization

   /Transform/Amplitude/Amplify

   This function supports Presets.


Amplification (Constant Amplification)

Adjust the slider(s) for the amount of amplification or attenuation to be applied to the selection. The signal will remain unchanged whenever an amplification value of 100% or 0dB is selected.


Initial Amplification (Fade)

Adjust the slider(s) for the amount of amplification or attenuation that will take place at the beginning of the selection. 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.


Final Amplification (Fade)

Adjust the slider(s) for the amount of amplification or attenuation that will be applied to the end of a selection. 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.


Linear/Logarithmic Fades (Fade)

With linear fades, sample values are faded in an even, linear fashion, producing a smooth slope from beginning to end. Logarithmic fades, also known as "Power fades", fade the amplitude of a signal at a constant rate, producing a steeper slope at one end of the fade, depending on whether you are fading in or out.


Lock Left/Right

With stereo waveforms, the Left and Right channels may be individually amplified at separate values. With Lock checked, the scroll bars for the left and right channels move together. Uncheck Lock to adjust the channels separately. Changes in stereo balancing or effects such as panning from left to right can be achieved using this option.


View all Settings in dB

When checked, amplification values are entered in decibels; otherwise they are entered as a percentage of the original waveform.


DC Bias

Some recording hardware may introduce a DC Bias, which results in the recorded waveform appearing to be above or below the normal center line.  Some waveform transformations require that the signal be centered, and choosing Enable DC Bias Adjust (0%) will do just that. To introduce a DC Bias by skewing the entire selected waveform above or below the center line, enter a positive or negative percentage. For example, a setting of 50% moves the entire waveform up halfway, and one of -50% moves it down halfway.


Normalization

Normalization enables you to set a desired Peak Level to which you want a file or selection raised. Use Normalization to achieve the greatest amount of amplification that will not result in clipping (when set to 0dB or 100%.) If the left and right scroll bars aren't locked, the left and right values are computed separately, potentially amplifying one channel more than the other. To normalize to less than the maximum range, enter a negative dB level or the percentage of maximum to which you want to normalize. For example, if you choose 50%, Cool Edit 2000 will compute values needed to amplify the file no more than 50% of maximum (resulting in a 3dB attenuation from maximum output.) If two sounds that have been normalized to 50% are overlapped, the resulting wave will be not exceed the boundaries, and will not clip.

	The Calculate  button finds the values needed for the desired normalization. If you are recording a script, only the final values are stored, so if you want to add normalization to a script, or to normalize in one step, use /Transform/Amplitude/Normalize...


Fade In Preset

Initial amplification is set to zero and final is set to 100 for a fading in effect.

Fade Out Preset

Initial amplification is set to 100 and final is set to zero for a fading out effect.

Fade Out Preset

Initial amplification is set to 100 and final is set to zero for a fading out effect.

Pan L->R, Pan R->L Preset

Initial and final values are set so that the sound starts at one channel and pans to the other.


channel mixer
  Channel Mixer...

The Channel Mixer will enables you to create new stereo mixes using the existing right and left channels as input sources. By recombining and inverting the channels you can create some very cool stereo imagining effects. The default values will leave the wave unchanged.

New Left Channel

New Right Channel

Invert

	Use the Vocal Cut preset to remove the vocals from stereo recordings. This preset will sum the left channel with the inverse of the right, and place the result into both channels. On music where the vocals are equally loud on both channels, the vocals will disappear, or come close to disappearing. Note that the Vocal Cut preset is ineffective on monophonic recordings and stereo recordings in which the vocals are not in the center of the stereo image.
	With different combinations, you can create the effect of swapping channels, which results in a monophonic-sounding wave that is equal to the left channel only, the right channel only, or a mixture of both channels. You can also create waves whose left channel is the inverse of the right.
   /Transform/Amplitude/Channel Mixer

   This function supports Presets.


New Left Channel

Adjust the slide bars to the determine the percentage of the current left and right channels that will be mixed into the new left channel. For example, choose an L of 50 and an R of 50 to sum equally the current L & R channels to the new left channel after mixing. Choose an L of 0, and an R of 100 to make the new left channel contain the material of the original right channel.


New Right Channel

Adjust the slide bars to determine the percentage of the current left and right channels that will be mixed into the new right channel.


Invert

Choose invert for either channel to invert that channel's phase polarity (i.e.: the peaks will become valleys, and valleys will become peaks.) Whenever both channels are inverted, there will be no perceived difference in sound, but inverting only one channel places the channels out-of-phase and greatly changes the sound when played back (whereby the previously in-phase information is canceled out).


compressor
  Dynamics Processing...

The dynamics processor varies the output level of a waveform, based on its input level. This lets you limit or compress the dynamic range of a sample so that the perceived loudness is kept below a defined limit, or so that the waveform's overall dynamic range is kept at roughly the same level. You can also expand or gate the signal so that low-level signals are reduced in level, thereby increasing the perceived dynamic range, or so that signals that fall below a certain threshold [i.e. noise] are eliminated. Control of the Dynamics Processor is done through any of the four tabbed sheets:

Graphic Tab  Graphic Tab Info Graph Splines Flat Invert Traditional Tab  Traditional Tab Info  Create Envelope Only	Attack/Release Tab  Attack/Release Tab Info Output Gain Attack Time (Out) Release Time (Out) Joint Channels Input Gain Attack Time (In) Release Time (In) Peak RMS Lookahead Time Band Limiting Tab  Band Limiting Tab Info Low Cutoff High Cutoff

   /Transform/Amplitude/Dynamics Processing…

   This function supports Presets.

__________________

More about...

  Compressors

  Limiters

  Expanders

  Noise Gates


Graphic Tab Info

The Graphic Tab provides a graphic entry of the amplitude response curve.


Band Limiting Tab Info

Use the Band Limiting Tab for limiting the affected frequency range of the processor.


Traditional Tab Info

The Traditional Tab lets you enter ratios and thresholds numerically. You can enter compressor settings for up to six sections or stages, each with its own ratio and threshold setting.  The threshold settings must get lower in value down the list. Simply enter the data to match the compressor you want.  For example, to create a 3:1 compressor above -20dB, choose ‘Compress’, enter 3 (for 3:1) in the ‘Above’ line, and -20 dB for the threshold.  If you want to expand 2:1 below -20dB as well, choose ‘Expand’ and enter 2 in the first ‘Below’ line.  Additional ratios at thresholds can be entered down the list.


Attack/Release Tab Info

This section adjusts the attack and release settings for the entire processor. The Level Detector section gets the current amplitude information from the audio to determine the amount by which to amplify the original signal. The Gain Processor is the section that affects the signal before output.


Output Gain

This is a gain applied to the output signal and is the last step performed on the audio.


Attack Time (Out)

This is the attack time applied just before output. Attack time determines the time in milliseconds that it takes for the processed output signal to reach its specified output volume. If there is suddenly a quiet portion that drops 30dB, it will take this much time before the output actually drops to its corresponding volume level. If the sum of Attack and Release times is too short (less than about 20 ms total), audible effects, such as a "vibrating" sound, can be heard at around 1000 Hz/ms total. For example, if the Attack and Release times are each set to 5 ms (making 10 ms total), then a vibrating sound at 100Hz can be heard. Thus, a total value of about 30 ms is about as low as you can go without introducing these effects.


Release Time (Out)

This is the release time applied just before output. Release Time is the time it takes the end of a previous output level to reach the specified output volume. For example, where the Attack is the time it takes for the start of a pulse to reach the desired output volume, the Release is the time it takes for the end of the pulse to reach the desired level.


Joint Channels

In Stereo, each channel can be compressed independently, sometimes causing the surrounding background noise to get louder on one channel at a time. This can sound strange. For example, a loud drum beat in the left channel will make the background noise sound louder in the right than in the left. If Joint Channels is checked, both channels are used to find a single input dB value, and both channels will be amplified together by the same amount (thus preserving the stereo center-channel image). For example, a loud drum beat on the left channel will also cause the right channel to be reduced in level by an equal amount.


Input Gain

This is the gain added to the signal before it goes into the Level Detector (the section that detects the current level). This essentially “pushes” the graph up or down by the gain given.


Attack Time (In)

This is the attack time applied when retrieving the current amplitude information. Attack time determines the time in milliseconds that it takes for the processed output signal to reach its specified output volume. If there is suddenly a quiet portion that drops 30dB, it will take this much time before the output actually drops to its corresponding volume level. If the sum of Attack and Release times is too short (less than about 20 ms total), audible effects, such as a "vibrating" sound, can be heard at around 1000 Hz/ms total. For example, if the Attack and Release times are each set to 5 ms (making 10 ms total), then a vibrating sound at 100Hz can be heard. Thus, a total value of about 30 ms is about as low as you can go without introducing these effects.


Release Time (In)

This is the release time applied when retrieving the current amplitude information. Release Time is the time it takes the end of a previous output level to reach the specified output volume. For example, where the Attack is the time it takes for the start of a pulse to reach the desired output volume, the Release is the time it takes for the end of the pulse to reach the desired level.


Peak

Peak mode is a graph interpretation method that is a little more difficult to use than RMS, and is a bit outdated. It equates to the RMS value times two. That is, if the RMS value is -20dB, then the equivalent peak value will be -40dB. This occurs because the RMS value calculated was mapped to a peak sample value for output. This method is basically here for backward compatibility.


RMS

This is a new graph interpretation method that more closely matches the way people hear volume. This mode causes the output to be exactly the RMS amplitude that is specified in the graph. For example, a limiter (flat horizontal line) at -10dB causes the RMS amplitude of the result to average -10dB (where 0dB is a maximum amplitude sine wave without clipping).


Low Cutoff

This is the lowest frequency that dynamics processing will affect. You can define a band, or range, to which compression or expansion is applied, within the current frequency range. The Low Cutoff point is the bottom boundary in defining this band. For example, with values of 1000 for Low Cutoff and 5000 for High Cutoff, dynamics processing only affects audio in the frequency range of 1kHz to 5kHz. To use the entire frequency range of the source material, leave this setting at 0.


High Cutoff

This is the highest frequency that dynamics processing will affect. The High Cutoff point is the top boundary in defining this band. For example, with values of 1000 for Low Cutoff and 5000 for High Cutoff, dynamics processing only affects audio in the frequency range of 1kHz to 5kHz. To use the entire frequency range of the source material, leave this setting at 0. To use the entire frequency range of the source material, this setting should be at 1/2 the current sample rate (24000 for 48kHz, 11025 for 22kHz, etc.).

	Leaving this setting at the default of 24000 will work in affecting the entire frequency range for all sample rates below 48kHz.


Lookahead Time

Lookahead Time is used to handle sharp spikes that may occur at the onset of a louder signal. At times, and for brief instances, these onsets can go beyond the limits of your compressor settings, which may be desirable in certain compression scenarios since it can enhance the impact of, say, a drum hit. However, this is obviously not desirable if you are using limiting in order to reduce the maximum amplitude of the audio.

	The spikes occur because it takes a little time to determine (the Level Detector's attack value) and react (the Gain Processor's attack value) to the current signal level, so Lookahead Time will actually cause the attacks to start before the audio gets loud, instead of right on top of the transient. Otherwise, with a Lookahead Time of 0, a spike will stay loud until all of the attack times have elapsed.


Graph

The graph depicts input level along the x-axis (left and right) and the new output level along the y-axis (up and down). A line that flows directly from the lower-left to the upper-right (default) depicts a signal that has been left untouched, since every input value goes to the exact matching output value. Adjusting the shape of this line will adjust the input or output assignments, thereby altering the dynamic range. For example, you can boost all input that has a level of around -20dB, leaving everything else unchanged. You can also draw an inverse line (a line from upper-left to lower-right) that will dramatically boost low amplitudes while dramatically suppressing high amplitudes (that is, all quiet sounds will be loud, and all loud sounds will be quiet.)

	To add a point to the graph, click in the grid at the location where you would like the point placed. To move a point on the graph, click and hold on the point and drag it to a new location. When the mouse cursor is located over a point, you will see it change from an arrow to a hand. To numerically enter input and output signal levels for an Edit Point, right click on the point to bring up the edit box


Flat

The Flat button resets the graph to its default state of an unchanged signal, removing all control points.


Invert

The invert button changes the graph to one that will function as the exact opposite.  For example, if a transfer function with a compressor characteristic is being displayed, pressing Invert will change the graph to one with the corresponding expander characteristic. For a graph to be invertible, it must have points in the two default corners (-100,-100 and 0,0) and its output level must always increase from left to right (i.e. each Edit Point must be higher than the one to its left).


Create Envelope

You can use this option to apply any dynamics processing, and have the result returned as an amplitude envelope. This envelope can then be copied and used with /Edit/Mix Paste (modulate) to modulate it with another sound’s amplitude. Of course, it is also useful for just seeing what the amplitude envelope of your audio is.


Splines

Check this option to generate a smoother, best fit curve instead of a straight line between control points on the graph. When you use spline curves, the line will not ordinarily travel directly through the control points; rather, the points control the shape of this curve. To get the curve closer to a control point, click to create more control points near the point in question. The more control points there are clustered together, the closer the spline curve will be to those points. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points).


envelope
  Envelope...

Envelopes give you control over which parts of your wave are amplified, and by how much. The top of the graph represents 100% (normal) amplification, the bottom represents full attenuation (silence.) This function is handy when modifying tones that are generated with Cool Edit 2000, so as to create more realistic sounding instruments and effects. To add control handles, simply click in the graph area. Once created, you can simply drag control points up and down, or drag a control point off the graph area to remove it.

Graph

Spline Curves

Flat

Amplification

   /Transform/Amplitude/Envelope

   This function supports Presets.


Graph

The graph depicts time along the x-axis (left and right) and the new output level along the y-axis (up and down), with the yellow line representing amplitude change.

	To add a control point to the graph, click in the grid at the location where you want to place the point. To remove a control point, drag it off the graph area. To enter time and amplification for a control point numerically, right click on the point to bring up the edit box, or double-click on the curve. To move a point on the graph, click and hold on the point and drag to a new location.  When the mouse cursor is located over a point, you will see it change from an arrow to a hand.


Spline Curves

Check this option to generate a smoother, best fit curve instead of a straight line between control points on the graph. When you use spline curves, the line will not ordinarily travel directly through the control points; rather, the points control the shape of this curve. To get the curve closer to a control point, click to create more control points near the point in question. The more control points there are clustered together, the closer the spline curve will be to those points. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points).


Flat

The Flat button resets the graph to its default state by removing all control points.


Amplification

This value changes the level indicators displayed on the y axis of the graph. Adjust this value to amplify more than 100%.


normalize
  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%).

Normalize to

Normalize L/R Equally

DC Bias Adjust

	Use the Normalize function if you are recording a script in which you want to normalize a waveform to a specific percentage of maximum. After normalizing to a specified level, press the F3 key to automatically run Normalize again on another waveform for very fast normalization of waves.
   /Transform/Amplitude/Normalize


Normalize to

Enter the percentage of maximum to which you want to normalize. For example, choose 50% to compute values needed to amplify the selection no more than 50% of maximum (resulting in a 3dB attenuation from maximum output.) Choose 100% (default) to apply the greatest amount of amplification possible without clipping.


Normalize L/R Equally

Check this box to use both channels of a stereo waveform in calculating the amplification amount. When it is unchecked, Cool Edit 2000 computes the left and right values in a stereo waveform separately, potentially amplifying one channel more than the other.


DC Bias Adjust

Some recording hardware may introduce a DC Bias, which results in the recorded waveform appearing to be above or below the normal center line. Check DC Bias and set it to 0% to center the waveform on the center (zero voltage) line. To skew the entire selected waveform above or below the center line, enter a positive or negative percentage.


digital delay
  Delay...

Delay can be used 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 won't be as effective as the actual chorus or flanging effects within the transform menu, as the delay settings will be fixed and won't change over time.) By reducing the delay times further down into the 15-1 ms range, you can spatially locate a mono sound (same information for both left and right) so that it appears as though the sound is coming from the left or the right side, even though the actual volume levels for left and right of the wave are identical.

Delay

Mixing

Invert

   /Transform/Delay Effects/Delay

   This function supports Presets.


Delay (0 to 500 ms)

Adjust the slider to determine the actual amount of time to delay the channel in question.


Mixing

Adjust the slider to set the amount of delayed signal (wet) and unprocessed (dry) to be mixed into the final output. A value of 50 will mix the two evenly.


Invert

If this is checked, the delayed signal is inverted. Inverting the delayed signal can be used for special effects, such as creating a quick-and-dirty comb filter.


Tunnel Preset

The Tunnel preset can be used with mono as well as stereo waveforms.  The settings provided give a nice tunnel/tubular effect.

Spatial Left Preset

This preset can make a monophonic sound (one that has been converted to stereo, that is) appear as if it is coming from the left, because the right channel is delayed just enough so that your brain interprets the sound as coming from the left.  You must use headphones to hear the effect.

Spatial Right Preset

The same as Spatial Left, but it positions the sound to appear as if it is coming from the right.


echo
  Echo...

This function adds a series of repeated, decaying echoes to a sound (for a single echo, use the Delay function instead). You can achieve effects ranging from a Grand Canyon Hello-ello-llo-lo-o to "boingy" drain pipe sounds by varying the delay amount. You can also change a room's characteristic sound from one with reflective surfaces (yielding echoes that have a bright, shiny high-end) to one that is almost totally absorptive (very little reflected high-end sounds) by equalizing the delays. Note that you can create striking stereo echo effects by using different Left and Right channel values for the Ration, Delay, and Initial Echo Volume controls.

Ratio

Delay

Initial echo volume

Lock Left/Right

Echo Bounce

Successive Echo Equalization

Continue beyond selection

   /Transform/Delay Effects/Echo

   This function supports Presets.


Ratio

This is the falloff ratio. Each successive echo will trail off at a certain percentage less than the previous one. A decay setting of zero results in no echo at all, while a decay of 100 produces an echo that never gets quieter.


Delay

This is the number of milliseconds that is placed between each echo. For example, a setting of 100 milliseconds results in a 1/10th-second delay between successive echoes.


Initial echo volume

Adjust the slider to set the amount of echoed signal (wet) to be mixed with the original (dry) signal in the final output.


Lock Left/Right

With stereo waveforms, the Left and Right channels may be processed separately. When Lock is checked, the scroll bars for the left and right channels move together, maintaining the same settings for each channel. Uncheck Lock to adjust the channels separately.


Echo Bounce

Select this option to make the echoes bounce back and forth between the left and right channels. If you want to create one echo that bounces back and forth, select an initial echo volume of 100% for the one side (left or right), and 0% for the other. Otherwise, the settings for each channel will bounce to the other, creating two sets of echoes on each channel.


Successive Echo Equalization

The echo "quick filter" enables you to choose which frequencies are removed from the echo first. Each successive echo is passed back through the quick filter, allowing for control in simulating the natural absorption of a room. A setting of zero will leave the frequency band unchanged.


Continue beyond selection

When this box is checked, the echo effect continues beyond the right-hand boundary of the selected range. Sounds that extend beyond this boundary will not be effected. In other words, the selected range will be echoed, and this echo will naturally decay beyond the selection boundary, while unselected sounds will not be echoed.

	The echo effect will stop at the right-most waveform boundary visible in the waveform window. So if the window is zoomed in, the echoing will stop before the range or file ends.


flange
  Flanger...

Flanging was originally achieved by sending an audio signal to two reel-to-reel tape recorders, and then physically slowing down the reels of one machine. The resulting sound is a phase-shifted, time delay effect characteristic of the psychedelic sounding recordings in of the 60's. Cool Edit 2000 can be used to create the same effect by slightly delaying and phasing a signal at predetermined or random intervals.

Original - Delayed Slider

Initial Mix Delay

Final Mix Delay

Stereo Phasing

Feedback

Inverted

Special EFX

Sinusoidal

Frequency (Hz)

Period (secs)

Total Cycles

   /Transform/Delay Effects/Flanger

   This function supports Presets.


Original - Delayed Slider

Use this slide control to adjust the mix between the amount of original (dry) and flanged (wet) signal. If the Original is at 100%, the result is no flanging at all. If the delayed signal is at 100%, the result is a wavering sound, rather like a bad tape player. Portions of both signals must be present if you want to achieve the characteristic cancellation and reinforcement that occurs during flanging.


Initial Mix Delay

This sets the point in milliseconds at which flanging will start behind the original. The flanging effect occurs by cycling over time from an initial delay setting to a second (or final) delay setting.


Final Mix Delay

This sets the point in milliseconds at which flanging will end behind the original. It refers to the flange effect's secondary (or final) delay setting , with the flange being cycled between this and the initial delay at a specified rate.


Stereo Phasing

This control lets you set the left and right delays at separate values. For example, a setting of 180 puts the right channel at the initial delay value at the same time that the left channel is at the final delay value. This setting can reverse the initial/final delay settings for the left and right channels, thus creating a circular, psychedelic effect.


Feedback

Use this slider to control the amount of feedback going back into the flange cycle.  Larger values will give differing hollow and “edgy” effects to enhance the flanging sound.


Inverted

Check this option to invert the delayed signal when flanging.  This causes the waves to cancel out periodically, instead of reinforcing the signal. If the Original - Delayed mix settings are set at 50/50, the waves will cancel out to silence whenever the delay is at zero.


Special EFX

This effect mixes both normal and inverted flanging effect, with the delayed signal being summed and the leading signal being subtracted out.


Sinusoidal

If this option is checked, the transition from initial delay to final delay and back will follow a sine curve. Otherwise, the transition is linear, and delays from the initial setting to the final setting at a constant rate. With sinusoidal checked, the signal is at the initial and final delays more often than it is between delays.

	The Invert, Special EFX, and Sinusoidal options give you a lot of control over the flanging effect, so try experimenting with them to achieve the effect you want.


Frequency (Hz)

The Frequency, Period, and Cycles settings refer to the rate at which the delay cycles between the initial delay and the final delay. The flanging will cycle (using settings that include frequency times per second, period seconds per complete cycle, or a total of complete cycles) over the entire selection. Different settings can result in widely varying effects. For example, a setting of 0.5 cycles causes the effect to start with the initial delay, and end with the final delay. If a frequency of 4 is chosen, the flanging will cycle from the initial delay to the final delay and back again 4 times per second.


Period (secs)

The Frequency, Period, and Cycles settings refer to the rate at which the delay cycles between the initial delay and the final delay. The flanging will cycle (using settings that include frequency times per second, period seconds per complete cycle, or a total of complete cycles) over the entire selection. Different settings can result in widely varying effects. For example, a setting of 0.5 cycles causes the effect to start with the initial delay, and end with the final delay. If a frequency of 4 is chosen, the flanging will cycle from the initial delay to the final delay and back again 4 times per second.


Total Cycles

The Frequency, Period, and Cycles settings refer to the rate at which the delay cycles between the initial delay and the final delay. The flanging will cycle (using settings that include frequency times per second, period seconds per complete cycle, or a total of complete cycles) over the entire selection. Different settings can result in widely varying effects. For example, a setting of 0.5 cycles causes the effect to start with the initial delay, and end with the final delay. If a frequency of 4 is chosen, the flanging will cycle from the initial delay to the final delay and back again 4 times per second.


General Reverb Tab

These settings determine the characteristics of the reverb density, buildup time (attack), decay time, and room irregularities.


Early Reflections Tab

The first few echoes that reach the ear, before the reverb really builds up, are called early reflections.  The timings (and directions) of these first echoes give audio cues as to the room size and dimensions, and also the speaker’s (source) location in the room with respect to the listener.


Coloration Tab

Every room has its own ‘sound’, which is usually determined by the materials in the room (walls, seats, people, carpeting, tigers, etc.).  Each of these materials absorbs a different set of frequencies, and thus the reverb in those frequencies is not as long.  Other materials may even enhance the reverb in certain frequencies (e.g. a giant tuning fork or other resonating objects).  All these can be modeled very nicely with the flexible 3-band “EQ”.  This is not really an equalizer in the normal sense, but it describes which frequencies will diminish faster, or even carry on longer.  The scale is in dB, and describes how each frequency will decay over time. The signal at each given frequency will decay the given number of decibels extra, over the time specified in the ‘ms’ box (e.g. 500 ms)..  So if at 1Khz the graph shows -10dB, then after one second, the 1KHz frequency portion of the reverb decay will be 20dB quieter than any frequencies at zero on the graph.


Mixing Section

The controls at the bottom affect the overall mix levels of the various components that make up a natural sounding acoustic environment.  Careful tuning of these mix levels can yield a wide range of results.  Generally, for a convincing environment, the mixing between the Early Reflections and the Reverb should be fine tuned.


reverb
  Reverb...

Reverb is an effect used to simulate acoustic space, and consists of both early reflections, and echoes that are so closely spaced that they are perceived as a single decaying sound. Reverb is different from the basic echo function in that the delays aren't repeated at regularly spaced intervals. Cool Edit 2000's Reverb function can create a wide range of high-quality reverb effects. It can reproduce such acoustic or "ambient" environments as a coat closet, tiled bathroom shower, concert hall or grand amphitheater. Initial early-reflection delays can be used to give a sense of room size.

Total Reverb Length

Attack Time

High Frequency Absorption Time

Perception

Mixing - Original Signal

Mixing - Reverb

Combine Source Left and Right

	To simulate specific rooms that have echoes and reverb, use the Echo Chamber function to first get the 'size' of the room, then use Reverb to make it sound more natural.
	This function can create a sense of spaciousness in a monophonic signal.
   /Transform/Delay Effects/Reverb

   This function supports Presets.

	We've built in a few presets to get you started, but you should experiment with the different parameters. The "Large Occupied Hall" simulates a very nice live theater atmosphere, while the "Concert Hall Light" setting creates a nice professional performance reverb—this preset is especially useful in enhancing a non-reverberated vocal track.


A signal that has been recorded as or converted into a stereo audio file can benefit from even as little as 300ms to open up the perceived spaciousness of a dry sound (one that was recorded without any effects or reverb).


Total Reverb Length (0 to 6000 ms)

This is the time it takes for the reverb signal to trail off to infinity (about -96dB.) Values below 400 often create a small room environment, while values between 400 and 800 simulate medium sized rooms, and values above 800 simulate concert halls. You can go all the way up to the 3000 ms (3 second) for trails of giant amphitheaters.


Attack Time

The amount of time it takes for the reverb to gain full strength is known as the attack time. For short reverb times, the attack time should be smaller. In general, a value of about 10% of the total reverb time works well; however, you can create interesting and subtle effects by using longer attack times with shorter reverb lengths, or, conversely, by combining very short attack times with long reverb lengths.


High Frequency Absorption Time

In acoustic environments, higher frequencies tend to attenuate faster than lower frequencies. Use this parameter to simulate this natural absorption so that the high frequencies are reduced in level during the reverb's decay time. Faster absorption times simulate rooms that are occupied and have furniture and carpeting, like night clubs or theaters. Slower times (especially over 1000ms) simulate rooms that are emptier, like gymnasiums or auditoriums, where higher frequency reflections are more prevalent.


Perception

This parameter gives subtle qualities to the environment by enabling you to change the characteristics of the reflections that occur within a room. With lower values, the reverb is "smoother" and doesn't have as many distinct echoes. Higher values cause more variation in the reverb amplitudes and add more spaciousness by creating distinct reflections over time. In general, higher values (up to 60%) simulate large rooms, and lower values (down to 0%) simulate smaller rooms.

	A setting of 100 and a reverb length of 2000 (2 seconds) or more creates interesting canyon effects.


Mixing - Original Signal

This setting determines how much of the unprocessed (dry) signal is mixed into the final output. To add spaciousness to an instrument, keep the dry signal higher, or at 100%. If you're trying to achieve a special effect with reverb, you might want to reduce the volume of the original signal. If the reverb is so great that audio begins to clip, try reducing both the dry and the reverberated signal strength. In general, the more reverb you add, the lower the original signal volume should be. In most cases, a value of 90% or so should work well.


Mixing - Reverb

This setting determines how much of the reverberated (wet) signal is mixed into the final effect output. In modern production, the wet amount should ordinarily be lower than the dry signal to add spaciousness to a track; however, you may want to increase this amount to simulate physical distance from the audio source (where reverb is heard in greater proportions to the original signal).


Combine Source Left and Right

When working with stereo audio, there are actually two source signals (left and right), that can be placed independently. This does, however, require twice as many calculations as a single audio source, so you can check this option for faster processing. When it is checked, Cool Edit 2000 sums the left and right channels of a stereo source file before routing to the effects processor. When unchecked, the original signal and its respective reverbed signal remain in its own channel.

  unchecked [image]  checked

	If you know that both channels are identical (that is, if they originated from a monophonic sample), you should definitely check this option to minimize processing time.


fft filtering
  FFT Filter...

The graphic nature of the FFT (Fast Fourier transform) Filter makes it easy to draw curves or notches for rejecting or boosting specific frequencies. Use it to create band-pass filters (which keeps only a certain band of frequencies), high-/low-pass filters (for reducing or eliminating the low or high-end frequencies), narrow-band pass filters (to simulate a telephone pickup) or notch filters (which eliminate very narrow frequency bands).

Passive/Logarithmic View Initial/Final Filter Graph Graph Log Scale Spline Curves FlatMin/Max	FFT Size Windowing Function Lock to Constant Filter Morph Precision Factor Transition Curve
	The noise level of the FFT Filter is lower than that of 16-bit samples, so when processing audio at 16-bit resolution or lower, there should effectively be no extra noise induced by the FFT Filter (depending on the Window filter being used.) For example, the stop band noise of a Blackman window will be below the -96dB mark.
	For best results, filter using 32-bit samples. If your source audio is 8-bit or 16-bit, try converting to 32-bit to do the filtering, and when done, you can convert back to the lower resolution with dithering. This will produce better results than processing at lower resolutions, especially if more than one transform will be performed on the audio.
   /Transform/Filters/FFT Filter

   This function supports Presets.


Passive/Logarithmic

Select Passive mode to express frequency changes (boosts or cuts) in terms of percentages, where a setting of 100% represents no change. Select Logarithmic mode when you want to express changes in terms of dB, where 0dB represents no change.


View Initial Filter Graph/View Final

When the Lock to Constant Filter is not set, you can choose both an Initial and a Final filter setting. Filtering will gradually go from the initial state to the final state. The rate at which the filter migrates from the Initial to Final settings depends on the Transition Curve settings.


Graph

The graph depicts the frequency spectrum along the x-axis (left and right) and amplitude along the y-axis (up and down). The readout below the graph displays the current x, y position of your mouse.

	To add a control point to the graph, click in the grid at the location where you want to place the point. To enter frequency and amplification for a control point numerically, right click on the point to bring up the edit box, or double-click on the curve. To move a point on the graph, click and hold on the point and drag to a new location.  When the mouse cursor is located over a point, you will see it change from an arrow to a hand.


Log Scale

Check this option to display the x axis (frequency scale) logarithmically rather than in linear fashion. When Log Scale is checked, the graph represents the frequency curve more closely to the way the ear hears sound. To do finer editing in low frequencies, leave Log Scale checked. For detailed high frequency work, or work with evenly spaced intervals in frequency, uncheck this option.


Spline Curves

Check this option to generate a smoother, best fit curve instead of a straight line between control points on the graph. When you use spline curves, the line will not ordinarily travel directly through the control points; rather, the points control the shape of this curve. To get the curve closer to a control point, click to create more control points near the point in question. The more control points there are clustered together, the closer the spline curve will be to those points. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points).


Flat

The Flat button will reset the curve to its default state of an unchanged signal, removing all Control Points.


Min/Max

These boxes allow you to enter a minimum and maximum value for the graph's y axis. Cool Edit 2000 displays the values in the ruler to the right of the graph. These settings affect the maximum boost or cut that the frequency curve can represent.


FFT Size

The FFT Size parameter specifies the size of the FFT to use, which can affect processing speed and quality. For cleaner sounding filters, use higher values. This value must be a power of two. Recommend values are between 1024 and 8192.

	Use lower values (512 or so) when tweaking your filter for faster Preview response. When you have the settings the way you want them, switch to a higher FFT size for better quality when processing.


Windowing Function

The windowing function determines the amount of transition width and ripple cancellation that occurs during filtering, with each one resulting in a different frequency response curve. These range in order from smallest width and greatest ripples to widest width and least ripples. The filters with the least ripples are also those that more precisely follow the drawn graph, and have the steepest slopes, even though they are wider, and pass more frequencies in a band-pass operation. The Hamming and Blackman filters give excellent overall results. Try different windowing functions if you these don't give you the effect you want.


Lock to Constant Filter

Check this option to apply a constant filter to the waveform. Uncheck it to choose both an Initial and a Final filter setting. The rate at which the filter migrates from the Initial to Final settings depends on the Transition Curve settings.


Morph

If Morph is checked, the transition from the initial filter settings to the final filter settings will actually "morph" from one to the other. If this is not checked, the settings simply change in linear fashion over time. For example, if you leave Morph unchecked and have a spike at 10kHz for the initial filter and a spike at 1kHz for the final filter, the spike at 10kHz will gradually decrease, and the spike at 1K will gradually increase over time, but frequencies between 1kHz and 10kHz will not be affected. If morphing is on, the spike itself will "ooze" from 10kHz down to 1kHz, passing many of the frequencies in between.

	For a cool example of morphing, try choosing Passive mode, and set an initial curve with the first half at 100%, and the second half at zero. For the final curve, set the right 1/10th or so at 100% with the rest at zero. This selects high frequencies for the initial configuration, and low frequencies for the final configuration. To get a nice blending from high to low, choose morph to include all the frequency combinations between the two filters. To see exactly what's happening as the filtering changes from the initial configuration to the final, choose Transition to view the actual settings that will be used over the duration of your selection.


Precision Factor

This determines how accurately you want to filter over time when separate initial and final settings are used. A larger number (low factor) means the filter settings will change roughly, or in chunks, from initial to final, while smaller numbers (higher factor) will make the transition much smoother. In any case, the higher the precision factor, the longer it will take to filter your selection, but the nicer it will sound. Since the FFT function takes a large group of samples, and filters them all at once, the precision factor determines how many samples from the entire group will actually be saved. A factor of 2 means that half of the samples are saved, while a factor of 10 means that 1/10 of the samples are saved. Since there can be only one filter setting for the entire group of samples, you may want a more accurate (or smaller) setting if the EQ curve varies wildly over short periods of time.


fft transition setting
FFT Transition Curve

Displays a graphical representation of the transition from initial to final filter settings. The top graph shows time along the x axis (with the left representing the start of your sample, and the right side representing the end), and where in the transition you are allowed the y axis (with 0% representing your initial filter, and 100% representing your final filter). All points in between are a combination of your initial and final filter arrangements. The readout below the graph displays the current x, y position of your mouse.

Flat

Graph response at point


Flat

The Flat button will reset the curve to its default state of an unchanged signal, removing all Control Points.


Graph response at point

Check this option to have the bottom graph update in response to your mouse position in the top graph.

The bottom graph shows the filter at any given point in the transition (provided the Graph response option is checked), and corresponds directly to the position of the mouse in the top graph (click, or click and drag to update the view). Watch how the filter settings change as you move your mouse up and down in the top graph—depending on the position you select, you can decide whether you want a morphing transition, or a linear transition. Each type of transition will give different filter settings for the points between your initial and final filter settings.


Morphing is generally any technique used to transform one object into another. In the case of filter settings, it is a way to smoothly transform one setting (represented by a graph) to another by estimating all the possible combinations of the two settings. Over time, the first setting becomes the second. At some point, the setting will stop looking like the initial configuration, and start looking like the final configuration. In the filtering world, this means that frequencies between the ones selected to be filtered will also be filtered.


In migrating from the initial to the final filter configuration, the points in the "in-between" settings are just the average between the two settings. For example, a filter setting exactly between the initial and final would be the exact average of the initial and final filter settings.


equalize
  Quick Filter...

The 8-band quick filter can be easily customized to suit most filtering needs. It works much the same as a standard audio equalizer does, except that the bands act a bit differently. The highest frequency band will increase or decrease the high end, but it will also increase frequencies all the way down to the lowest band. It will, however, increase the high frequencies more than the low ones, of course. The effect is close to an equalizer, but not quite. Essentially, this is a quick and easy function for changing the tone of your sample (such as noise) to make it more pleasing to the ears.

Initial Settings

Final Settings

Lock to These Settings Only

Equalizer Bands

Master Gain

Lock L/R

	Boosting the bass frequencies to very high values may lead to clipping.
	To produce a semi low-pass filter, set the higher frequency scroll bars to -30 to cut out higher frequencies. Similarly, you can create a high pass filter by reducing the lower frequencies.
	You can create some very interesting effects by changing the initial and final equalization settings so that they can "morph" from one curve type to another (such as having a "bassy" curve change to a flat one at the introduction of a song).
   /Transform/Filters/Quick Filter

   This function supports Presets.


Initial Settings

When Initial/Final isn't locked, choose this tab to select the initial EQ settings.


Final Settings

When Initial/Final isn't locked, choose this tab to select the final EQ settings.


Lock to These Settings Only

Check this box to equalize the entire selected range with the setting shown. Uncheck it to select separate initial and final equalization settings, so that the selection can smoothly glide from the initial equalization setting to the final setting over the selected  range. Click on the appropriate tab to change Initial and Final settings.


Equalizer Bands

Adjust these sliders to increase or decrease the frequency component specified beneath the slider. Amplitude is shown above each slider.


Master Gain

This control adjusts the equalizer's overall level.


Lock L/R

With Lock checked, the scroll bars for the left and right channels will move together, maintaining the same settings for each channel. Uncheck Lock to adjust the channels separately.


Noise Reduction
  Noise Reduction...

Cool Edit 2000's Noise Reduction feature can dramatically reduce background and general broad band noise with minimal reduction in signal quality. It can also remove tape hiss, microphone background noise, 60 cycle hum, or any noise that is constant throughout the duration of your waveform. The amount of reduction required depends upon the type of background noise, and the allowable loss in the quality of the signal that is to be kept. In general, you should be able to attain increases in Signal to Noise ratios of 5dB to 20dB (noise is reduced 21dB and signal 1dB for example).

View Left/Right Noise Profile Plot Load Profile Save Profile Get Profile from Selection Snapshots in profile Reduction Graph	Log Scale Live Update FFT Size Remove Noise/Keep Only Noise Precision Factor Smoothing Amount Transition Width
	You can reduce the noise incurred by your sound board's circuitry during recording--just record a second of silence before whatever you want to record and tell the noise reducer to remove the sound of that silence for another 10dB dynamic range.
	You can generate interesting effects by using valid "foreground" audio rather than background noise as your noise sample
	Noise reduction works best on 16- and 32-bit samples. Although it will work with 8-bit audio, it is impossible to get the noise level to less than about -45dB if even that. Noise at -45dB is very audible, as owners of 8-bit sound cards can attest. You can get much better results by converting to 16 bits first, reducing the noise, and downsampling back to 8 bits, than by reducing noise in 8-bit samples directly.
	The noise reduction works best if the original signal is centered. To center a signal, highlight it and choose "Center Wave" from the Amplify function. Centering the wave adjusts the DC offset to zero. If the wave is not centered, you may hear audible clicking in quiet parts after processing. Because centering takes out all frequencies below about 16Hz, it is completely safe to do without any ill side effects.
   /Transform/Noise Reduction/Noise Reduction

__________________

See Also...

  Some notes on Noise Reduction


View Left/Right

Click to view either the left channel noise profile or the right channel noise profile. The amount of noise reduction is always the same for both channel. To perform separate levels of reduction on each channel', `edit the channels individually instead of both channels at once.


Noise Profile Plot

The yellow points in the profile plot represent the amount of noise reduction that will be performed at any particular frequency. Move the Noise Reduction Level up or down to move the entire yellow region up or down.


Load Profile

Press this button to load any previously saved noise profile. You can load any *.fft file that Cool Edit 2000 has saved. A noise profile can only be used on a sample of the same type as when saved. In other words, a 44K stereo 8-bit sample is not compatible with a 22 kHz mono 16-bit profile. Bear in mind, however, that because noise profiles are so specific to the recording environment of the waveform in question, even if the sample types are compatible, a profile for one type of noise is likely to not produce good results when used for another type of noise. Even if the audio samples were recorded with the same microphone, if the recording environment is different, the type of background noise could be different.


Save Profile

Once the noise level is set, you can save the noise profile in a *.fft file. This file will contain information on sample type, FFT size, and three sets of FFT coefficients, one for the lowest amount of noise found, one for the highest amount, and one for the power average.


Get Profile from Selection

Press this button to extract a Noise Profile from the highlighted selection. Try to select a portion of the waveform that has no important signal in it (only has background noise'), and then press Get Profile from Selection. Cool Edit 2000 then gathers the statistical information about the background noise, after which you can remove all noise of this type from your waveform.

	If the selection used for gathering the noise level is too small, then the Get Profile from Selection button will not activate. Reduce the FFT Size or select a larger section of noise by using Copy and Paste for reasonable results with very short noise samplings.


Snapshots in profile

This number describes how many snapshots of noise to take in the highlighted interval when Get Noise Profile From Selection is pressed. The larger this number, the more accurate the statistical data is. A value of 64 is plenty. You will notice that using very small numbers of statistical samples will greatly affect the quality of the various noise reduction levels. With more samples, a noise reduction level of 100 will likely cut out more noise, but also cut out more original signal as well. However, a low noise reduction level with more samples will also cut out more noise, but likely will not disrupt the intended signal.


Reduction Graph

Use the reduction graph to set the amount of noise reduction at certain frequency ranges. For example, if you need noise reduction only in the higher frequencies, adjust the chart to give less noise reduction in the low frequencies, or alternatively, more reduction in the higher frequencies. The graph depicts frequency along the x-axis (left and right) and the amount of noise reduction (in percent) along the y-axis (up and down). If it is set to Flat, then the amount of noise reduction used is based on the noise profile exactly. The readout below the graph displays the current x, y position of your mouse.

	To add a point to the graph, click in the grid at the location where you would like the point placed. To move a point on the graph, click and hold on the point and drag to a new location.  When the mouse cursor is located over a point, you will see it change from an arrow to a hand.


Log Scale

You can view the chart of the noise profile in either linear or logarithmic fashion. Check Log Scale to divide the graph evenly into 10 octaves. Uncheck it to divide it linearly, with each 1000kHz (for example) taking up the same amount of horizontal width.


Live Update

When you check this option, the noise profile plot updates as control points are moved around on the chart. Otherwise, the profile plot is only updated when the control point is placed in its new location.


FFT Size

The FFT Size parameter causes the most drastic changes in quality. Good settings for the size range from 4096 to 12000. The FFT Size determines the number of individual frequency bands that are analyzed—the noise in each frequency band is treated separately, so the more bands you have, the finer frequency detail you get in removing noise. For example, if there is a 120Hz hum, but not many frequency bands, frequencies from 80Hz on up to 160Hz may be affected. With more bands, there is less spacing between bands, so the actual noise can be detected and removed with more precision. However, with too many bands, time slurring occurs, which can make the result sound reverberant or "echoey" (with pre- and post-echoes). So the tradeoff is frequency resolution vs. time resolution, with lower FFT sizes giving better time resolution and higher FFT sizes giving better frequency resolution.


Remove Noise/Keep Only Noise

For normal operation, choose Remove Noise. If for some reason you want to extract the noise for other purposes, choose Keep Only Noise, and all the audio will be removed, leaving only noise.


Precision Factor

This affects distortions in amplitude. With values of 3 or less, the FFT is performed in giant blocks that are not very continuous between the blocks. This means that after each block is processed, there can be a drop or spike in volume at the interval between blocks. Values of 5 and up work best. Beyond 10 or so, there is no noticeable change in quality—only in the time it takes to compute. Try using 5 or 7 (odd numbers are best for symmetric properties).


Smoothing Amount

Smoothing Amount takes into account the standard deviation, or variance, of the noise signal at each band. Bands that vary greatly when analyzed (white noise) will be smoothed differently than constant bands (like a 60 cycle hum). Generally, increasing the smoothing amount (up to 2 or so) will reduce the 'burbly' background artifacts at the expense of raising the overall background broadband noise level.


Transition Width

This setting determines how sharp the division is between what is considered noise and what should be kept. For instance, with a Transition Width of zero, a sharp (noise gate type) curve is applied to each frequency band. If the audio in the band is just above the threshold, it stays; if it is just below, it is truncated to silence. Conversely, you can specify a range over which the audio will fade to silence based upon the input level. For example, with a transition width of 10dB, and a cutoff point (scanned noise level for the particular band) of -60dB, then audio at -60dB would stay the same, at -62dB it would be reduced some (to about -64dB), and so on until audio at -70dB would be removed entirely. Again, if the width is zero, then audio just below -60dB is entirely removed, while audio just above it would remain untouched. Negative widths simply go about the other side, so in the above example, a -10dB width would have ranged from -60dB to -50dB.


Brainwave Synchronizer
  Brainwave Synchronizer...

The Brainwave Synchronizer can produce files that, when listened to with stereo headphones, will put the listener into any desired state of awareness. For example, by listening to "waved" files, you can achieve states such as deep sleep, theta meditation, or alpha relaxation. Because of the nature of this function, it only works on Stereo waveform data, and to be effective, it must be listened to with stereo headphones. The Brainwave function spatially locates the audio left and right, in a circular pattern over time. In order to spatially encode the signal, either the left or right channel is delayed so that the sounds will appear at each ear at different times, tricking the brain into thinking they are coming from either side. When this is done at frequencies of 3Hz and above, the brain will start synchronizing at the same frequency, increasing its output of Delta, Theta, Alpha, or Beta frequencies.

Frequency Graph

Smooth Wave

Spline Curves

Flat

Low/High Settings

Low settings correspond to the lower part of the graph (points dragged near the bottom), while High settings affect the top.

Frequency

Intensity

Centering

   /Transform/Special/Brainwave Synchronizer


Frequency Graph

Time is represented along the x-axis (horizontal), and frequency along the y-axis (vertical). As you go to the right of the graph, you are setting the frequency characteristics of the highlighted sample later and later in time.  The settings chosen will vary between the low and high settings depending on where the graph dictates the signals should be. Choose the highest and lowest frequencies that are represented on the graph with the scroll bars located in Low/High Settings, below. The readout below the graph displays the current x, y position of your mouse.

	Cycling between 4 to 5 Hz over a 2 minute span works nicely. If large variations are done in short time spans, the effects are not as pronounced. For example, after 5 minutes of listening to Theta waves, the listener will become slightly awake, if 30 seconds of alpha waves are generated, and then returned back to theta. The effect is sort of like shifting gears into different levels of awareness.


Smooth Wave

When checked, the audio that appears at the left and right channels will be smoothed out. The left and right channels will delay and un-delay following a smooth curve such that the delay difference between the left and right channels will follow a sine wave pattern, even though the brain will hear the audio as traveling around the head in a circle. When Smooth Wave is not checked, the net delays are the same, but are achieved by holding one channel constant (at no delay) while the other channel is delayed following half a sine wave. The boundary between holding non-delayed and delaying signal is discontinuous in that the dD/dt (difference in delay over time) jumps from zero to a positive delay value without hitting any values in-between. When Smooth Wave is checked, the dD/dt is always continuous, which will cause less noticeable distortion in either channel when heard independently.


Spline Curves

Check this option to generate a smoother, best fit curve instead of a straight line between control points on the graph. When you use spline curves, the line will not ordinarily travel directly through the control points; rather, the points control the shape of this curve. To get the curve closer to a control point, click to create more control points near the point in question. The more control points there are clustered together, the closer the spline curve will be to those points. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points).


Flat

The Flat button will reset the graph to its default state, removing all control points.


Frequency

This is the brainwave frequency that will be encoded into the final process. Different brainwave frequencies stimulate the brain into synching to different levels of consciousness (e.g. sleep, meditation, awakeness, etc.)

	For special spatial panning effects, choose wave frequencies of 1Hz or less.  A mono source (left and right the same) will appear to move from left to right and back at period of 1/frequency.  For example, a frequency of 0.1Hz will pan the audio in a "full circle" over the period of 10 seconds.
	See the Cool Edit 2000 manual for more technical information on this topic.


Intensity

This controls the intensity of the brainwave encoding. Higher intensities work well with lower brainwave frequencies. Beta waves should have intensities below 25 or so, while Delta waves work better with intensities above 60.


Centering

You may choose to have your brain think the synchronization frequencies are coming from the left or right.  This may affect the left or right hemispheres more intensely, but that's only a guess.  Mixing a file that has been waved to the left with one that has been waved to the right (in the same frequency range within 2 Hz) has interesting effects.


Distort
  Distortion...

Use this function to map any sample value to any new sample value. Effects such as a blown car speaker, muffled microphone, overdriven amp, and many more can be easily created. Have fun making your audio sound really, really BAD! (Of course, it's great for adding fuzz to guitar licks to get that heavy metal sound).

Positive/Negative Tabs

Copy from Positive

Symmetric

Distortion Graph

Spline Curves

   /Transform/Special/Distortion

   This function supports Presets.


Positive/Negative Tabs

You can specify separate distortion curves for positive and negative sample values. Select the tab corresponding to the distortion curve you want to display. If Symmetric is checked, these tabs become inactive (and are marked "Symmetric").


Copy from Positive

Press the Copy from Positive button (available when viewing the Negative distortion curve) to copy the positive curve to the Negative window.


Symmetric

If Symmetric is checked, the positive and negative curves are identical. To specify separate Positive and Negative curves, turn OFF Symmetric and choose the appropriate tab.


Distortion Graph

This graph depicts the input sample value in dB along the x-axis (left and right) and the output sample value in dB along the y-axis (up and down). A line that flows directly from the lower-left to the upper-right (default) depicts a signal that has been left untouched, since every input value goes to the exact matching output value. Adjusting the shape of this line will adjust the input to output assignments. The readout below the graph displays the current x, y position of your mouse.

	To add a point to the graph, click in the grid at the location where you want to place the point. To move a point on the graph, click and hold on the point and drag it to a new location.  When the mouse cursor is located over a point, you will see it change from an arrow to a hand. To numerically enter input and output signal levels for an Edit Point, right click on the point to bring up the edit box.


Spline Curves

Check this option to generate a smoother, best fit curve instead of a straight line between control points on the graph. When you use spline curves, the line will not ordinarily travel directly through the control points; rather, the points control the shape of this curve. To get the curve closer to a control point, click to create more control points near the point in question. The more control points there are clustered together, the closer the spline curve will be to those points. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points).


Music
  Music...

Cool Edit 2000's Music feature can use any highlighted selection as a "voice" to synthesize music or harmonize a wave using a particular chord. To choose a clipping for your sample, select the range you wish to use as a quarter note. If no range is selected, Cool Edit 2000 will use the data on the clipboard. Note that the clipboard data will be filled with your sample automatically once music is generated, thus selecting music a second time will automatically use your last sample. When you are ready, simply drag the notes and rests you desire to the staff.

Song Title

New Song

Notes

ChordType

Staff

Listen

Tempo

Key

Octave

Constant Duration

Exact Tune

	Use the scroll bar to work on individual portions of the song at a time. You can scroll to write a piece as long as 256 notes.
	This function is by no means a complete MIDI authoring studio. It is just meant as a quick and simple way to put a sample to music.
   /Transform/Special/Music


Song Title

If you wish to keep a sequence of notes you've created, give it a name in the Song Title box. You can choose saved song from the drop down list of song titles you've created. The actual song data is saved in the file SONGS.INI in your Windows directory.


New Song

Press this button to clear the current song/note sequence.


Notes

Drag the notes and rests you desire from here to the staff below.  To sharpen or flatten a note, drag the sharp (#) or flat(b) symbol on top of the note you wish to transpose. You can move notes up or down after they have been placed, or pick them up to insert in a new position. To remove a note, pick it up and drop it off away from the bar.

	If you want to clear a sharp, flat, or chord from a note, use the faded looking quarter-note object, and drop it on the note you wish to bring back to normal.


Chord Type

Use the chord selection drop down list to determine the chord type (min/maj) and voicing you would like to use when entering a chord. You can choose to make a chord out of 2, 3, or 4 voices, then choose the chord type from the list.  Then, pick up the chord object (the 3 notes on top of each other) from the Notes area and drop it on a note above. The note you drop it on will be the starting note of the chord, and the other notes will automatically appear above it in the right ratios.


Staff

Drag notes from the Notes area, and place them here. The note location (A, E-flat) will determine the playback pitch for your sample.


Listen

If you have MIDI play capabilities, you can listen to a preview of your sequence before actually applying it. Play begins at the leftmost note visible on the staff, which means play begins at the position you are scrolled to, and continues on to the end of the song. The music is played through channels 1 and 13 for Extended and Base level compatibility. The instrument can be chosen by typing its MIDI instrument number in the box to the right. You can record music played by the listen preview button. Simply hit the record button first, then go into the music dialog and press Listen. When the song is done, hit Cancel, and then Stop to stop the recorder.


Tempo

The tempo is given in quarter notes (beats) per minute. Your sample's length is the length of a quarter note.  If your note is longer than the period determined by the tempo, then the notes will overlap.


Key

Choose a key for the "song" from the drop down list. Only standard Major key signatures are listed, so for a minor key simply choose the relative major (B flat for C# minor, for example). The key of C is the default.


Octave

Transposes the sequence by octaves. Choosing "C" plays the notes at normal transposition.


Constant Duration

When you select Constant Duration, all notes will be the same length as the original sample, regardless of pitch. The operation that does this takes longer to calculate, but high pitched notes will be the same length as lower pitched notes. The Interval Overlap method is used with an overlap of 80% and an interval of 30 Hz. If not checked, the note is created by directly stretching or compressing the original sample, resulting in higher pitches being shorter than lower pitches.


Exact Tune

Choose Exact Tune to tune your sample so that when played at A (above middle C), the frequency of your sample is at 440Hz. If this is not checked, your sample's original frequency will be played at A (above middle C).


Stretch a wave
  Stretch...

The Stretch function changes the pitch (frequency) and/or 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.

Constant Stretch/Gliding Stretch

Initial/Final Sliders

Ratio

Length

Transpose

Precision

Time Stretch

Pitch Shift

Resample

Splicing Frequency

Overlapping

Choose Appropriate Defaults

   /Transform/Time/Pitch/Stretch

   This function supports Presets.


Constant Stretch/Gliding Stretch

To perform a constant stretch (no variation in the amount of stretch) on the entire selection, select the Constant Stretch tab. To vary the stretch from one level to another, choose Gliding Stretch. With Gliding Stretch, you can choose the initial stretching percent (less than 100% will compress the wave), and the final stretching percent. Specifying separate values for start and end stretches the waveform in a linear fashion from one ratio to another.


Initial/Final Sliders

Adjust the slider to set the amount of stretch to be applied to the waveform. If you are using Gliding Stretch, sliders for both initial and final settings will be available. Changes in the sliders are reflected in both the Ratio and Length boxes.


Ratio

You can enter a desired Ratio (in percentage) or final Length (in time) for the stretch. Entering one automatically changes the other. If the initial and final lengths are different, then the actual final length will be exactly ( initial + final ) / 2 when in Preserve Pitch mode.


Length

You can enter a desired Ratio (in percentage) or final Length (in time) for the stretch. Entering one automatically changes the other. If the initial and final lengths are different, then the actual final length will be exactly ( initial  + final ) / 2 when in Preserve Pitch mode.


Transpose

You can use this drop down list to select musical transposition amounts. The corresponding numerical values are entered into the stretch sliders automatically. For example, to transpose your sound up 1 semi-tone (one half-step on a keyboard) choose 1# for 1 sharp.


Precision

When preserving pitch or tempo, the degree of precision (overall faithfulness to the sound's quality) that an audio file should be processed with is often balanced against the time that it takes to process that file. As you might expect, the tradeoff to having a precision factor that's set too high is that it uses up a great deal of processing power (and thus time.) 8-bit or low-quality audio files can be processed in a short amount of time, using the Low Precision setting, whereas a professionally-recorded audio file may require stretching using the higher-quality algorithm. This will take longer, but the results can be worth it. A quick way to determine the quality factor to use is to process a small portion at the lowest setting and the move up the scale until you've achieved the best balance of quality vs. processing time.


Time Stretch

Lower percentages slow down the tempo, while higher ones increase the tempo. The pitch remains the same throughout.


Pitch Shift

This setting raises or lowers pitch, while the tempo or speed of play remains the same. Higher percentages will lower the pitch, while lower percentages will increase the pitch. Try using differing initial and final percentages to raise and lower the pitch without affecting the tempo.


Resample

When you use this setting, both the pitch and tempo settings are affected. When using percentages above 100, the tempo will slow, while at the same time the pitch will lower. For lower percentages, the tempo will speed up and the pitch will increase.


Splicing Frequency

The Splicing Frequency determines the size of the chunk of audio data used when preserving pitch or tempo while elongating or truncating a waveform. The higher the value, the more precise the placement of stretched audio over time, however artifacts are more noticeable as rates go up. At higher precision, lower splicing frequencies may add stutter or echo; if the frequency is too high, it may sound tinny, or like talking through a tunnel.

	If the low precision mode is used, you can improve the quality of stretched mono-tonal (pure tone) samples by choosing an Interval Rate that's evenly divisible into the frequency of the sample. Use the Frequency Analysis window to find the sample's base frequency, then divide by an integer to get the Interval Rate. For example, if the tone was reported to be 438Hz, dividing by 20 gives 21.9Hz. Thus, using 21.9Hz as the Interval Rate will greatly improve the quality by reducing phase artifacts. For non-tonal or noisy samples, the Interval Rate doesn't matter as much.


Overlapping

When stretching or compressing, “chunks” of audio are overlapped with previously transformed chunks This setting determines how much the current chunk will overlap with the previous and next ones. If you find you are getting a chorus effect when Stretching, you can lower the overlapping percentage, however, doing so may produce a “choppy” sound. If so, adjust the overlapping to strike a balance between choppiness and chorusing. Overlapping can be as high as about 400%, but you should only use this for really high speed increases (like 200% or more).


Choose Appropriate Defaults

When you preserve pitch or tempo, the Choose Appropriate Defaults box automatically selects good default values for the Splicing Frequency and Overlapping settings.


Pitch Bender
  Pitch Bender...

This function will vary the pitch of the source over time.  You can use the graph to “draw” your tempo to create smooth tempo changes or effects, such as that of a record speeding up or slowing down.

Pitch Graph

Spline

Flat

Zero Ends

Quality Level

Range

Length Report

      /Transform/Time/Pitch/Pitch Bender

   This function supports Presets.


Pitch Graph

Use the graph to draw your tempo change over time.  Higher points on the curve speed up the sound, lower points slow it down.  Choose Spline to do perfectly smooth curves.


Spline

Check this option to generate a smoother, best fit curve instead of a straight line between control points on the graph. When you use spline curves, the line will not ordinarily travel directly through the control points; rather, the points control the shape of this curve. To get the curve closer to a control point, click to create more control points near the point in question. The more control points there are clustered together, the closer the spline curve will be to those points. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points).


Flat

This will reset the graph, with all points being set to no pitch bending.


Zero Ends

If pitch bending the middle of a selection, it is good to have the endpoints be at the same rate as the surrounding audio.  Pressing this button will set the endpoints to no pitch shift.


Quality Level

The lower quality levels have more unwanted harmonic distortion.  Usually levels from “Very Good” on up are extremely high quality and you will not notice any ill effects from harmonic distortion of the signal.  Aliasing will still occur however when pitch shifting up, but the higher quality levels will reduce the distortion effects tremendously when shifting the pitch down.


Range

This sets the vertical scale. The range can be set in terms of semitones (12 semitones to an octave) or in beats per minute.  In semitones format, the pitch changes logarithmically up and down, while in beats per minute format, the pitch changes linearly up and down.  Each format will give a different rate of pitch change for a perfect diagonal line on the graph.  The number of semitones to shift up or down can be entered.  If doing beats per minute, a range as well as the base tempo need to be entered.  You can enter the exact tempo of your piece to change to different rates, but this is not required.


Length Report

At the bottom of the dialog is a report of what the new length of the file will be.  When going down in pitch, it is easy to make very long files depending on how large a Range is selected.


edit waveform view view menu
	File | Edit | View | Transform | Generate | Analyze | Favorites | Options | Window  Click on a menu above for Help. The View menu contains options for changing the display or viewable area.   Click on a menu item below: _______________________   Waveform View   Spectral View   Show Grid   Show Boundaries   Show Cue Bars   Show Status Bar   Show Level Meters   Show CD Player   Viewing Range...   Display Time Format   Vertical Scale Format   Info...   Sampler Info...   Cue List   Play List   Time Window


waveform view menu item
  Waveform View

Cool Edit 2000 has two modes for viewing data: Waveform View and Spectral View. Waveform View displays audio data in the familiar green-on-black sound wave format, where spikes in the x-axis (vertical) indicate increased amplitude, and the y-axis (horizontal) represents time. Waveform View is the default display mode.

   /View/Waveform View


spectral view menu item
  Spectral View

Cool Edit 2000 has two modes for viewing data: Waveform View and Spectral View. Spectral View displays a waveform by its frequency components, where the x-axis is frequency, and the y-axis is time. This allows you to analyze your audio data to see which frequencies are most prevalent. The greater a signal's amplitude component within a specific frequency range, the brighter the displayed color will be. Colors range from dark blue (next to no amplitude components exist in this frequency range) to bright yellow (frequencies in this range are high in amplitude).

   /View/Spectral View

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  Spectral View


Show Grid

When in Waveform View mode, this option turns on/off a grid display that marks off time (on the horizontal y-axis) and amplitude (on the vertical x-axis.)

	Show Grid is not available in Spectral View mode.
   /View/Show Grid


Show Boundaries

When in Waveform View mode, this option turns on/off the Blue horizontal boundary lines that visually indicate where the waveform's amplitude approaches or exceeds the clipping level (0 dB).

	Show Boundaries is not available in Spectral View mode.
   /View/Show Boundaries

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  Clipping


Show Cue Bars

When checked, Cue marker and range entries in the Cue List will be displayed in the waveform window with vertical dotted lines overlaying the audio (connecting the arrows from the top to the bottom of the display).

   /View/Show Cue Bars

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  The Cue List


Show Status Bar

Shows or hides the Status Bar (information fields) located in the bottom right corner of the Cool Edit 2000 window. This setting affects all views.

   /View/Show Status Bar

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  The Status Bar


Show Level Meters

Shows or hides the Level Meters located at the bottom (right above the Status Bar) of the Cool Edit 2000 window. This setting affects all views.

   /View/Show Level Meters

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  Level Meters

  Monitoring VU Levels


CD player
  Show CD Player

If your computer has a CD-ROM that makes use of the [MCI] CD Audio driver, you can control the playback of CD audio from within Cool Edit 2000. Choosing /View/Show CD Player or clicking on the CD icon in the View Toolbar will toggle the CD Player toolbar and controls on/off. When CD Player is on, Cool Edit 2000 displays the controls along the bottom, below the Level Meters.  The controls consist of transport icons and fields for title, track number, and location. Cool Edit 2000 allows you to assign a title for the CD and for each track, and displays these titles the next time you use the CD.

Tracks List

Time Readout

Title Display

CD Player transport icons

	Cool Edit 2000 saves titles in the file(s) COOLCDx.INI in your Windows directory, where x ranges from 0 to 99. Once one of the COOLCDx.INI files reaches about 64K in size, the next file stores new data. Song titles created with the Windows CD Player will also appear correctly, and you can edit these in Cool Edit 2000 as well. You can enter thousands and thousands of CDs using this methods without fear of losing your favorite tracks.
   /View/Show CD Player


Tracks List

Click on any track number to start playing that track.


Time Readout

Displays the track's current location in minutes:seconds.


Title Display

Displays the title of the CD.  You can edit this field simply by clicking in the field and typing a new title. The title defaults to the length of the CD. If you are currently playing a track (the track number is highlighted in the track list), the field displays and allows you to edit its title. Use the TAB key to jump to the next track to easily enter the titles for an entire CD.


CD Player transport icons

  Stop. Stops playing the CD. Play resumes at the beginning of the CD.

  Pause. Pauses the CD. Play resumes at the same location. This button turns into a Play button when pressed so you can easily resume play.

  Play. Starts the CD either at the beginning of the disk or at the paused location. This button turns into a Pause button when pressed, so  you can easily pause the CD.

  Scan Back. Rewinds the CD 10 seconds.

  Scan Forward. Forwards the CD 10 seconds.

  Mark. Marks the location currently being played with a red X.

  Go to Mark. Goes to the X location marked earlier.

  Eject. Spits out the CD, if that's possible on your player. The icon changes to if no CD is in the drive. If your drive can do it, the CD will insert when you press this button.


selecting viewing range
Viewing Range...

Use Viewing Range to define the portion of a waveform you want to be displayed in the window. This option lets you numerically enter the left- and right-most values to serve as the visible boundaries for the x-axis (time) ruler. These values have the format currently selected in /Edit/Display Time Format; SMPTE, samples, etc. Once you've defined the range to be viewed, you can then select this range by double-clicking on the waveform itself.

	You can also double-click on the green/black display range bar (located above the waveform) to bring up the Viewing Range window, as well as enter From/To values in the Time Display Fields at the bottom right of the Cool Edit 2000 window. These fields will reflect values entered in the Viewing Range window, and vice versa.
   /View/Viewing Range

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  Display Time Format

  Display Range Bar

  Time Display Fields


Display Time Format

The Display Time Format function lets you choose between several time display readouts, including: Decimal, Compact Disc, Samples, or a variety of SMPTE formats. You can also define Custom time code frame rates. Cool Edit 2000 will then use the format chosen here when referencing time: the Time Window, the x-axis (time) ruler, time status boxes, Status Bar, etc.

	You can selectively cycle through the above time formats by double left-clicking on the waveform ruler or the Begin time window. In addition, right-clicking on the horizontal time waveform ruler displays a pop-up window that will allow you to select between formats.
Decimal

Compact Disc 75 fps

SMPTE 30 fps

SMPTE Drop(29.97 fps)

SMPTE 29.97 fps

SMPTE 25 fps (EBU)

SMPTE 24 fps (Film)

Samples

Bars and Beats

Custom

Edit Tempo

Define Custom Frames

   /View/Display Time Format


Decimal (mm:ss:ddd)

This display format indicates time in an mm:ss:ddd (minutes, seconds, decimal) format.


Compact Disc 75 fps

This time setting divides seconds into 75 sectors, which is the standard for Compact Disc media.


SMPTE 30 fps

SMPTE time format with standard 30 frames per second.


SMPTE Drop (29.97 fps)

Sets the time format to SMPTE Drop, a format used with 29.97 fps video. Cool Edit 2000 drops two frame numbers every minute to enable synchronization with real time.


SMPTE 29.97 fps

This setting, known as non-drop SMPTE, interprets 29.97 frame data as 30 frames per second (without using frame dropping). Timing-wise, only 29.97 frames actually go by each second. Thus, over time the SMPTE time will actually deviate exponentially from real time. If this time format setting is chosen, SMPTE 30 fps (as in MTC synchronization) will still be interpreted at 29.97 fps.


SMPTE 25 fps (EBU)

Sets the time format to SMPTE 25 frames per second. This is the timing standard specified by the European Broadcast Union.


SMPTE 24 fps (Film)

Sets the time format to SMPTE 24 frames per second. This is the timing standard used in film.


Samples

Here time is represented as the number of samples that have passed since the beginning of the file. The number of samples within a given amount of time depend on the sample rate used (number of samples per second).


Bars and Beats

Displays time in a musical measures format of bar:beat:ticks per beat. You can adjust the number of ticks per beat, tempo, and other properties in /Edit/Edit Tempo.


Custom (XX frames/sec)

Custom defaults to the timecode setting that was last selected in the Define Custom sub-menu. For example, if you chose a custom timecode setting of 30 frames/sec (non-drop) in a previous session, this option shows as Custom (30 frames/sec). If you chose 25 frames/sec (EBU - the standard European frame rate standard), this option shows as Custom (25 frames/sec).


Edit Tempo

The Edit Tempo window allows you to adjust the settings for the Bars and Beats format.


Define Custom Frames

This option allows you to select a frame rate for use with the Custom setting. Some common rates are 30 fps (non-drop), 24 fps (standard film) and 25 fps (EBU - the European video standard), although you will encounter other rates in computer-based multimedia production.


Vertical Scale Format

Choose between several vertical scale formats for use in the y-axis (vertical) ruler, including Sample Values, Normalized Values, Percentage, and Hz (Hertz).

Sample values

Normalized Values

Percentage

Hz

	In Spectral View, the vertical scale is always in Hertz (Hz).
	As with the Display Time Format, you can select this window by choosing /View/Display Scale Format from the menu, or you can selectively cycle through the above time formats by double left-clicking on the waveform ruler. In addition, right-clicking on the vertical scale waveform ruler displays a pop-up window that will let you select between formats.
   /View/Vertical Time Format

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  Amplitude


Sample values

Displays amplitude as an exact sample value.


Normalized Values

This display type numerically indicates amplitude on a normalized scale value that ranges from -1 to 1.


Percentage

Displays amplitude on a percentage scale with values ranging from -100% to 100%.


Hz

When the display is in Spectral View mode, the vertical ruler is always in frequency (Hz) format. In this mode, lower frequencies appear near the bottom of the display, while higher frequencies appear from the middle to the top part of the scale.


info
  Info...	Ctrl+I

You can embed extra user information in Windows .wav files using the RIFF LIST INFO and DISP type 1 formats. Store summary information such as who played what, who was the engineer, etc. Provided that other audio editors support this information, this information remains with your audio file throughout its lifetime. Be sure to enter the appropriate information here!

Display Title Original Artist Name Genre Key Words Digitization Source Original Medium Engineers Digitizer	Source Supplier Copyright Software Package Creation Date Fill Fields Automatically EBU Extensions… Comments Subject Bitmap
   /View/Info...


Display Title

This title should describe the sound, or text (if there are words in the wave). Make this field as short as possible for displays in OLE objects and the like.


Original Artist

The Original Artist is the one who created the sound initially. Examples are: Louis Armstrong, Lawrence Welk... or you!


Name

The title of the wave. This is your chance to originally name your audio artwork.


Key Words

In the future, sounds may be searched for by key words. Please separate key words by a semicolon followed by a space, for example Violin; Hayden; Johann Strauss...


Digitization Source

From where did you digitize  the sound: a tape deck, CD, or maybe directly from a microphone? You may also want to describe the type of soundboard.


Original Medium

Where did the sound come from originally? Examples: Live Band, Flute, Moog, Voice...


Engineers

Use this field to store the name(s) of the engineer(s) who worked on or edited the file. Please separate names by a semicolon and a space. When a new person edits the file, they can add their name to the list.


Digitizer

Who did the actual digitizing? Put their name(s) right here.


Source Supplier

The name of the person or organization who supplied the original source material. Use this field for the names of record companies or whoever supplied you with the source. Examples: MCA Records, Ann Wilson (if recorded live).


Copyright

Any copyright information for your file should go here. Example: (c)1992 G. Willikers Corporation. All rights reserved.


Software Package

The software used to digitize and edit your file.


Creation Date

The date that the subject matter was created. The date should be in the format yyyy-mm-dd, using '0' as a place holder in single digit values. For example, if the original recording date was July 30, 1988 then write it as: 1988-06-30.


Fill Fields Automatically

If the "Fill * Fields Automatically" box is checked, the Software Package and Creation Date fields are automatically filled by Cool Edit 2000. If you don't want this extra information to be tagged with your wave files, simply un-check this box.


Comments

This is for making any comments you want. Include any special effects or enhancements you made to any pre-existing waves so that the editing history can be tracked. Please don't use any line returns. End each sentence with a period. For example: It took 12 hours to get this recording right. John added echoing effects using Cool Edit 2000 and it's finally ready to be mastered.


Subject

This describes the content of the file. Include a description of the instruments used, where someone can find the song recorded, etc. You may use line returns here – just press Ctrl+J. Sometimes copyright information is placed here as well. For xample: The shakuhachi of Japan.<Ctrl+J><Ctrl+J>The shakuhachi was developed in the 15th century from a Chinese end-blown flute, called the chiba.


Bitmap

Insert any DIB or BMP bitmap file into this field (preferably a 32 X 32 pixel 16-color file). Windows 95 or NT's Media browser will then use this icon to display a picture that represents the sound. Other OLE compatible applications can also use the above display title, and/or the bitmap to represent your waveform.


EBU Broadcast Extensions
EBU Broadcast Info…

These settings support the EBU broadcast standard 'bext' RIFF chunk. This information is only saved with .wav files.

Description

Originator

Originator Reference

Origination Date

Origination Time

Time Reference

Coding History

   Edit Waveform View:   /View/Info/EBU Extensions...


Description

Description of the wave file (try to fit main part of description in first 64 characters).


Originator

Name of the originator/producer of the audio file (limited to 32 characters).


Originator Reference

A non-ambiguous reference allocated by the origination organization (limited to 32 characters).


Origination Date

Creation date of the audio formatted as yyyy-mm-dd (separators of hyphen '-', underscore '_', colon ':', space ' ', or stop '.' are OK).


Origination Time

Creation time in 24-hour format as hh:mm:ss.


Time Reference

First sample count since midnight (value can be entered as a sample value, or time in hh:mm:ss.ddd format for ease of entering).


Coding History

Collection of strings containing a description of the coding process applied.  You must add new strings here with the appropriate information if the audio stream is modified.  Search the Internet for "EBU Broadcast Extension" for updates to the format of this field.


Sampler Info
Sampler Info...

Embed technical information relating to other devices, systems or programs (such as synthesizer up/downloading software) in .wav files using the /View/Sampler Info information window.

Target Manufacture ID

Target Product Code

Sample Period

MIDI Unity Note

Fine Tune

Find using Analysis

SMPTE Offset

Sampler Loops

	Currently this information is only saved in Microsoft .WAV files.
   /View/Sampler Info...


Target Manufacture ID

No known applications support this device ID at this point. Cool Edit 2000 defaults this field to 0 in this version.


Target Product Code

No known applications support this device ID at this point. Cool Edit 2000 defaults this field to 0 in this version.


Sample Period

Cool Edit 2000 automatically places the sample rate (or within 1Hz of it) in this box. You can change this field if you want the sampler to think the data is at a different rate than it actually is.


MIDI Unity Note

This indicates the "base" or "root" note on a sampler that the current audio file is assigned to. The audio file’s original pitch will be preserved whenever this key is played on a sampler.


Fine Tune

You can enter the actual tone in values as precise as 1/100th of a cent. Enter the number of cents above the note that the tone actually is.


Find using Analysis

Use this function to analyze the audio file, so as to automatically determine the Note and Fine Tune values. If you selected a sampler loop is the Sampler Loops list, Cool Edit 2000 enters the frequency at the center of that loop into this field for the Note and Fine Tune fields. If you have not selected a loop, Cool Edit 2000 uses the center of the entire waveform to gain the current note. This value can be off by a few hundredths of a cent, so you may want to manually adjust the note after finding it. For example, you may get G#4 at 99.99 cents, which would probably really be A4 and 0 cents.


SMPTE Offset

Use this field to enter the SMPTE frame rate format and SMPTE trigger offset point for the currently loaded sample. For example: an audio file for a film soundtrack that needs to be triggered at 45 minutes, 15 seconds and 29 frames may have a framerate setting of 30 fr/sec with an offset of 00:45:14:29.


Sampler Loops

Add new loops by first highlighting the range area, and then going to this dialog and pressing New. If To add a new loop without highlighting a range area, press New. You can also enter the actual starting point, ending point or length in samples directly by hand in the appropriate fields. Samplers can usually play loops forward, backward, or back and forth and back again. Each loop can be looped a different number of times, or infinitely (as with a sustain loop, and the infinite loop would decay once the synth key is released).


  Cue List

Opens the Cue List window. A cue list is a list of time offsets, or locations defined within an audio file or session. A cue can be either a point, specifying a cursor position, or a range, specifying a selection. The Cue List is a floating window, meaning you can click in the waveform on the main Cool Edit 2000 window (to define your cues) while leaving the Cue List window open. You can also jump to a cue position in a waveform by double-clicking on the cue in the list. Cue ranges can later be arranged in the Play List to be played back in any order, with any number of loops. Cool Edit 2000 display Cues in temporal order, with the earliest cue position at the top of the list.

Label Description Add(F8) Del	Merge Batch Done
	You can also assign any cue range you've added to a key on your keyboard
	Use the Cue List with the Find Beats and Zero Crossings commands to capture the perfect loop. Here’s how.
   /View/Cue List

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More about...

  Play List

  Cue Bars


1. Find the loop start and end with /Edit/Find Beats/Find Next Beat (Left) and /Edit/Find Beats/Find Next Beat (Right).

2. With your loop selected use /Edit/Zero Crossings/Adjust Left Side to Left to place the left edge at a zero point.

3. With your loop selected use /Edit/Zero Crossings/Adjust Right Side to Right to place the right edge at a zero point.

4. Click Add in the Cue List.

Your loop transition is now completely smooth with both beginning and end points at zero.


Give the cue range a label of the form KEY N, where "N" is any key on the keyboard (capital letters only). When you return to editing the waveform, pressing that key will play the cue range.


Label

Enter a short text label describing the cue.


Description

Add a text description of the cue, if necessary. You can also use this field as a comment field.


Add (F8)

Adds the currently highlighted selection, or cursor position to the Cue List. Cool Edit 2000 displays the items in temporal order, with the earliest cue position at the top of the list. Pressing F8 when editing a waveform to add the current range or cursor location to the Cue List.


Del

Removes the selected cue from the list. To select more than one cue item in the list, hold down on the SHIFT key for contiguous selection or the CTRL key for noncontiguous selection.


Merge

The Merge function is able to take any two selected cue items (whether they are ranges or markers themselves) and merge them into a single, combined cue, spanning the earliest and latest locations in the two cues. To select more than one cue item in the list, hold down on the SHIFT key for contiguous selection or the CTRL key for noncontiguous selection. The new merged item inherits the name from the earliest item chosen (the highest item in the list). You loose the information entered in the Name and Description fields for the subsequent merged items.


Batch

Batch is used to separate or segment cues using one of two methods. You can insert a specified amount of silence both before and after cues to set them apart, or you can save the selected cues out to separate files. First, in order to enable the Batch button, you will need to have one or more Cues selected in the Cue List. After doing so, pressing the Batch button will bring up a dialog allowing you to choose between Set Amount Of Silence, or Save to Files.

Set Amount Of Silence

Enter the number of seconds to enter silence before and after each selected Cue. You may enter fractions, as in .52.

Save to Files

With this option, all Cues that were selected upon pressing Batch will be saved out to separate files on your hard drive. Each file will be named with the Filename Prefix you specify and an appended number, as in Drum01, Drum02, etc. You can choose the directory to write the files to, as well as the format they will be saved in.


Done

Closes the Cue List window.


  Play List

Opens Cool Edit 2000's Play List window. The play list is an arrangement of Cue List entries that you can play back in any order and loop a specified number of times in non-destructive fashion. The Play List can include up to 64 entries at any one time. As with the Cue List, the Play List is a floating window meaning you can click in the waveform i the main Cool Edit 2000 window (to define your cues) while leaving the Play List and Cue List windows on top.

Add Before

Remove

Loops

Play

Autocue

Done

	Cool Edit 2000 saves the Play List in .WAV file format in the 'plst' chunk.
   /View/Play List

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More about...

  Cue List

  Non-destructive editing


Add Before

Adds the currently highlighted selection from the Cue List to the Play List. Cool Edit 2000 inserts the selection before the currently highlighted Play List item, or at the end, if nothing is selected.


Remove

Removes the selected Play List item from the list.


Loops

The number of times to loop, or play the selected cue in the list.


Play

Plays the cue ranges in the order listed, looping selections if necessary. Play begins at the currently highlighted item in the Play List. If [end] or if you haven’t selected a cue range, Cool Edit 2000 plays the entire list.


Autocue

Plays the currently highlighted item in the Play List (or the first item if nothing is highlighted) and stops on the next item in the Play List. Cool Edit 2000 plays the next item in the Play List every time Autocue is pressed.


Done

Closes the Play List window.


Time Window

Displays or hides Cool Edit 2000's Time Window, a resizeable readout of the current cursor location both while idle and in playback/record. Cool Edit 2000 uses the format for the display (SMPTE drop, Bars and Beats, etc.) currently selected in /Edit/Display Time Format. You can make the readout as large as you like for easy viewing from across the room. The window floats, meaning it will stay on top of the rest of Cool Edit 2000 when open. Close the Time Window by choosing /Edit/Time Window, or by right-clicking in the bottom area of the window and choosing Close.

   /View/Time Window

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More about...

  Display Time Format


	File | Edit | View | Transform | Generate | Analyze | Favorites | Options | Window  Click on a menu above for Help. The Window menu is used to navigate between open waveforms.   Click on a menu item below: _______________________   Waveforms List...   Soundfile List


wave windows
Waveforms List...	F9

Waveforms List works as a simple navigation tool for opening, closing, and switching between audio files. Waveform List options include:

Waveform List

Switch To

Close Wave

Insert

Open Wave

Auto-Play

Full Paths

Close

	Any waveforms dragged from an explorer style dialog (or File Open style dialog) can be added ti the waveforms list by simply dragging and dropping.
   /Windows/Waveforms List


Waveform List

This displays the audio files or waveforms that are currently open in Cool Edit 2000. Click on any item in the list to select it, or double-click to switch to that waveform in the Edit View window. To select more than one item in the list, hold down the SHIFT key for contiguous selection, or the CTRL key for non-contiguous selection.


Switch To

Actively places the selected waveform into the Edit View window.


Close Wave

Closes the selected waveform and removes it from the Waveforms List.


Insert

Inserts the selected waveform(s) into the Multitrack View window, so that it can be mixed within the multitrack environment. Cool Edit 2000 places the selected items into the next available track(s). If the selected audio file is not of the same sample type as those in the current session, the Convert Sample Type dialog box will pop up to allow you to convert the file to the appropriate sample rate/file type.


Open Wave

Lets you browse for and open a previously recorded audio file.


Auto-Play

When enabled, clicking on any waveform in the list will automatically play that waveform using the device referenced in Options/Settings/Devices.


Full Paths

Check to display the full DOS path for files in the Waveform List.


Close

Closes the Waveforms List dialog box.


Soundfile List

This list provides a quick way to switch between audio files that are currently open in Cool Edit 2000. You’ll find a check mark next to the file that's currently loaded in the Edit View window.

   /Windows/filename path


Volume

Adjust the volume slider, or enter a decibel value in the box above to set an overall volume level for the waveform block.

	This volume setting is independent of the track’s overall volume. Track volume is set in the Track Info dialog.


Pan

Adjust the pan slider, or enter a pan amount (-100 is hard left, 100 is hard right) in the box to the right to set a pan level for the waveform block.

	This pan setting is independent of the track’s overall pan. Track pan is set in the Track Info dialog.


Filename

This gives the path of the file used for the waveform block.


Time Offset

This box displays the offset, or beginning time, for the waveform block. You can enter a value directly to move the block to a specific time location. The time format used is that which is currently selected in /View/Display Time Format.


Hue

Sets the Wave Block color hue. The hue (which defaults to 114 for Cool Edit 2000’s mint green waveform color) can be adjusted from 0 to 255. Roughly, 0=red, 25=brown, 42=yellow, 90=green, 120=aqua, 140=blue, 185=violet, 205=purple, 220=fuscia. Any value of 0 to 255 is valid.


Mute

Check this box to mute, or disable, the selected wave block. The wave block will turn a become gray in color, indicating it will not play until unmuted. Remove this check to unmute.

	This Mute setting is independent of the track’s overall Mute. Track Mute is set in the Track Info dialog, or by pressing the green Mute button in the track’s console area.


Lock in Time

This command “locks” the selected waveform block to its current time location in the multitrack session. Locking a waveform is useful when you have decided upon its position in time, and do not want to accidentally move the waveform when right-clicking on it, etc. While a waveform which has been locked cannot be moved in time (left or right), it may be vertically repositioned, allowing you to move it between tracks. To free the waveform for horizontal movement, remove this checkmark, or choose /Edit/Lock in Time

	Locked waveforms are identified by a beige colored border at the top and bottom of the waveform.


Lock for Play Only

Lock for Play Only will set the selected waveform block so that it may not be recorded into. The Locked waveform will not become red when positioned in a record-enabled track. To re-enable recording for a waveform, uncheck this box, or choose /Edit/Lock for Play Only.


Take List

This is the list of all takes available as alternates for the currently selected waveform block.


Merge Current Take

Choose this to Merge a take created with Punch In back into the surrounding material.


Delete Current Take

Removes the current take, deleting it from your hard drive.


In the recording studio with tape-based recorders, tracks are often bounced to a single or pair of tracks to create a submix. This has the benefit of freeing up tracks for other use, which is not so much a consideration in Cool Edit 2000, but it does have the benefit of uncluttering your workspace. More importantly, in Cool Edit 2000  bouncing tracks down can dramatically reduce the amount of hard disk space and processing time taken by the CPU to perform background mixing. For example, if you have your drums (which usually take up a number of tracks) sounding the way you want, you can mix them down into a single stereo track, and save the session under a new name (you should keep a version of the session with each element separated, for future remixing or other circumstances). This way you don't need to worry about scrolling through all of those drum tracks, or having to wait for that many more elements to be compiled by Cool Edit 2000 during background mixing.


All Waves

Selecting All Waves will mix all unmuted waveforms in the session and place the resulting waveform in the Edit Waveform View.


Selected Waves

This will mixdown only those waveform blocks that have been highlighted and will place the resulting waveform in the Edit Waveform View.


All Waves(mono)

Selecting All Waves will mix all unmuted waveforms in the session and place the resulting waveform in the Edit Waveform View. The resulting waveform will be mono.


Selected Waves(mono)

This will mixdown only those waveform blocks that have been highlighted and will place the resulting waveform in the Edit Waveform View. The resulting waveform will be mono.


Duplicate Waveform

Enter the number of images you would like created.


Waveform Spacing

This determines the spacing at which to place the Image(s). The No Gaps setting places each subsequent image directly after the preceding block, for a continuous loop. Choose Evenly Spaced if you would like to define a spacing to place between each Image. The entry box to the right will display the spacing in the current Display Time Format. This value defaults to the length of the selected waveform block, which has the effect of functioning identically to No Gaps until changed. Entering a greater value will put space between each waveform block, a lesser value will cause them to overlap.

	Setting the Display Time Format to Bars and Beats makes it easy to place a waveform (such as a drum hit) at every other beat in your song, for example. Because each instance (other than the original) is an Image, you can place the instance throughout the entire song and only consume the drive space of the original occurrence.


Non-destructive effects within the multitrack environment.

  You can add multiple effects to an existing waveform non-destructively in Multitrack View. To do so, create a copy of the waveform using Convert to Unique Copy, or by saving the file under a new name using Save As in the Edit Waveform View. Once a copy of the original file has been made, add any processing or Transform you like to it. For effects that have wet/dry balancing, set them to 100%, or close to 100% wet, so the result of the Transform is primarily effect (the original waveform that you copied will provide the dry element). Insert the processed copy into the multitrack environment, placing it into an adjacent to the original, in a different track. This way it will simultaneously play back the original file, and the effected one. You can then vary the effected waveform's (and the original's) volume and pan envelopes to bring the wet/dry in and out, or pan right and left. Repeat this operation for other effects to have separate control over a number of effects (one for flange, one for reverb, etc.).


Sample Rate

The sampling rate you choose determines the overall bandwidth (how many frequencies can be encoded within the audio signal), with higher sampling rates yielding a wider bandwidth. You can enter any sample rate directly, or choose a common sample rate from the list. Note that most sound cards support only certain sample rates.


Channels

The Channels setting is does not pertain to Sessions.


Resolution

Select the bit resolution for the file:

8-bit

For use in telephony/Internet applications

16-bit

Standard professional/CD quality

32-bit

Work at the 32-bit level for best quality when processing your audio. When done, you can convert down to 16- or 8-bit for output using dither and achieve better results then if staying in the 8- or 16-bit domain. You can also use 32-bit for sound cards that go beyond the 16-bit standard (as in a 24-bit card). Press the Options button in the Save As... dialog to access 32-bit options.

	It is best to remain at the 32-bit level while working in Cool Edit 2000, and convert down for output.


Recent Directories

This displays the most recently used directories, for quicker access to common locations.


Look In

Navigates through all available drives and directories.


File Name

You can specify the name of the file you wish to open here, if it resides in the current directory.


Files of Type

Select from the list of supported file types to display any files with a corresponding extension.


Recent Directories

This displays the most recently used directories, for quicker access to common locations.


Look In

Navigates through all available drives and directories.


File Name

You can specify the name of the file you wish to open here, if it resides in the current directory.


Files of Type

Select from the list of supported file types to display any files with a corresponding extension.


Recent Directories

This displays the most recently used directories, for quicker access to common locations.


Look In

Navigates through all available drives and directories.


File Name

Specify a name for the Session.


Files of Type

Select from the list of supported file types to display any files with a corresponding extension.


Waveform List

This displays the audio files or waveforms that are currently open in Cool Edit 2000. Click on any item in the list to select it, or double-click to switch to that waveform in the Edit View window. To select more than one item in the list, hold down the SHIFT key for contiguous selection, or the CTRL key for non-contiguous selection.


Switch To

Places the selected waveform into the Edit View window.


Close Wave

Closes the selected waveform and removes it from the Waveforms List. If the file being closed is currently being used in the Multitrack environment, all references to this file (Images, etc.) will be removed from the current mix. A dialog box will appear as a fail-safe, asking you if this is what you really want to do.


Insert

Inserts the selected waveform(s) into the Multitrack View window, so that it can be mixed within the multitrack environment. Cool Edit 2000 places the selected items into the next available track(s). If the selected audio file is not of the same sample type as those in the current session, the Convert Sample Type dialog box will pop up to allow you to convert the file to the appropriate sample rate/file type.


Open

Lets you browse for and open a previously recorded audio file.


Full Paths

Displays the full DOS path for files in the Waveform List.


Close

Closes the Waveforms List dialog box.


Session Start Time Offset

Here you can enter a time offset to use when syncing to SMPTE time code. This is the time location that Cool Edit 2000 will wait for to begin playback. Locations must be entered in the format of hours:minutes:seconds:frames.divisions, or hours:minutes:seconds.division if not being used with SMPTE.


Notes

You can enter any notes you wish about the session here, such as the Artist, who played what instrument, etc.


what are MIDI and SMPTE
What is MIDI?

MIDI stands for Musical Instrument Digital Interface, and is a way of communicating performance information from one piece of software or hardware to another. This performance information can take the simple shape of a note instruction, as in E4, or it can transmit detailed information on things such as timing or sound patch data. Windows provides a way of transmitting MIDI information internally between programs, plus you can transmit MIDI information into and out of your computer to/from external devices (such as a MIDI Keyboard) through the MIDI Port of a sound card, or other MIDI Interface device.

MIDI data is fundamentally different from digital audio in that MIDI is a set of instructions that tells a device what sound to play, and then the device creates that sound with its own synthesizer, while digital audio is a direct representation of a sound.  This means that MIDI will not sound the same on different devices, since each device will have its own synthesizer to create the actual sound, while digital audio will sound the same.


Adjusting Recording and Playback Levels
To adjust record and playback levels

  Cool Edit 2000 does not control record (gain) and playback (volume) levels directly, however you can adjust them with the mixer application that came with your sound card or with the mixer built into Windows 95.  You may need to do this if your recordings are too quiet, or if you can't hear them when you play them in Cool Edit.  Here's how to do it with the Windows 95 Volume Control:

1. Click on Start - Programs - Accessories - Multimedia - Volume Control

2. To adjust the Play (output) level, make sure Mute is not checked for the source you want to use and move the slider up to the level you want.

3. To adjust the Record (input) level, select Properties from the Options menu in the mixer and click on the Recording button in the Adjust volume for... box.  Be sure Select is checked for source you want to use and adjust the slider.

  Or, click here to open the Windows Volume Control

	The "Record" (input) and "Play" (output) levels are separate settings.  One controls the input level of the audio source, and the other controls the volume of the sound going to your speakers.
	To get the best sounding results, you should record audio as loud as possible without clipping.  Try to keep the loudest point somewhere between -2dB and 0dB when setting the recording levels on your sound board's mixer. You can monitor this level in Cool Edit 2000 by choosing /Options/Monitor VU Level.
	If you want to monitor the audio while recording, you may need to look for a "monitor while recording" setting for your sound card.  This can sometimes be found by pressing the Advanced button (if available) in the Recording Control dialog.


mono waves to stereo channels
To do mono to stereo conversion

  Choose /Edit/Convert Sample Type to convert Mono to Stereo.  There are other methods that work as well.

  You can copy the waveform at its current volume directly into one channel or the other:

1. Copy the waveform in question to the clipboard by highlighting it and choosing /Edit/Copy.

2. Go to the stereo target file, and press Ctrl+L to enable only the left channel for editing (or Ctrl+R for the right channel), and paste the waveform with /Edit/Paste. It will be pasted into the active channel.

  If you wish to place separate waveforms on each channel of a stereo file and mix them at different volume levels, you can use the /Edit/Mix Paste option:

1. Choose /File/New to create a new stereo wave file.

2. Open the mono waveform you wish to place on the left channel.  If you wish to place a stereo waveform, use /Transform/Amplitude/Channel Mixer to mix both channels at 50% first.

3. Highlight the section you wish to place on the left channel, and choose /Edit/Copy.

4. Switch to the blank stereo waveform (use the Window menu), and choose /Edit/Mix Paste.  Make sure Overlap is checked, Lock L/R is turned off, and the left volume is 100% while the right volume is at 0%.

5. To do the right channel, copy the section as you did for the left.

6. Place the cursor at the start of the new waveform, and choose /Edit/Mix Paste.  Change the volume levels so that the left volume is 0% and the right volume is 100%.


spatially locating sounds left and right
To spatially locate a sound

  You can give the impression that a monaural sound is coming from the left or the right, when the actual volume levels for each channel are identical (here "mono" means a 2 channel waveform with identical information on the right and left channels).  To achieve this effect, one channel is delayed a few milliseconds.  When a sound reaches one ear a few milliseconds before reaching the other, the brain interprets the sound as coming from the direction of the non-delayed signal.

There are two functions in Cool Edit 2000 that can do this:  Delay and Brainwave Synchronizer.  Use Delay to place a sound anywhere from left to right, and Brainwave Synchronizer if you want the sound source to oscillate between left and right:

1. First, make sure the signal to be delayed is mono in stereo format, that is, both left and right channels are identical.  With a mono source, copy the wave, create a new stereo wave, and paste.  With a stereo source, use the channel mixer so that both channels get mixed at 50% for each channel.

2. Highlight the entire selection you wish to spatially locate.  Choose /Transform/Delay Effects/Delay.  Choose a delay of up to 2 ms.  Delaying one channel will make the sound appear as if it is coming from the other channel.  You can use the presets for Spatial Left or Spatial Right as well.

3. If you want the source to move left to right, choose /Transform/Special/Brainwave Synchronizer.  Enter the cycles per second (e.g. 0.1 = left to right and back in 10 seconds) in the initial and final boxes (the same value for both boxes).  Choose the positioning (center, left, or right) using the Centering control.  Choose an intensity of about 50 or so, greater intensities cause the sound to go further left or right from center.  Also be sure to check the Musical Source box if your sound is not noise related.


Converting files with Cool Edit
To convert between file formats.

  To convert a single file from one format to another, use /File/Open to load the file, then select /File/Save As to save the file and specify your new target format in the Save as Type field.

If you need to convert multiple files from one format (like .WAV) to another (like .AU), you can use Cool Edit 2000’s Scripting feature to accomplish this. Here's how to do it:

1. Open a single wave file and be sure that there is no highlighted selection.*

2. Choose /Options/Scripts & Batch Processing...

3. Click on the Open/New button, and choose BATCONV.SCP from your \Scripts directory (located in your Cool Edit 2000 directory).

4. Choose Batch Conversion from the Collection list and click on the Batch Run button.

5. Select the files you wish to convert in the Source Files using the Add Files button.

6. Select the destination directory, output format and any options, and the output filename template.

7. Click on Begin Processing to start the conversion.

* This step is required in order to tell Cool Edit 2000 that this is the type of script you wish to run (one that operates on an entire waveform). Without this step, the Batch Run option will not be available. The opened waveform need not be part of the intended Batch of files.


Merging mono files into one stereo file
To merge two mono files to a stereo file

  Open the first mono file, select the entire waveform and use /Edit/Copy to put it on the clipboard.  Next, create a new, stereo file in Cool Edit 2000, and press Ctrl+L (or Ctrl+R) so that you are editing only one channel, and choose /Edit/Paste to paste the mono data into that channel.  Open the other mono file (/File/Open) and copy it to the clipboard in the same fashion.  Return to your stereo file, select the other channel (Ctrl+R or Ctrl+L), and paste the mono data in by again choosing /Edit/Paste.


Using Noise Reduction
To use Noise Reduction

  To quickly reduce noise from a file, select at least one half second of the file (preferably one with ONLY the noise to be removed and no foreground audio), and select /Transform/Noise Reduction.  Click on Get Noise Profile From Selection to sample the noise (if this option is unavailable, lower the FFT size).  Next, click on Close, select the entire file (or the portion you want to noise-reduce), go to /Transform/Noise Reduction again, and click on OK to perform the noise reduction

	You can reduce the noise incurred by your sound board's circuitry during recording--just record a second of silence before whatever you want to record and tell the noise reducer to remove the sound of that silence for another 10dB dynamic range.
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More about...

  Using Noise Reduction.


How to record from a CD
To record from a CD

1. Choose /View/Show CD Player to access Cool Edit 2000's CD player controls (they appear at the bottom of the main window). You can also use an external CD player application, but only one CD application can access a disc at a time.

2. Choose /File/New to create a new file in Cool Edit 2000.  Select the sample type, bit resolution, and number of channels (mono or stereo).  Note:  "CD quality" recording is 44100 Hz, 16 bit, stereo.

3. Click on the Record button in Cool Edit 2000.

4. Click on Play in Cool Edit 2000's CD player controls (or other CD application) to start the CD playing.  You can also click on the track number in Cool Edit 2000's CD controls to play a specific track.

5. When the recording is complete, click on the Stop button for both the transport and CD player controls.


To set up MIDI and Wave Devices

  Select /Options/Settings/Devices to bring up the devices Window. Set MIDI In and MIDI Out to the synthesizer channel you would like to use for the Music option, if any.

Set both Waveform Record and Waveform Playback to the sound card inputs and outputs you would like to use for your default settings. This is the In/Out combination that will be used in the Edit Waveform View, where in Multitrack View the In/Out devices will be determined by the track settings.

	The chart below each Waveform device gives feedback on that device's abilities. The supported bit-resolution and sample rate combinations are displayed.


tTo create a script

  There are three types of scripts in Cool Edit 2000: Scripts that start from scratch, Scripts that works on the current wave, and Scripts that work on a highlighted selection. The type created depends upon your state when you initiate the script recording. To record a script:

1. First match your current state with that of the target for the script. For example, if you wish a script that starts from scratch, then close all open waveforms.

2. In the Edit Waveform View, choose Scripts & Batch Processing... from the Options menu.

3. Click in the Title field and enter a name for your script. The Record button will become enabled.

3. Press Record. You will be returned to the main screen where your actions will now be recorded. Perform the edits you wish to be part of the script. If you make a mistake, return to Scripts & Batch Processing, press Stop, then Clear, and start over.

4. Once you have finished performing the edits for the script, return to /Options/Scripts & Batch Processing... and press Stop. Add any description you wish for the script into the text area at the bottom, and press <<Add<<.

Your script will now appear in the Scripts List at the left. To use it you will need to meet the requirement for the script (have a highlighted selection for scripts the work on a highlighted selection, for instance) before it will become available. Then it’s simply a matter of choosing it from the List and pressing Run.

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More about...

  Scripts

  Batch Processing


To Batch Process files

  To process a number of files at once (or a batch of files), you use Cool Edit 2000’s scripting feature. The script used to Batch Process needs to be one that was recorded in the works on the current wave mode (see How To Create a Script for more).

1. Open a file and be sure there is no selection made. This simply enables the type of script to use, it need not be part of the batch of files to process.

2. In the Edit Waveform View, choose Scripts & Batch Processing... from the Options menu.

3. Select the script from the Scripts List on the left and choose the Batch Run button. Note: if the button is not enabled for the particular script, the script was not recorded in the correct mode, see Batch Processing.

3. You will be presented with the Batch Process dialog. Select the files to add to the Batch by pressing the Add Files button. Select a destination directory (Browse) and a file format that the processed files will be saved in (Output Format).

4. Press Begin Processing to enact the script on the Source Files.

__________________

More about...

  Batch Processing

  Batch converting between file formats


To export to the RealAudio format

  Exporting files to RealAudio works in the same manner as converting to any other format. Use /File/Open to load the file, then select /File/Save As to save the file, specifying RealAudio (.RA) as your target format in the Save as Type field.

If you need to convert multiple files from one format (like .WAV) to RealAudio, you can use Cool Edit 2000’s Batch Processing feature. See How To Batch-Convert Between File Formats.

	The RealAudio format is export only, meaning that you cannot open them into Cool Edit 2000.


To do multi-band compression

  Multi-band compression can be performed in Cool Edit 2000 by combining the Dynamics Processing Transform with the Scripting function. Here’s how:

1. Open a file and be sure there is no selection made. This step simply enables the type of script to use, it need not be part of the batch of files to process.

2. In the Edit Waveform View, choose Scripts & Batch Processing... from the Options menu.

3. Click in the Title field and enter a name for your script. The Record button will become enabled.

3. Press Record. You will be returned to the main screen.

4. Choose /Transform/Amplitude/Dynamics Processing. Using the Low and High Cutoff settings, define a frequency range that the first compression pass will affect. This will constitute the first band of you compressor.

5. Adjust the remaining settings and graph to set compression for the band, and choose OK.

4. Repeat steps 4 and 5 for each band you wish to create.

6. Once you have finished defining bands, return to /Options/Scripts & Batch Processing... and press Stop. Add any description you wish for the script into the text area at the bottom, and press <<Add<<.

Your script will now appear in the Scripts List at the left. When run, each compression band will be applied to the waveform in succession.


To capture a loop

  You can use the Cue List with the Find Beats and Zero Crossings commands to capture the perfect loop:

1. Find the loop start and end with /Edit/Find Beats/Find Next Beat (Left) and /Edit/Find Beats/Find Next Beat (Right).

2. With your loop selected use /Edit/Zero Crossings/Adjust Left Side to Left to place the left edge at a zero point.

3. With your loop selected use /Edit/Zero Crossings/Adjust Right Side to Right to place the right edge at a zero point.

4. Click Add in the Cue List.

Your loop transition is now completely smooth with both beginning and end points at zero.


To create non-destructive arrangements using the Play List

  The Cue and Play Lists can be used to non-destructively rearrange portions of a wave file for playback.

1. Open the Cue List by choosing it from the View menu.

2. Add selections to the Cue List by highlighting an area of the waveform and clicking the Add button in the Cue List window.

3. Open the Play List by choosing it from the View menu.

4. Add selections from the Cue List into the Play List by clicking on the name of the cue in the Cue List, and then pressing <- Add Before in the Play List window.

You can then play the entire list by of cues by pressing Play in the Play List window. For more information, see:

  Play List

  Cue List


To load an Impulse file into Convolution

  To load a pre-existing Impulse file into the Convolution filter:

1. Open the Convolution filter by choosing it from the /Transform/Special… menu.

2. Click the Load button.

3. Navigate to your /COOLPRO/IMPS directory', `where COOLPRO is the directory where you have installed Cool Edit 2000.

4. Select one of the .imp files and choose open.


CoolEdit main window
	Syntrillium Software Corporation P.O. Box 62255, Phoenix, AZ 85082-2255, USA URL:  http://www.syntrillium.com email: info@syntrillium.com Phone:  +1-480-941-4327 Fax:  +1-480-941-8170
Welcome to Cool Edit 2000, the most powerful and easy to use digital audio recorder, editor, and mixer available for Windows 95 and Windows NT!  We're sure you'll find Cool Edit 2000 so easy to use that you'll probably never need to open up this Help file, but should you need some explanation or assistance, you'll find it here. Feel free to email Syntrillium or visit us on the World Wide Web if you don't find what you're looking for here. Thank you for purchasing Cool Edit 2000!

This Help file is organized in the following manner:

Getting Started contains overview information about Cool Edit 2000 and Syntrillium Software.

Navigating Cool Edit 2000 is a tour of the program's interface.

Menu Reference details every slider, checkbox, and button available for all menu commands.

How To... has information about accomplishing specific tasks.

Troubleshooting answers questions about common problems and other issues you may run into.

Appendix has additional information on topics such as sound formats and terms.

Things in the Help file to watch for:

	Noteworthy information about the program, and things in general.
	Tips for getting the most out of Cool Edit 2000.
	Alternate methods of getting at features.
	References to our online manual for further reading.
  Click here for information on using Help

__________________

Warranty Disclaimer

Syntrillium Software Corporation makes no warranty of any kind, expressed or implied, including any warranties of fitness for a particular purpose.  In no event will the company be liable for any incidental or consequential damages arising from the use of, or inability to use, this program.

Cool Edit 2000 is copyrighted ©1999 by Syntrillium Software Corporation. Portions of Cool Edit 2000 are copyrighted ©1997, Massachusetts Institute of Technology. MPEG Layer-3 audio compression technology licensed by Fraunhofer IIS and THOMSON multimedia. All Rights Reserved.

Cool Edit™ and Cool Edit 2000™ are trademarks of Syntrillium Software Corporation. Windows, Windows 95, and Windows NT are trademarks or registered trademarks of Microsoft Corporation. All other products mentioned are trademarks or registered trademarks of their respective manufacturers.


Contacting Syntrillium Software

If you have any questions or comments, please feel free to contact us.  Although Syntrillium does not offer telephone support for Cool Edit 2000, we do offer outstanding support by email.  If you have tried other software companies' email-based technical support and were not impressed, you will find Syntrillium does things differently. The Syntrillium Software sales department can be reached during the hours of 9AM - 4PM PST (Pacific Standard Time) or by Fax or email at any time. Our web site is also available at any time for the latest information and updates, and for technical support.

  Phone 9AM - 4PM PST (Pacific Standard Time)

+1 (480) 941-4327 (sales only)

1-888-941-7100 (sales only - toll-free for USA and Canada)

  Email

General: info@syntrillium.com

Sales: sales@syntrillium.com

Technical support: support@syntrillium.com

  Fax

+1 (480) 941-8170

  Web

http://www.syntrillium.com/


Cool Edit 2000's Working Philosophy

To get the most out of Cool Edit 2000, you should be familiar with some of its general operating concepts. The information below will help you to understand Cool Edit 2000's working model in a few key areas.

Use of files

Being a software based audio system, Cool Edit 2000 deals with audio in a digital form, meaning that an analog waveform (such as your voice saying "hello") is converted, or sampled, into a binary representation. This sampled waveform then exists as a wave file on your computer's hard drive. When you put together a song or audio presentation in Cool Edit 2000, wave files are your building blocks, much as text files are your building blocks when you use a word processor to compose a book.

One key point is the way in which an audio program operates on a wave file. There are two kinds of computer-based audio editing: destructive and non-destructive. Destructive editing means simply that edits (cut, paste, reverb, etc.) are applied to the wave file itself, so that the original audio data itself changes, while non-destructive editing implies that the file on disk is not actually altered; instead, each "edit" is stored as an instruction to be applied to the file. For example, in destructive editing, a change in audio volume would actually alter the amplitude of a wave file, whereas in non-destructive editing, the volume change would consist of commands that essentially instruct the program to "get louder at this point".

Cool Edit 2000 employs destructive editing methods. However, in Cool Edit 2000, even "destructive" edits are not applied directly to the wave file in use until you save the file—in essence, Cool Edit 2000 uses "delayed destructive editing". When you open a wave file in Cool Edit 2000, it places a copy of the file in a temporary directory, and it uses that copy for editing. The original file remains unaltered until you choose to save any changes you've made (by choosing Save from the File menu, for example). When you save your changes, Cool Edit 2000 overwrites the original file with what you've done to the copy. Therefore, destructive edits in Cool Edit 2000 do not directly affect your original wave file when you perform them.

This same model of delayed destructive editing also enables Cool Edit 2000 to offer multiple levels of Undo. When you apply destructive edits to (the copy of a) wave file, Cool Edit 2000 retains a copy of the file as it exists before the edit. It does this for each edit you perform, enabling you to travel back through your edits to previous states of the wave file. Multiple Undo gives you tremendous freedom in working on wave files without having to worry about "destructiveness" in the least; however, it also requires additional hard drive space to store these copies (copies are automatically deleted from your hard drive when you close a file or exit the program). You can disable the Undo feature if your disk space runs too low.


Getting Started

Did you know that you have a recording studio in your computer?

You really do!  If your Windows computer has a sound card, Cool Edit 2000 can turn it into a recording studio with all of the features used by professional audio engineers.  You can use it to record your own music, voice or other audio, edit it, mix it with other audio or musical parts, add effects like Reverb, Chorus, and Echo to it, equalize it, and master it so that you can burn it to a CD, post it on the World Wide Web, or email it.  Once you get started, you'll be amazed at what you can achieve!

If you’re just getting started in computer audio, there are some things you might want to learn about your computer first.  Almost all sound cards have ports that enable you to record audio as well as play it back. The Windows mixer makes it easy to control playback and record levels.  This means that you can plug a microphone or just about any other piece of audio equipment into your computer, and record away!  You can also record music straight from your CD-ROM drive.

So what can you do with Cool Edit 2000?  Once you’ve got something recorded or loaded into it, you can cut, paste, and move audio around just as you do text in a word processor.  It slices!  It dices!  And if you make a mistake, the undo feature will let you back up and try it again.

Want to put your voice in Carnegie Hall?  Give it that 60’s flange?  Boost the bass?  Cool Edit 2000 has more than twenty fantastic audio effects and tools like Echo, Flange, Compression, Amplify, Noise Reduction, Reverb, Time/Pitch stretch, and much more.

Cool Edit 2000 also has powerful analysis tools.  You can examine the frequency components and other details about your audio with the Frequency Analysis, Statistics, and Spectral View features.

When you’re all done, you can compress your audio to MP3 or Real Media G2 to post on the web or email it to your friends  If you’d rather burn it to CD, Cool Edit 2000 can prepare the audio for that too.  If you’ve found yourself on the leading edge, and need audio for DVD, you’ll appreciate Cool Edit 2000’s support for 24-bit/96kHz files.

Best of all, you don’t have to be an expert to use Cool Edit 2000.  It’s so easy to use that even if you’re a novice, you can start producing great recordings in just minutes.  If you need assistance, this help file means an explanation is only a click away. Finally, if you are totally stumped, our highly acclaimed support staff can help you: just visit http://support.syntrillium.com.

More information on...

Uses for Cool Edit  Sound card ports  The Windows mixer  Attaching audio hardware  Editing audio  Cool Edit Interface	Using transforms  Data analysis  Compressing audio  Audio for CD


Purchasing Cool Edit 2000

If you have not yet purchased Cool Edit 2000, you can do so by:

Using the instant purchase form available in the Help menu inside Cool Edit 2000

Visiting Syntrillium's online store at http://www.syntrillium.com/buyonline

Calling Syntrillium's sales department at 1-888-941-7100 (USA and Canada) or +1-480-941-4327 (other countries)

Faxing your order form to +1-480-941-8170

Mailing your order form to:

Syntrillium Software

P.O. Box 62255

Phoenix, AZ  85082-2255

If you purchased Cool Edit 2000 in a store, please register your purchase with Syntrillium to ensure that you'll receive notice on product information, upgrades, and any special offers as soon as they're available. You can register by sending in the registration card that came with Cool Edit 2000 or, if you have Internet access, by using the online registration form.


Console Controls
Cool Edit 2000 Quick Reference

Keyboard and Mouse Shortcuts

Waveform Editing main screen

Transformation (Effects) Functions

Settings and Options

Common Questions

Sound File Formats

Glossary


q & a
Answers to common questions

If you have a question or are having trouble with some aspect of Cool Edit 2000, you may find an answer here. If you can't find the information you need below, check the Hardware Configurations Help topic or try searching the Help file. For information on using Help, click here [image].  If you still cannot find an answer, see Technical Support for information on contacting Syntrillium.

__________________

1.  Why does Cool Edit 2000 create files with the extension ".pk" alongside my audio files?

2.  I am using Cool Edit 2000 to master audio files for use with CD-R equipment, and there is a click after each track. Why is that?

3.  When repeatedly hitting Play, or starting and stopping Monitor VU Level, my system hangs or crashes.

4.  Some menu items are unavailable ("greyed") in the menus and toolbar. What's wrong?

5.  I can't use /File/Open or /File/Save, and there are only a few features in the Transform menu. Have I done something wrong?

6.  How can I save files in TrueSpeech® format?

7.  Can Cool Edit 2000 convert files, either singly or in batches?

8.  I keep running out memory.  How can I free up more RAM?

9.  I can't record in Cool Edit 2000. When I try, I get a flat line, and no sound when I play. What's wrong?

10. When I record (or play), I hear skipping and dropouts. What can I do to eliminate this?

11. When I try to record or play, I get "RecordVoc Error MMsystem032: The specified format cannot be translated or supported..."  What does this mean?

12. The program crashes right away if I try to Play or Record anything!

13. I had saved some presets in Cool Edit 2000, and now they're gone. Where did they go?

14. I cannot load normal wave (*.WAV) files. Why?

15. My 16-bit files sound more like 8-bit...

16. Why does it take forever to do things like FFT Filter, and to use Spectral View?

17. Why does it take so long to save as Microsoft ADPCM?

18. Cool Edit 2000 doesn't seem to know the format of my .WAV format files. What the…?

19. Some functions don't work when I have low memory on the hard drive...?

20. Why do I hear repeating sounds on playback?

21. Why do I hear crackling noises when I enable the "auto-scroll" feature?


Q:  Why does Cool Edit 2000 create files with the extension ".pk" alongside my audio files?

A:  These are Peak Files. They enable Cool Edit 2000 to load, save, and redraw audio files more quickly than it could do without them. You can safely delete these Peak Files, or turn their creation off altogether in Options/Settings/System. Without them, larger audio files will take longer to load.


Q:  I am using Cool Edit 2000 to master .WAV files for use with CD-R equipment, and there is a click after each track. Why is that?

A:  Some CD-ROM Recording equipment does not read the RIFF .WAV file format correctly, and interprets some of the information chunks as audio. The RIFF specification is available from Microsoft for these companies. In the meantime, you can force Cool Edit 2000 to not write any extra information by not using the Cue or Play Lists (these are saved in the .WAV file as information), and by clearing out all information in the /View/Info dialog. Uncheck the Fill * fields automatically checkbox to prevent Cool Edit 2000 from automatically filling in the date and software package fields in the future.  Also, when you save a file, you can use Save As and uncheck the box marked "Save extra non-audio information".  This will prevent any extra data from being written to the file.


Q:  When repeatedly hitting Play, or starting and stopping Monitor VU Level, my system hangs or crashes.

A:  Try increasing the STACKS line in CONFIG.SYS to STACKS=12,512. On some configurations, if the stacks are set too low, you might encounter problems starting and stopping audio too quickly.


Q:  Some menu items are unavailable ("greyed") in the menus and toolbar. What's wrong?

A:  If you are using a demonstration version of the software, the features that you do not select when you start up will be greyed out in the menus.  If you are sure that you selected a certain feature for the demo, or you have purchased the program, there still may be nothing wrong. You must first select all or a portion of a waveform before you can use features like Reverb, Noise Reduction, and others. Try loading a file and selecting some or all of it with the mouse. Once you’ve done this, you should see those features "light up" in the menus and toolbar.


Q: I can't use /File/Open or /File/Save, and there are only a few features in the Transform menu. Have I done something wrong?

A:  You may have moved Cool Edit 2000, or not have installed it properly. If you don't see options like Reverb in the Transform menu, then it's likely that Cool Edit 2000 can't find its own program files. Try reinstalling, and make sure to run the software from the directory that you installed to: don't copy the cool2000.exe elsewhere and try to run it..


Q:  Can Cool Edit 2000 convert files, either singly or in batches?

A:  Yes! To convert a single file, use /File/Open to open the file in Cool Edit 2000, select /File/Save As, and specify the file type at the bottom of the Save As dialog. To convert multiple files, see Batch File Conversion


Q:  I keep running out memory.  How can I free up more RAM?

A:  If you are editing very large files (several hundred megabytes or more), try increasing the Peaks Cache in /Options/Settings/System to 1024 or even 1536 or 2048 to use less RAM. You can also try reducing the Wave Cache size in /Options/Settings/System and/or increasing the virtual memory settings for your system.


Q:  I can't record in Cool Edit 2000. When I try, I get a flat line, and no sound when I play. What's wrong?

A:  You may have the record level set too low for the audio signal you're trying to record.  See Adjusting Recording and Playback Levels to find out how to remedy this.


Q:  When I record (or play), I hear skipping and dropouts. What can I do to eliminate this?

A:  You may have your buffer size set too small in /Options/Settings/System. A minimal buffer size is about 2 seconds for fast machines, about 8 for slow ones. Also try decreasing or increasing the number of buffers. Please note that some audio drivers have problems with too many buffers. Using a compressed hard drive on a slow PC could also eat up so many CPU cycles that there isn't time left to do recording. Either try adjusting the buffer size up or down, or record at a lower data rate (i.e. 8 bits instead of 16, or 32K instead of 44K). We have tried very hard to ensure that recordings will sound perfect, without any data loss. If you have problems, see if other recording software has the same problems. If so, you may have a hardware incompatibility between your sound card and your main board, video board, or other installed boards. If the problem persists, see below for a list of suggestions on solving it:

1. Try reducing (or perhaps increasing) the Play/Record buffer size under /Options/Settings.

2. Try reducing to as little as 3 (or increasing up to 12) the number of buffers under Settings.

3. Add or update the line in CONFIG.SYS to read "STACKS=16,512".

4. Add the following lines to the SYSTEM.INI file (16meg systems use 2048, and 8meg systems use 1024):

 	[vcache]

MinFileCache=4096

MaxFileCache=4096

5. Check to make sure that if your hard drive (the one pointed to by the Temp Directory setting in /Options/Settings) requires a DMA or IRQ setting, it does not somehow conflict with that of your sound card.  This is common for digital I/O cards and SCSI drives.

6. If your sound card has a choice for "Single Mode DMA", do not enable this item.

7. Set the hard disk priority to "Network Server" and caching to 32K lookahead (not the default 64K) in Control Panel-System-Performance-File System.

8. Go to Control Panel - System - Performance - Virtual Memory and choose "Let me specify my own virtual memory settings" and choose a nice fast hard disk (assuming you have one) with at least 30 MB or so free.  Then enter 20 for Minimum and 20 for Maximum.  If you need more virtual memory, go as high as 60 for Min and Max.


Q:  When I try to record or play, I get "RecordVoc Error MMsystem032: The specified format cannot be translated or supported..."  What does this mean?

A:  This indicates you're trying to record or play a file in a format not supported by your sound card or its drivers. See /Options/Settings/Devices to find out what your card can do. Many 16-bit cards, for example, can't handle 48khz, so if you try to play a 48khz file with such a card in Cool Edit 2000, you will see this error. Similarly, this error will come up if you try to play a 16-bit file on an old 8-bit sound card. If this is the case, try checking "Play 16-bit files as 8-bit" in /Options/Settings/Devices. This will convert any 16-bit audio data to 8-bit as the file is played. NOTE:  You can see a chart of your card's capabilities in /Options/Settings/Devices in Cool Edit 2000.


Q:  The program crashes right away if I try to Play or Record anything!

A:  The real-time VU meters may be incompatible with some sound cards or their drivers. Try disabling them by right-clicking on the VU meter at the bottom of the waveform window, and unchecking the "Show on Play and Record" option.


Q:  I had saved some presets in Cool Edit 2000, and now they're gone. Where did they go?

A:  Cool Edit 2000 stores presets in your COOL.INI file, in your Windows directory. If for some reason you've lost this file, your saved Presets will not show up in Cool Edit 2000. If you have your old COOL.INI, you can copy the Presets to the new file if you wish (they are listed by function).


Q:  I cannot load normal wave (*.WAV) files. Why?

A:  Do you have the file WAVEPCM.FLT in the same directory as COOLPRO.EXE? The *.FLT files are required for any file loading and saving. Also, no programs can be running at the same time called "WAVEPCM". If you are running another program whose filename is WAVEPCM.EXE or WAVEPCM.DLL, then rename Cool Edit 2000's WAVEPCM.FLT to something different like WV.FLT.


Q:  My 16-bit files sound more like 8-bit...

A:  Check to see that the "Play 16-bit files as 8-bit" box is not checked in /Options/Settings/Devices.  If it is checked, your files are being converted to 8-bit before being played. Also be sure you are using the right DMA settings. The lower DMA channels can only support 8-bit audio. Please check your sound board manuals for this information.


Q:  Why does it take forever to do things like FFT Filter, and to use Spectral View?

A:  These functions use the Fast Fourier Transform (FFT) to convert the waveform from temporal data to frequency data. The FFT does "zillions" of floating point operations to accomplish this. If you do not have a coprocessor (this includes 486SX users!) then these operations will take a very long time. A coprocessor will speed up these operations by at least a factor of 10, sometimes 20!


Q:  Why does it take so long to save as Microsoft ADPCM?

A:  ADPCM is a compression scheme, which compresses 16-bit samples to 4-bits while retaining much of the quality at higher sample rates. If the multiple pass option is chosen, which provides the highest quality, each block of wave data is compressed seven different ways, and the way which sounds most like the original signal is then saved.


Q:  Cool Edit 2000 doesn't seem to know the format of my .WAV format files. What the...?

A:  If you find you cannot load or save the .WAV format, or if you try to load a .WAV waveform file and the "Choose Sample Rate" dialog appears, or if you have any trouble with loading and saving in the proper format, then remove all copies of the .FLT files in your Cool Edit 2000 directory, and copy the ones distributed with your current version of Cool Edit 2000 into the same directory. This problem could also result from running a separate program with the same name as the .FLT file (e.g. wave.flt will not be used if an application called wave.exe is running). If this is the case, simply rename the .FLT file (e.g. rename wave.flt to wav.flt).


Q:  Some functions don't work when I have low memory on the hard drive...?

A:  This has to do with your Temporary Directories, set in /Options/Settings/System. If your Temporary settings point to an invalid directory, some functions may fail. Be sure that this is set to a valid directory with plenty of free hard drive space. Alternatively, you can add the TEMPOVERRIDE= line to the [Size] section of COOL.INI (found in the Windows directory) and set it to your temporary drive and directory. As a rule of thumb, your free space on the temporary drive should equal at least twice the size of the largest file with which you will be working.


Q:  Why do I hear repeating sounds on playback?

A:  This may occur for one of two reasons:

First, after a long operation (say, Stretching an 800MB file) the result is a file that plays OK up to a point, but then begins repeating a sound over and over again. Example:  if the entire file is a voice saying "It's a small world after all", then the file comes out as "It's a small world after after after after". (Note that it usually doesn't happen to small files, though.) Most likely cause:  Cool Edit 2000 ran out of hard drive space when performing the function. Solution:  Free up more disk space and/or turn OFF Undo in /Options/Settings/System.

Second, if a sound always or nearly always repeats on playback, the most likely cause is an IRQ or DMA conflict between the sound card driver and some other device. Solution:  check the IRQs and DMAs being used in config.sys, autoexec.bat, and the System control panel in Windows to resolve the conflict. NOTE:  this problem will ordinarily manifest itself with any playback software, including the Windows Sound Recorder (Start - Programs - Accessories - Multimedia - Sound Recorder).


Q:  Why do I hear crackling noises when I enable the "auto-scroll" feature?

A:  Some video cards may use all of the CPU's computing time to process their data when you scroll (thus slowing the audio down). This can cause crackling noises or other artifacts on playback. Disable auto-scroll to get around the problem.


Q:  How can I save files in TrueSpeech® format?

A:  First make sure your file is in 8000Hz/Mono/16-bit format. If it isn't, use /Edit/Convert Sample Type to convert it to that format. Then use /File/Save, select "ACM Waveform" as your file format, click on "Options", and choose "DSP Group TrueSpeech(TM)" as the file format.


Hardware Configurations
Specific hardware configurations

Here we offer some recommendations for how to best use Cool Edit 2000  with particular hardware configurations. You may find these suggestions useful if you are having trouble using Cool Edit 2000 with your system.

Digital Audio Labs Card D and Card D+

Sound Blaster

Turtle Beach Tahiti

Event Electronics Darla Gina and Layla

Sonorus StudI/O

Applied Magic On Stage

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See Also...

  Answers to common questions


Digital Audio Labs Card D® and Card D+

You may notice skipping or "drop-out" problems in recording or playback with Cool Edit 2000.  If so, try reducing the "playback/record" buffer to 1 second and the set number of buffers to 10 in Options/Settings/System.


Sound Blaster®

Cool Edit 2000’s default settings should work well for most Sound Blaster cards.


Turtle Beach Tahiti®

Use 4 seconds, using 2 buffers in /Options/Settings to avoid skipping or popping problems in playback or recording.


Technical Support

Cool Edit 2000 is designed to be easy to use, however, on occasion you may need some explanation or help with an issue. In most cases, you'll find the help you need right in your computer; this Help file, and the Cool Edit 2000 manual should contain the answers to most of your questions. In addition, you'll find extensive support material available around-the-clock at our site on the World Wide Web. If you still experience difficulties, our technical support staff is available via email, or FAX if you do not have access to email. If you have tried other software companies' email-based technical support and were not impressed, you will find Syntrillium does things differently. Our technical support team provides individual answers to all email questions within two business days--usually much faster than that.

Before emailing Syntrillium for support, please check our online documentation, manual, and web site for answers to your questions.

Web Site Support

Syntrillium's web site provides an extensive amount of support materials, and the solution or answer you seek may already be posted. There may also be an update you can download to resolve the problem.

  http://support.syntrillium.com/

Email Support

Please submit your technical questions and problems via Email. The technical support mailbox is checked Monday through Friday throughout the day for new messages. Syntrillium responds to emails within two business days (with a same day reply in most cases).

- Include your Name, your return Email address and your serial number.

- Describe your problem or question in detail, with the detailed steps required to .reproduce the problem.

- Provide detailed information about your system, such as the CPU, sound card type, hard drive space available, etc.

-IInclude or attach the Cool Edit System Information.  From the menu, select Help/About Cool Edit 2000/System Info

- Please do NOT attach any other files to your e-mail message unless specifically requested by Syntrillium's support staff.

  Email address: support@syntrillium.com

Fax Support

If you do not have access to email, you may submit your technical questions and problems via facsimile.

- Please indicate on the cover page that the FAX is intended for technical support.

- Have your name, company, address, telephone and FAX numbers clearly on the cover page.

- Indicate your serial number on the FAX.

- Please describe your problem or question in detail.

  FAX: +1 (480) 941-8170

Phone Support

Syntrillium does not provide telephone support for Cool Edit 2000.


wave formats
Sound File Formats

The following is a list of the various file formats that Cool Edit 2000 supports. If you do not see a particular format listed here, you may be able to save to, or open from it, using an ACM Waveform driver (click here for more information on the ACM). Format options are found in the Save As... dialog, as well as in the Open and Open As... dialogs. Many formats support various options, available through the Options button in these dialogs.

A/mu-Law Wave (.WAV)

ACM Waveform (.WAV)

Amiga IFF-8SVX (.IFF, .SVX) (*.*)

Apple AIFF (.AIF, .SND)

ASCII Text Data (.TXT)

Dialogic ADPCM (.VOX)

DiamondWare Digitized (.DWD)

DVI/IMA ADPCM (.WAV)

Microsoft ADPCM (.WAV)

MPEG Layer 3 (.MP3)

Next/Sun (.AU, .SND)

Real Media (.RM)

Sound Blaster (.VOC)

Windows PCM (.WAV)

PCM Raw Data (.PCM) (*.*)


Windows PCM  (.WAV)

Microsoft Windows format. Windows WAV files support both mono and stereo files at a variety of resolutions and sample rates. This file type follows the RIFF (Resource Information File Format) specification, and allows for extra user information (see Info) to be embedded and saved with the wave file. The standard Windows PCM waveform contains PCM coded data, which is pure, uncompressed pulse code modulation formatted data.

Options

Formatting options for Windows PCM are available only to 32-bit files, and will appear greyed-out at other times.

See 20- to 32-bit file support for information.

24-bit (type 1) PCM	Standard used for 24-bit cards

32-bit (type 1) 16.8 float	A float type whose range is +/-32768.0

32-bit normalized (type 3)	A standard float type whose range is +/- 1.0


Microsoft ADPCM (.WAV)

The Microsoft ADPCM format consists of 4-bit per channel compressed data (providing 4:1 compression). Files saved in this format will automatically be expanded to 16-bits when loaded, regardless of their original resolution. For this reason, it is best to save to this format from 16-bits, rather than 8-bit as the quality will be much greater. After expanding, the 16-bit data can still be quickly converted to 8-bit during playback.

Options

Choosing the Multiple Pass option will take longer to save, but the quality will be better. The time taken to read an ADPCM compressed file is the same no matter which option you choose.


DVI/IMA ADPCM (.WAV)

The International Multimedia Association (IMA) flavor of ADPCM compresses 16-bit data to 4-bits/sample (4:1) using a different (faster) method than Microsoft ADPCM, and has different distortion characteristics, which can give better, or worse results depending on the sample being compressed. As with Microsoft ADPCM, it is best to save to this format from 16-bit rather than 8-bit. This format also allows for 3-bit compression (5.3:1) as well at a slightly lower quality, though few sound drivers support the 3-bit ADPCM (we have found none that actually work properly). In building this format, we followed the specification to the letter without making any assumptions.

	In the past, we have seen audio drivers that did not play DVI/IMA compressed data properly, but lately this has been changing as other manufacturers are providing DVI/IMA audio drivers that can read the files saved by Cool Edit in this format just fine.  (Although we have yet to see a 3-bit DVI audio driver that plays stereo waves properly.) If you have other software that does not play files saved in this format properly, please contact the vendor and try to obtain the latest driver they have.
	We have also implemented a 2-bit and a 5-bit version of compression by using the index tables {-1, 2, -1, 2} and {-1, -1, -1, -1, -1, -1, -1, -1, 1, 2, 4, 6, 8, 10, 13, 16, -1, -1, -1, -1, -1, -1, -1, -1, 1, 2, 4, 6, 8, 10, 13, 16} respectively. These compression rates are less compatible than the standard 4-bit, and may not work with other systems. We have found that the preceding index tables provided the best quality.
	This compression scheme can be a good alternative to MPEG; it provides reasonably fast decoding of 4:1 compression, and it degrades sample quality only slightly.


A/mu-Law Wave (.WAV)

A-Law and mu-Law formats (CCITT standard G.711) are common in telephony applications. These encoding formats compress original 16-bit audio down to 8 bits (for a 2:1 compression ratio) with a dynamic range of about 13-bit. Thus, a-law and mu-law encoded waveforms have a higher s/n ratio than 8-bit PCM, but at the price of a bit more distortion than the original 16-bit audio. The quality is higher than you would get with 4-bit ADPCM formats.

Options

Mu-law 8-bit is the international standard telecommunications encoding format, while A-Law is a slight variation found in European systems.

	Files saved in this format will automatically be expanded to 16-bits when loaded, so you should not save to this format from 8-bit.


Sound Blaster (.VOC)

Sound Blaster and Sound Blaster Pro voice file format. This format only supports 8-bit audio; mono to 44.1 KHz, and stereo to 22 KHz. Voc files can contain information for looping and silence. If the file you are loading contains loops and silence blocks, they will be expanded while loading.


Apple AIFF (.AIF, .SND)

This is Apple's standard wave file format. Like Windows WAV, AIFF files support mono or stereo, 16-bit or 8-bit, and a wide range of sample rates. Cool Edit 2000 only supports the PCM encoded portion of the data, even though this format (like Windows WAV) can contain any one of a number of data formats. The AIFF format is a good choice for PC/Mac cross-platform compatibility. When opening in Cool Edit 2000, you can simply add the .AIF extension to the file and load it using this file filter. When transferred to a Mac, you can add the four character code "AIFF" in the file's resource fork to have it recognized (The Macintosh identifies a file through it’s “resource”, which is stripped away when a file is opened on a PC. However, many Mac applications which support AIFF can recognize the PCM data without this identifier.)


ASCII Text Data (.TXT)

Data can be read to or written from files in a standard text format, with each sample separated by a carriage return and channels separated by a tab character. Options allow data to be normalized between -1.0 and 1.0, or written out and read in raw sample values.  An optional header can be placed before the data.  If there is no header text, then the data is assumed to be 16-bit signed decimal integers.  The header is formatted as KEYWORD:value with the keywords being: SAMPLES, BITSPERSAMPLE, CHANNELS, SAMPLERATE, and NORMALIZED.  The values for NORMALIZED are either TRUE or FALSE.  For example,

SAMPLES: 1582

BITSPERSAMPLE: 16

CHANNELS: 2

SAMPLERATE: 22050

NORMALIZED: FALSE

164 <tab> -1372

492 <tab> -876

etc...

Options

An optional header can be placed before the data. Data can also be normalized between -1.0 and 1.0, or written out and read in raw sample values.


Next/Sun (.AU, .SND)

This format is the standard found on NeXT and Sun computers, and has many data types. Cool Edit 2000 supports the CCITT mu-Law, A-Law, G.721 ADPCM, and linear PCM data variants. Like Windows WAV and AIFF files, this support can support mono or stereo, 16-bit or 8-bit, and a wide range of sample rates when saved as linear PCM. The most common use for the AU file format is for compressing 16-bit data to 8-bit mu-law data. AU is used quite extensively for distribution on the Internet, and for inclusion in JAVA applications and applets.

Options

Cool Edit 2000 offers three compression schemes for NeXT/Sun: mu-Law, A-Law, and CCITT G.721 (ADPCM at 32 kbits/sec), as well as linear PCM.


Dialogic ADPCM (.VOX)

The Dialogic ADPCM format is commonly found in telephony applications, and has been optimized for low sample rate voice. It will only save mono 16-bit audio, and like other ADPCM formats, it compresses to 4-bits/sample (for a 4:1 ratio). This format has no header, so any file format with the extension .VOX will be assumed to be in this format. When opening VOX files, you will be prompted for a sample rate unless "Don't Ask" is checked.

	Take note of the sample rate of your audio before saving as Dialogic VOX, you will need to enter it upon reopening the file.


PCM Raw Data (.PCM) (*.*)

This format is simply the PCM dump of all data for the wave. No header information is contained in the file. For this reason, you are asked to select the sample rate, resolution, and number of channels upon opening. By opening audio data as PCM, you can interpret almost any audio file format! You must have some idea about the sample rate, number of channels, etc. You can also interpret the data as A-Law or mu-law compressed. When guessing at these parameters upon opening, the waveform may sound incorrect (in different ways, depending on which parameters you have mixed up). Once the waveform is loaded and sounds fine, you may hear clicks at the start, end, or sometimes throughout. These clicks are various header information being interpreted as waveform material. Just cut these out, and Voilà! You have read in a wave in an unknown format!

Options

Raw Data options include Intel or Motorola variety of uncompressed PCM, and A/mu-law encoding/decoding. When saving raw data files, an optional header can be written to a separate .DAT file to make reloading easier.


Amiga IFF-8SVX (.IFF, .SVX) (*.*)

The Amiga 8SVX format is an 8-bit mono format from the Commodore Amiga computer, which can also be compressed to a 4-bit Fibonacci delta encoded format. A variety of sample rates are supported.

Options

Choose between 8-bit uncompressed or 4-bit Fibonacci delta encoded format.


ACM Waveform (.WAV)

In addition to Cool Edit 2000's supported file formats, you can save or load any format supported by the Microsoft Audio Compression Manager (ACM). When saving, only the ACM formats that are compatible with the format of the current waveform will be displayed under Options. Some formats that come standard with Windows 95 like GSM 6.10, and DSP Group TrueSpeech are supported through this file format. Other formats can be provided through other companies If you own a Sound Blaster card, for example, the Creative ADPCM file format will also be available. If an option is not available for your specific sound cards, ask the sound card provider for ACM drivers that support their file formats. See Using the ACM for more information.

Options

The available ACM formats are displayed under Options.

Name

Save As

Format

Attributes

	Please note that the ACM driver you want to use may require that the file be in a specific format before saving. For example, if you want to save a file in the DSP Group TrueSpeech format, you should first use /Edit/Convert Sample Type to convert the file to 8KHz/mono/16bit, because that is the only format supported by the TrueSpeech ACM driver. For more information on any particular ACM driver, contact the creator of the format (such as DSP Group for TrueSpeech, or CCITT for the various CCITT formats) or the manufacturer of the hardware that uses the format in question (such as Creative Labs for the SoundBlaster ACM driver).


Name

This displays the name of any saved format presets. Three are provided initially: CD, Radio, and Telephone Quality (standard PCM).


Save As

Click this button to save preset format/attribute combinations.


Format

This is the ACM format you wish to save in. Note that this list will display only those formats that are compatible with the current waveform's properties (stereo/mono, resolution, etc.).


Attributes

The available attributes will depend on the original attributes of the file (sample rate, etc.) and the Format chosen.


DiamondWare Digitized (.DWD)

This is the audio format used by DiamondWare's Sound Toolkit, a programmer's library that lets you quickly and easily add high quality interactive audio to games and multimedia applications. It supports both mono and stereo files at a variety of resolutions and sample rates. See http://www.dw.com for more information.


RealAudio (.RA)

This is Progressive Networks's compressed format used for real time audio streaming over the Internet. RealAudio files can be encoded using several different algorithms. Each encoding algorithm is optimized for a particular type of audio and connection speed bandwidth. Click on the Options button in /File/Save As to select the specific sub-format you want. You can save to this format from 8- or 16-bit, mono or stereo, with valid sampling rates of 8 kHz, 11.025 kHz, 16 kHz, 22.05 kHz, and 44.1 kHz. You can use a stereo source to produce a mono or a stereo RealAudio file, however you cannot use a mono input file to produce a stereo output file. In this case you will be prompted to convert to stereo before saving.

Options

Format options are given in Music (higher quality), and Voice (lower quality) categories. A description of the currently selected algorithm is given in the options window.

	Cool Edit 2000 can export to RealAudio format only; it cannot import .RA files. Cool Edit 2000's RealAudio filters support multipleRealAudio versions. Use the Options button to select the version to save as.


This letter has no entries.


Aliasing

Attack

Chorus

Clipboard

Digital Signal Processing

Equalization (EQ)

MCI

Noise-shaping

Normalize

Quantization

Quantization Noise

Root Mean Square

Sign Bit

Signed

Status Bar


ADPCM

ADPCM (Adaptive Differential Pulse Code Modulation) is an audio compression scheme which compresses from 16-bit to 4-bit for a 4:1 compression ratio. There are many varieties of ADPCM, such as  the IMA (Interactive Multimedia Association) DVI standard, and versions from Microsoft, Dialogic, etc.


A-Law

A-Law (or CCITT standard G.711) is an audio compression scheme common in telephony applications. It is a slight variation of the u-Law compression format, and is found in European systems. This encoding format compresses original 16-bit audio down to 8 bits (for a 2:1 compression ratio) with a dynamic range of about 13-bits. Thus, a-law encoded waveforms have a higher s/n ratio than 8-bit PCM, but at the price of a bit more distortion than the original 16-bit audio. The quality is higher than you would get with 4-bit ADPCM formats. Encoding and decoding is rather fast and generally, widely supported.


ACM

The Microsoft ACM (Audio Compression Manager) is part of Windows 95 and NT. The ACM enables any Windows program to compress and decompress files in a variety of formats, such as DSP Group TrueSpeech and GSM 6.10. Some of these formats come as a standard part of Windows, while others are provided by third-parties. You may acquire ACM formats when you install other software. To see what ACM drivers you have installed, in Windows 95 open Control Panel-Multimedia-Advanced-Audio Compression.


Amplitude

Amplitude represents the loudness of a signal. A waveform's amplitude is measured by its distance from the center-line (which represents a 0 amplitude value). There are different standards for measuring amplitude, with decibels (dB) being the most common.


Amplitude Ruler

The Amplitude Ruler is found along the right-edge of the Waveform Display. It measures the relative volume of audio data in either Samples, percentage, or as a normalized value. For spectral data, the ruler format is in frequency (Hz).


Audio File Format

The method used for writing audio data to disk for storage is known as a File Format. Cool Edit 2000 supports many file formats, which themselves support a variety of properties such as sample rate, compression, etc. Some file formats may not be compatible with other systems. Windows PCM (.wav) is found most often in the Windows environment. File formats can be chosen in /File/Save As...


Bit

Bits are part of the numbering system used in digital equipment, such as computers. A bit makes up a larger number, called a word, which is used to represent the voltage level (amplitude) of an analog signal . The number of bits used to make up a word determines the bit resolution, which in turn determines the number of voltage levels possible in representing amplitude. Therefore, greater bit resolutions make for higher signal-to-noise ratios.


Bit Resolution

The number of bits used in measuring amplitude for a sample.  Choosing 8-bit resolution will provide 256 unique "volumes", while choosing a 16-bit resolution will provide 65,536 unique "volumes", for a 96 dB signal-to-noise ratio.  Obviously, a much greater dynamic range can be reproduced at 16-bit resolution than at 8-bit resolution, which only has a 48 dB signal-to-noise ratio.  Compact disk players have a 16-bit resolution. Some sound cards are beginning to support resolutions greater than 16-bit. Cool Edit 2000 supports up to 32-bit sample rates.

	It is best to remain at the 32-bit level while working in Cool Edit 2000, and convert down for output.


Clipping

When the amplitude of a signal exceeds the maximum level for available the current conditions (i.e. 256 in 8-bit audio), a process known as clipping occurs. Clipping causes the signal to distort, and appears in the display as a "chopping-off" of the top of the waveform. Try lowering recording, or source output, levels when recording if you experience clipping.


Cue List

The Cue List is a list of time offsets, or locations defined within an audio file. A cue can be either a point, specifying a cursor position, or a range, specifying a selection. You can jump to a cue position in a waveform by double-clicking on it in the cue in the list. If the cue is a range, Cool Edit 2000 will select it automatically. Cue ranges can later be arranged in the Play List.


Device

Devices are used to send data into and out from Cool Edit 2000. This includes both Wave and MIDI devices. Wave devices generally take the shape of sound card Inputs and Outputs, and are used for the recording and playback of audio material, while MIDI devices are used to send performance information to other and MIDI enabled programs or hardware. Devices are selected in /Options/Settings/Devices.


DC Offset

Many sound cards record with a slight DC offset, which means that DC current is introduced into the signal by the card causing the center of the waveform being recorded to be off from the exact center of the waveform display. This is seen as the waveform being "shifted" above or below the center line in the Waveform Display. To compensate for DC Offset, you can choose the DC Bias Adjust setting in /Transform/Amplitude/Amplify.


Decibel (dB)

In audio, a decibel (dB) is a logarithmic unit of measurement used for amplitude (specifically, to compare sound pressure with a reference pressure). Generally, 0db is the maximum possible amplitude value (as in 256 for 8-bit audio). Many areas of Cool Edit 2000 refer to, or can refer to amplitude in decibels.


Destructive Editing

Destructive editing means simply that edits (cut, paste, reverb, etc.) and changes are applied to the wave file itself, so that the original audio data itself changes, unlike non-destructive editing. For example, in destructive editing, a change in audio volume would actually alter the amplitude of a wave file. However, in Cool Edit 2000, even "destructive" edits are not applied directly to the wave file in use until you save the file.


Display Range Bar

The green Display Range Bar found above the waveform indicates which part of the entire waveform or session is currently being viewed in the Waveform Display. When zooming in and out, this bar will get smaller and larger, as the portion being viewed changes with respect to the entire waveform or session. You can drag the Display Range Bar to scroll through the waveform when zoomed in.


Dynamic Range

The range of variance in amplitude for a waveform is said to be its Dynamic Range. Music, with lots of high and low passages, has a wider dynamic range, while speech will tend to have a more narrow dynamic range.


Frequency

Measured in Hertz (Hz), a sound's Frequency is the rate at which it vibrates, or its cycles per second. A cycle consists of movement from a starting point (0) through both positive and negative amplitudes, eventually returning to the starting point. A sound's frequency determines its pitch.


Hertz (Hz)

This is a unit of measurement used to measure the frequency of a sound. Hertz are is equal to cycles per second.


Image

An Image is a waveform block in the multitrack environment that does not singly represent a soundfile, but rather acts as a "shortcut". Images are simply pointers which, when encountered in a session, direct Cool Edit 2000  to the same soundfile on disk. For example, you may have a drum hit which occurs 30 times within a session. If these 30 instances are in fact entered in the session as Images, the disk space required for the drum hits amount to the same as for one instance, or one hundred, even. Also of note is that because Images represent the same file, any alteration to one Image (like a cut, or transform) will affect all instances in the session. As an alternative, a copy of a waveform block will create a separate soundfile on disk, consuming disk space, but will allow for separate editing.


Level Meters

Cool Edit 2000's  Level Meters are found along the bottom of the main window, and are used to monitor the volumes of incoming and outgoing signals. The clip indicator to the right of the meters will light up, and remain lit, when levels exceed the maximum of 0dB. Clicking on the clipping indicator at any time will reset it. When displaying stereo audio or in a multitrack session, the top meter represents the left channel, and the bottom, the right.


Loop

With regard to waveform material, a Loop is simply a repeating of a certain range, either indefinitely, or for a certain number of repetitions. There are many looping functions in Cool Edit 2000, such as Loop Duplicate in the multitrack environment for looping waveform blocks, the Playlist can repeat a Cue region any number of times, or Loop Play will continually play a waveform or selection.


MIDI

MIDI stands for Musical Instrument Digital Interface, and is a way of communicating performance information from one piece of software or hardware to another. This performance information can take the simple shape of a note instruction, as in E4, or it can transmit detailed information on things such as timing or sound patch data. Windows provides a way of transmitting MIDI information internally between programs, plus you can transmit MIDI information into and out of your computer to/from external devices (such as a MIDI Keyboard) through the MIDI Port of a sound card, or other MIDI Interface device.


Sample Rate

The sample rate determines the number of times per second to take a snapshot of the audio. Higher sample rates produce higher quality audio, at the expense of requiring more disk space. Frequencies of up to 1/2 the sample rate can be produced effectively, so to reproduce a frequency of 10Khz, a sample rate of at least 20Khz must be chosen.

8,000 Hz	Telephone Quality

11,025 Hz 	Poor AM Radio Quality

16,000 Hz 	Reasonable compromise between 11 KHz and 22 KHz

22,050 Hz 	Near FM Radio Quality

32,075 Hz 	Better than FM Radio Quality (Some boards support 32,000 instead)

44,100 Hz 	CD Quality

48,000 Hz 	DAT Quality


Compressor

Compressors reduce the dynamic range of an audio signal. In the real world, it is generally an amplifier with two gain levels: the gain is unity for input signal levels below a certain threshold, and less than unity for signals with levels above the threshold. For example, compressors can be used to eliminate the variations in the peaks of an electric bass signal by clamping them to a constant level (thus providing an even, solid bass line.) Compressors can also be useful in compensating for the wide variations in the level of a signal produced by a singer who moves frequently or has an erratic dynamic range.


Limiter

Limiters are compressors with a compression ratio of 10:1. This has the effect of reducing or "limiting" input signals that exceed a specified threshold level, so that the output does not increase in gain beyond that point. In other words, a limiter only allows the dynamic range at its input to increase up to a certain point (determined by the threshold setting). Beyond this level, as the input continues to increase in gain, the output level remains relatively constant and does not increase in volume.


Expander

Expanders are used to expand the dynamic range of an audio signal (basically the opposite of a compressor.) An expander can also be considered an amplifier with two gain levels: the gain is unity for input signal levels above a certain threshold, and less than unity for signals with levels below the threshold. An expander boosts the high-level signals and attenuates low-level signals.


Noise Gate

Noise Gates are a special type of expander that can be used to reduce or eliminate noise below a threshold level. It does this by heavily attenuating signals with levels that fall below the threshold. It's often used to totally cut off the signal level during a musical pause so as not to pass background noise. It can also be used to silence the pauses in speech.


Impulse

An impulse  is the data by which every other sample in your waveform will be multiplied when using the Convolution transform effect. Impulses are like "amplitude maps". For example, if the impulse is a single sample of a full volume "tick", then the convolution of that impulse with any audio data would just be that audio data itself. If the "tick" is at half volume, then the original audio data will be reproduced at half volume. If there are several ticks (such as one tick every 100 milliseconds), descending in amplitude over time, with each being half as loud as the previous tick, then the result of convolution with some audio will be that sound echoed with 100ms between each echo, and each echo at half the volume of the previous one.


Nyquist Frequency

The Nyquist Frequency is 1/2 of the current sampling rate (22,050kHz for 44,100kHz audio). This frequency designates the highest reproducible frequency for that sample rate. Thus, in order to reproduce a signal with 11 kHz frequency range, you would need to select a sample rate of at least 22kHz. Frequencies recorded which exceed the Nyquist limit can produce an aliasing effect. It is best to record at higher sample rates and convert down if needed.


PCM

Pulse Code Modulation (PCM) is the standard method of digitally encoding audio. It is the basic uncompressed data format used in file types such as Windows .wav and Apple AIFF.


Peak Files

Peak Files are small files with the extension .pk that enable Cool Edit 2000 to load, save, and redraw audio files more quickly than it could do without them. You can safely delete these Peak Files, or turn their creation off altogether in Options/Settings/System. Without them, larger audio files will take longer to load.


Play List

The Play List is an arrangement of Cue List entries that you can play back in any order and loop a specified number of times in non-destructive fashion. The Play List can include up to 64 entries at any one time. Cool Edit 2000 saves the Play List in the .WAV file format header.


Preset

Most functions in Cool Edit 2000 support for presets. A Preset is a group of function settings saved under a particular name for later recall. Functions that support Presets will have a list where you can double-click on a Preset name to recall the settings, as well as an area for creating and naming new Presets.


Punch In

Punch In is a recording method used to record "into" a certain region of an existing waveform. Punching is usually used to replace an undesirable section within a longer audio segment. Cool Edit 2000 allows for multiple "takes" when Punching In; you can continually record over the original material and afterward choose between the takes for the best performance, or return to the original data. Punch In is available in the multitrack environment only.


RealAudio

RealAudio is a proprietary compressed format used for streaming audio over the Internet in real-time. RealAudio files can be encoded using several different algorithms. Each encoding algorithm is optimized for a particular type of audio and connection speed bandwidth. You can save to this format from 8- or 16-bit, mono or stereo, with a number of valid sampling rates. Format options are given in Music (higher quality), and Voice (lower quality) categories.


Resolution

See Bit Resolution.


Sample

In digital audio, a signal is not captured in a complete continuos fashion, as in traditional recording. To digitize a sound, a number of snapshots, or samples, are taken every second (this number is a product of the sampling rate used) and are changed into numeric representations. A  sample is a single snapshot of the sound, if you will. The term sample can also refer to the digitally recorded sound itself, though this nomenclature tends to be used more when referring to digitized sounds used by hardware samplers, than in computer-based audio editing.


Shortcut

Shortcuts are used to speed up the editing process by allowing you to execute almost any command in Cool Edit 2000 from your computer and/or MIDI keyboard. For example, instead of using your mouse to go to the Edit menu and selecting Cut to cut the highlighted portion of a waveform, you can simply press Ctrl+X. Likewise, you can execute commands from a MIDI keyboard, a sequencer, or any other device capable of issuing a MIDI command. This type of Shortcut is referred to as a MIDI Trigger. An example of this would be assigning the Play command in Cool Edit 2000 to the C4 note on your MIDI keyboard.


SMPTE Time Code

SMPTE (Society of Motion Picture and Television Engineers) time code is a timing reference used to synchronize two devices to the same clock. SMPTE time is broken down into hours, minutes, and seconds, and frames.


Time Display Fields

These fields are located in Cool Edit 2000, beneath the waveform display and to the right. They display beginning, end, and length information for the visible portion of the current waveform or session, and for the currently selected range.


Time Ruler

The Time Ruler is found along the bottom of the Waveform Display. It displays the time location of the waveform or session portion currently being view in a number of possible formats. The time format used is set in /View/Display Time Format.


Time Window

This is a resizable window which displays the current cursor location both while idle and in playback/record. The time format for the display (SMPTE drop, Bars and Beats, etc.) is that which is currently selected in /Edit/Display Time Format. The time window is available from the View menu.


u-Law

u-Law (or CCITT standard G.711) is an audio compression scheme and international standard in telephony applications. u-Law is very similar to A-Law, a variation of u-Law found in European systems. This encoding format compresses original 16-bit audio down to 8 bits (for a 2:1 compression ratio) with a dynamic range of about 13-bits. Thus, u-Law encoded waveforms have a higher s/n ratio than 8-bit PCM, but at the price of a bit more distortion than the original 16-bit audio. The quality is higher than you would get with 4-bit ADPCM formats. Encoding and decoding is rather fast and generally, widely supported.


Wave File

Wave file typically refers to any audio file format which contains wave data. Examples include  Windows PCM (.wav) and Next/Sun format (.au).


Waveform

The term Waveform  is used to describe the visual representation of a signal (amplitude over time) displayed in Cool Edit 2000 (the big green wave likeness on the screen). Waveform can also be used to refer to the signal itself, as in "listen to the waveform". In this case, the term usage is referencing soundwaves, and being used in an acoustical sense.


Waveform Display

The Waveform Display is the area in which you view your audio material or session. Generally this audio material is in the shape of a waveform, though it can contain spectral data as well when in Spectral View. The waveform display area is used to select data for editing and for arranging and positioning waveforms in the multitrack environment.


Zero Crossing

The place where a waveform crosses the center line (zero amplitude point) is called a zero crossing. Performing cuts and pastes on areas whose boundaries are on zero crossings is preferable. When cutting or pasting on areas other than a zero crossing, it often results in an audible pop or click.


Non-Destructive Editing

Non-destructive edits and changes are those which do not alter the sound file on disk in any way. For example, in non-destructive editing, a volume change would not actually alter the amplitude of the waveform, but would be an instruction to "get louder at this point", which is then acted out upon playback.


S/N Ratio

The Signal-to-Noise Ratio (S/N Ration) is the ratio between the noise floor (present noise) and signal. Higher ratios are more desirable, as they produce a better masking effect.


Dither

Dithering is a technique used to mask and reduce noise and distortion to figures below their current levels through the addition of small amounts of white noise (a random signal that includes all the frequencies across the entire audio spectrum). Although a small amount of noise is introduced into the circuit, the result is far preferable to the increased distortion that you would otherwise be listening to in low-level signals. When converting to lower resolutions, dithering allows you to hear sounds that would otherwise be masked by the noise and distortion limits of lower bit-resolutions.


Mixing

Mixing is the process of combining multiple audio sources (or tracks) together for output as a single source. Output is generally in the form of a stereo pair of channels (a right and a left), though mixes may be directed to more than two-channels for output (as in drums to one set of outputs, and everything else to another pair of outputs). These types of mixes are often referred to as submixes.


Technical Bibliography

Embree, Paul M. and Kimble, Bruce (1991).  C Language Algorithms for Digital SIgnal Processing.  Prentice Hall, Inc.  ISBN 0-13-133406-9 (TK5102.5.E46)

Everest, F. Alton (1994).  The Master HandBook Of Acoustics (3rd ed).  McGraw Hill, Inc.  ISBN 0-8306-4437-7 (QC225.15E93)

ICMC Proceedings from 1988 on up

IEEE Transactions on Acoustics, Speech, and Digital Signal Processing

Kuc, Roman (1988).  Introduction to Digital Signal Processing.  McGraw Hill, Inc.  ISBN 0-07-035570-3 (TK5102.5K823)

Mitra, Sanjit K. and Kaiser, James F. (1993).  HandBook for Digital Signal Processing.  John Wiley & Sons, Inc.  ISBN 0-471-61995-7 (TK5102.5.H318)

Morgan, Don (1994).  Practical DSP Modeling, Techniques, and Programming in C.  John Wiley & Sons, Inc. ISBN 0-471-00434-0 (TK5102.9.M67)

Roads Curtis (1989).  The Music Machine (Selected Readings from Computer Music Journal.  The MIT Press.  ISBN 0-262-18131-2 (ML1093.M88)

Rorabaugh, C. Britton (1993) Digital Filter Designer's HandBook : Featuring C Routines.  McGraw-Hill, Inc.  ISBN 0-07-911166-1 (TK7872.F5R68)

aidyanathan, P. P. (1992) Multirate Systems and Filter Banks.  Prentice-Hall, Inc.  ISBN 0-13-605718-7 (TK5102.5.V24)

Watkinson, John (1994).  The Art of Digital Audio (2nd ed).  Focal Press.  ISBN 0-240-51320-7

Ziemer, Rodger E. (1989) Signals and Systems: Continuous and Discrete.  Macmillan Publishing Company.  ISBN 0-02-431630-X (QA402.Z53)


Installing and uninstalling CoolEdit
Installing and removing Cool Edit 2000

To install or re-install Cool Edit 2000, simply run the Setup program. If you need to remove the program from your system, there is an easy "Uninstall" procedure:

1. Click on the Windows Start button, select Settings - Control Panel - Add/Remove Programs.

2. Select Cool Edit 2000 in the list of installed software, and click on the Add/Remove button.


Using CoolEdit with Cakewalk Pro Audio
Using Cool Edit 2000 with Cakewalk Pro Audio

When you install Cool Edit 2000, it automatically registers itself for use with Cakewalk® Pro Audio™ from Twelve Tone Systems. This means you can use Cool Edit 2000 as your waveform editor from within Cakewalk:

1. In Cakewalk select the waveform you wish to edit (click on it).

2. Choose Cool Edit 2000 from the Tools menu.

Cool Edit 2000 will be launched with the specified waveform ready for editing.

	You must have Cakewalk Pro Audio 5.0b or higher to integrate with Cool Edit 2000.


Using ACM
Using the Microsoft ACM

Microsoft's ACM (Audio Compression Manager) is part of Windows 95 and NT. Cool Edit 2000 provides support for the ACM driver, which enables you to load and save files in a variety of formats other than those directly supported by Cool Edit 2000's own converters, such as DSP Group TrueSpeech and GSM 6.10. Some of these formats come as a standard part of Windows, while others are provided by third-parties. You may acquire ACM formats when you install other software. To see what ACM drivers you have installed, in Windows 95 open Control Panel-Multimedia-Advanced-Audio Compression.

To save a file in an alternate format using the ACM driver, use /File/Save As, select ACM Waveform as your target format, and click on Options. You can select from among various quality levels, and each level will give you different options for formats and attributes.

	Please note that the ACM driver you want to use may require that the file be in a specific format before saving. For example, if you want to save a file in the DSP Group TrueSpeech format, you should first use /Edit/Convert Sample Type to convert the file to 8KHz/mono/16bit, because that is the only format supported by the TrueSpeech ACM driver. For more information on any particular ACM driver, contact the creator of the format (such as DSP Group for TrueSpeech, or CCITT for the various CCITT formats) or the manufacturer of the hardware that uses the format in question (such as Creative Labs for the SoundBlaster ACM driver).


about the creator
About the author

David Johnston has been working with sound technology since 1991, and has been toying with electronic synthesizers since the 70's.  He started programming while in high school on a Commodore PET computer.  In 1982, he started his programming career on an Atari 800; and has since written software for Apple ]['s, Commodore 64's, Macintoshes, PC-compatible computers, and numerous mainframes and workstations.

David attended Eastern Montana College for two years before moving to the Seattle area, where in 1991 he acquired a Bachelor's Degree of Science in Computer Science and Engineering from the University of Washington.  He worked as a software engineer for several years at Microsoft, both during and after finishing college.  In his spare time, he wrote programs for the challenge and fun of it.  Two of those applications, Cool Edit and Kaleidoscope, went on to become some of the most popular shareware programs available.

In 1995, David Johnston and Bob Ellison co-founded Syntrillium Software Corporation to enhance and market Cool Edit, Kaleidoscope, and other products.  David now devotes all his programming energies toward creating the most powerful and easy-to-use software products around, with special emphasis on applications that work with sound.  In 1996, he created Wind Chimes, which simulates the sound of real wind chimes on the computer.  You can find more about Syntrillium and its products on the web at http://www.syntrillium.com.


file filters api
Cool Edit 2000 APIs

Syntrillium has two APIs available for programer types looking to extend Cool Edit 2000's functionality: a File Filter API, and a Transform API. File filters (the *.FLT files found in your Cool Edit 2000 directory) are actually separate DLLs (Dynamic Link Libraries) that contain the code necessary to read and write various file formats.  If you are interested in writing your own file formats, you can download the Cool Edit 2000 File Filter API from Syntrillium's web site at http://www.syntrillium.com.  This application and the file filters were written in C (not C++) using Microsoft Visual C/C++ 4.0 and later.

	If you have written file filters in the past, and you find they do not work for Cool Edit 2000, it’s probably because they are 16-bit DLLs, and Cool Edit 2000 requires 32-bit DLLs. Try recompiling and fixing up for 32-bit, and change the VALIDLIBRARY define to 1152.


Technical notes

Note1:	Drive space

Note2:	Temporary files

Note3:	Compressed drives

Note4:	Settings and Temp directories

Note5:	Working at the 32-bit level

Note6:	Default Directories

Note7: 	File Formats

Note8: 	Some notes on Noise Reduction

Note9: 	Video Card Driver Compatibility


Note 1: Drive space

When a file is opened using Cool Edit 2000, a temporary file (~COL????.TMP) in your temporary directory is created.  This is where the actual wave data is going to be played from, recorded to, or edited.  This means that the largest file that Cool Edit 2000 will work with is limited to the amount of free space on the hard drive containing the temporary directory (pointed to by the TEMP environment variable).  If you wish to save the file, you must have enough free space on the drive you are saving to.  Remember that the temporary file for Cool Edit 2000 is taking up space on the TEMP drive, which means you cannot save a file onto your TEMP drive that is larger than one half the amount of free space you had on your TEMP drive before you started.  If Cool Edit 2000 crashes, there may be a temp file (~COL????.TMP) in your temporary directory that you should delete.

One advantage to using this method is virtually unlimited waveform sizes, since it depends only on the size of your hard drive.  If you have a 500 meg hard drive, you can record one hour of CD quality music.  The drawback, of course, is that the temporary file can get extremely large, which may not allow you to save your masterpiece on the same drive.  Of course, if you have a second hard drive with enough space, there will be no problem saving the wave.


Note 2: Temporary files

All temporary files begin with the tilde (~) symbol.  The main Cool Edit 2000 temporary file containing the currently active waveform begins with ~COL.  Undo information is saved in a file starting with ~NDO.  Some other functions create files starting with ~CTE and ~CTM.  All temporary files have the .TMP filename extension.  The rest of the filename is chosen at random when the file is created.  If there are no copies of Cool Edit 2000 running, none of these files should be present.  If you find them, you can safely delete them, as long as Cool Edit 2000 is not running.  These files can be left behind in extreme circumstances when Cool Edit 2000 crashes, or Windows unexpectedely quits while Cool Edit 2000 is running.


Note 3: Compressed drives

If you are using a compressed, or double-spaced hard drive, there are some special considerations.  Recording high data rate waves (such as 44.1K/Stereo/16-bit) may severely slow down your system.  If your system appears to lock up, press the Stop button, then try reducing the play/record buffer size and/or the number of buffers in the Settings menu.  Also be aware that the initial recording time left that is displayed when recording can be slightly off, since the amount of space audio data takes up on a compressed drive varies with the type of audio being recorded! Cool Edit 2000 will try and estimate the time left every few seconds, so if you see a jump in time left (either a favorable jump, or a not so favorable decrease) it is because Cool Edit 2000 is trying the best it can to estimate the remaining time.


Note 4: Settings and Temp directories

For fine tuning your system to take full advantage of both your sound card, and the Cool Edit 2000 program, please see the Settings section.

If you wish to have Cool Edit 2000 use a separate directory for the temporary file (other than that pointed to by the TEMP environment string), then add the line "TempOverride = E:\newdrive" to the [Size] section in cool.ini, where E:\newdrive can be any drive, and any directory you want to use for temporary files.


Note 5: Working at the 32-bit level

Work at the 32-bit level for best quality and accuracy when processing your audio. When done, you can convert down to 16- or 8-bit for output using dither and achieve better results then if staying in the 8- or 16-bit domain.


Note 6: Default Directories

Cool Edit 2000 uses the Windows convention of defaulting to the directory specified in the program manager's Properties for the program's icon.  This is actually a very good method, as you can make several icons and have each point to a separate default working directory.  To have Cool Edit 2000 remember the last directory you were in would violate this convention.


Note 7: File Formats

PCM formats are the only kind that save the entire wave completely with no data loss.  ADPCM formats lose some of the original waveform information and the waves sound a little distorted. Mu-Law and A-Law formats also lose some information, however it may not be as noticeable as ADPCM;  it depends on the type of audio that is being saved. Play with the available Options for each format if present to arrive at the best compromise between fidelity and file size.


Note 8: Some notes on Noise Reduction

Two steps are required to remove noise.  First, the noise level must be set so the filter knows what type of noise to remove. To do this, highlight a section of the waveform that has no important signal in it, and only has background noise, then press Set Noise Level. The statistical information about the background noise is then gathered, and you are ready to remove all noise of this type from your waveform.

Once the statistical data is gathered, the second step is to highlight the section you want to remove the noise from, and choose the level of reduction you desire.  A level of zero will remove the least amount of noise, and nearly no signal loss will occur.  Typically the noise will be reduced about 3dB at this level.  A level of 100 will remove the maximum amount of noise, lowering the noise level by about 20dB.  If the signal you are trying to keep gets too distorted at this level, use lower values until a balance is reached between noise reduction and allowable signal distortion.  Values any higher than 100 will guarantee loss of the signal that you want to retain, but this may be desired if reducing noise is more important than retaining original signal.

Distortion effects may manifest themselves a "hollow" or "underwater/burbley" sounding signal, dull sounding impacts, "rolly" high end, or a "computerish" mechanical sound.  These effects, if heard at all, will fall off if the noise reduction level is reduced.  The amount and type distortion depends on the type of noise that is being filtered.

Besides reducing the noise level, the type of noise that is present after reduction is entirely different than the type of noise beforehand.  For example, if you are trying to get rid some "tape hiss" from a waveform, the tape hiss sound will completely disappear, and in its place about 15dB quieter will be completely different type of noise.  This noise will contain all frequencies in different combinations, thus it cannot be reduced much further without noticeable signal loss.  The new noise has a "burbley" or "bubbly" quality to it, and if amplified, sounds very harmonic--like those 1960's computers in old science fiction films.  Since this is so much quieter than the original noise though, it is very acceptable


Note 9: Video Card Driver Compatibility

Some video cards do not release the PCI bus when in acceleration mode and when this happens, it can cause your audio card to jitter, drop out, skip, or just behave badly. This is most noticeable if Cool Edit 2000 is scrolling while in a very large window in a high resolution video mode. If you notice choppy audio during playback and adjusting buffer settings does nothing to help, try using a lower video resolution, lower color resolution, and/or turning off graphics hardware acceleration in the Windows System Properties/Performance/Graphics dialog. If this makes a difference, then you need to advise your video card manufacturer of the problem and obtain updated video drivers from them. Another solution may be to change DMA or interrupt numbers between your audio and video cards so the audio card has higher priority.


Cool Edit 2000 uses a process called Background Mixing to combine waveforms for monitoring while in the multitrack environment. As its name implies, background mixing occurs behind-the-scenes, and works much of the time to reflect changes to your session, such as a moved or deleted waveform, a volume change, or new material recorded into a track.

The settings in /Options/Settings/Multitrack play a big part in optimizing the background mixing processes, and reducing drop-outs in session playback. If you experience problems, try adjusting the Playback Buffer Size (up if the Mix Gauge seems sufficiently ahead), and the Background Mixing Priority Level (up if the gauge is too low). See Multitrack Editing in the Help file for more.


KEYBOARD

Ctrl+Z	Undo

F12	Edit View/Multitrack View toggle

F6	Enable MIDI Triggering

F7	SMPTE slave enable

F9	Bring up Waveforms List

Ctrl+I	Info

MOUSE

Right click on waveform block for editing functions menu

Right click on empty track area for track properties menu

Double-click on a waveform block to jump into Edit mode for that waveform

Click on any waveform block to select it

Ctrl+Click on waveform blocks for multiple selection

Right click and drag on a waveform block to reposition it

Ctrl+Right click and drag on a waveform block to create a copy of it

Shift+Right click and drag on a waveform block to create an Image of it

Click in Track Name area for Track Info dialog

Right click on track ruler (right side of waveforms) to zoom vertically


Acknowledgments

Thanks go out to:

David Miles Huber, Doug Coulter, Becky Allen, Sara Allen, Bill Wolford, Staffan Berger, Curtis Palmer, Dan Black, Darrell Plank, David Norris, Duane Young, Geoffrey Tilga, Gordon Currie, Harry C. Koons, James Blackwell, Jarrod Beckman, Mike Rozak, Neil St. Laurent, Randy Omel, Richard Pepin, Ron McCabe, Ronald Mendoza, Stan Eker, Ted Tatman, Todd Frye, Will Urban, Mike Harvey, Bruce Jones, David Jeschke, Dean Richard, Thierry Lorenz, Tim Boudreau, James Brody, Bob Dratch, John Bartelt, Jos Smolders, Dave Datta, Donald S. Griffin, Chris Lynch and...

All other Cool Edit Fans who've made suggestions over the years.

Other Acknowledgments

All format types have been reproduced from publicly available documentation.  Syntrillium Software Corporation makes no claims that they are in any way correct; they may not be compatible with other interpretations of the same format.  It is up to you to first test to make sure when saving audio files in a particular format that the file generated is compatible with other systems which read the same format.

Syntrillium Software Corporation

David Johnston  Bob Ellison  Matt Bieber  Jennifer Karl  Nariman Sodeifi  Hart Shafer  Peggy Aspinwall

John Rush  Ryan Foster  Jo Gilmore  Todd Orler  Tom Winker  Steve Schaefer  Micki McKay


32bit
20- to 32-bit File Formats

32-bit int (type 1 - 32-bit)

This format saves 32-bit audio as 32-bit integers.

32-bit 24.0 float (type 1 - 24-bit)

Full 32-bit floats are actually saved (and in the range of +/-8 million), but the .wav BitsPerSample field is set to 24 while BlockAlign is still set to 4 bytes per channel.

32-bit 16.8 float (type 1 - 32-bit)

Cool Edit 2000’s internal format (floating point values in the range of +/-32768.0 but larger and smaller values are valid and not clipped since the floating point exponent is saved as well).  The .wav BitsPerSample field is set to 32 and BlockAlign to 4 bytes per channel.

32-bit 0.24 normalized float (type 3 - 32-bit)

Standard floating point format for type 3 .wav files.  Values are normalized to the range +/-1.0 and although values above and below this range are saved, some programs may clip when reading them back in (Cool Edit will not clip, but read the save value back if it is beyond this range).

24-bit packed int (type 1 - 24-bit)

Straight 24-bit integers are saved (so any data beyond the bounds are clipped).  The .wav BitsPerSample field is set to 24 and BlockAlign to 3 bytes per channel.

24-bit packed int (type 1 - 20-bit)

Straight 24-bit integers are saved (so any data beyond the bounds are clipped).  The .wav BitsPerSample field is set to 20 and BlockAlign to 3 bytes per channel.  The extra 4 bits that are saved are actually the remaining valid bits when saving, and are used when reading (thus giving 24-bit accuracy still if those bits were actually when writing). Applications should either fill those last 4 bits with zeros, or with actual data, but generally A/D converters that generate 20 bits of valid data automatically set the remaining 4 bits to zero. Any type 1 format with BlockAlign set to 3 bytes per channel is assumed to be packed integers, and a BitsPerSample field between 17 and 24 inclusively will read in all 24 bits fine and assume the remaining bits are either accurate or set to zero.


Cool Edit 2000 contains 5 internal clipboards, so that you may retain data through multiple cut/copy and pastes. Use the Ctrl key, plus the number of the clipboard (1-5) to set the active clipboard you will be working with. You will see text in the bottom left corner of Cool Edit 2000’s status bar indicating the current clipboard. Example: Ctrl+3 sets the clipboard 3 as active.


System Info
System Information

Inside the About Cool Edit 2000… dialog box (Help menu) you will find a System Info… button. This will generate a file called info.txt with some relevant system and Cool Edit 2000 state information, which can be sent to Syntrillium if you are reporting a problem you are having with the program.

   /Help/About Cool Edit 2000/System Info


edit waveform view elements


The Edit Waveform View's pull-down Menus offer quick and easy access to all of Cool Edit 2000's file handling, editing, and signal processing functions.


The Time Window is a resizable readout of the current cursor location both while idle and in playback/record. You can make the readout as large as you like for easy viewing from across the room.

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More...


The transport toolbar is your control center for functions such as play, stop, record, etc. Cool Edit 2000's transport is fashioned similar to those found on real-world tape machines, and functions in the same manner.

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More...


You can control the playback of CD audio from within Cool Edit 2000. Choosing /View/Show CD Player or clicking on the CD icon in the View Toolbar will toggle the CD Player toolbar and controls on/off. The controls consist of:

  transport icons, and

  fields for title, track number, and location.

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More...


Cool Edit 2000's Level Meters are used to monitor the volumes of incoming and outgoing signals. The clip indicator to the right of the meters will light up, and remain lit, when levels exceed the maximum of 0dB. Clicking on the clipping indicator at any time will reset it. When displaying stereo audio or in a multitrack session, the top meter represents the left channel, and the bottom, the right.

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These fields display beginning, end, and length information for the visible portion of the current waveform or session, and for the currently selected range. The top row of fields relate to selection times, and the bottom row to the viewing range. The format used for the display is the currently selected format in /View/Display Time Format.

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The Status Bar can display a variety of information relating to file properties, free resources, and timing. The Status Bar itself is toggled on or off by choosing /View/Show Status Bar while in Edit Waveform View, and can be configured by right-clicking on it.

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Cool Edit 2000's toolbars contain button shortcuts for menu functions, and are grouped together by menus. Each grouping has a specific background color. The toolbar groupings can be displayed or hidden through /Options/Toolbars. You'll find most functions of the program are accessible from a button on the toolbar.

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The Amplitude Ruler measures the relative volume of your audio data. In Waveform View, the ruler's display format can be set to either Samples (exact sample value of the data), a percentage (from -100% to 100%, where 100% is 0dB) or as a normalized value (-1 to 1). For spectral data, the ruler format is always in frequency (Hz).

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The Time Ruler shows the current location at any point in the waveform display or session. The format for the units used to mark time in the ruler are defined by the /View/Display Time Format. The time markings are subdivided into more detail when zoomed in, and less detail when zoomed out.

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Use the Horizontal Zoom buttons to get more or less detail on a waveform or session. You can Zoom all the way down to the individual samples of a waveform, which are displayed as small squares on a line (the line itself represents an analog interpretation of the digital data). Once zoomed in, you can edit the individual samples directly while in Edit Waveform View.

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The Vertical Zoom buttons increase or decrease the vertical scale of the amplitude ruler. You can zoom in to get fine detail on the amplitude of your waveform.

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The Waveform Display is the area in which you view your audio material. Generally this is in the shape of a waveform, though it can contain spectral data as well when in Spectral View.

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The green Display Range Bar indicates which part of the entire waveform or session is currently being viewed in the Waveform Display. When zooming in and out, this bar will get smaller and larger, as the portion being viewed changes with respect to the entire waveform.

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Menus

The pull-down Menus offer quick and easy access to all of Cool Edit 2000's file handling, editing and signal processing functions.

	You'll also find most of Cool Edit 2000's menu items are accessible from the Toolbar, or from Shortcut keys.
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See Also...

For detailed information on each menu item, see the menus topic.


time window screen element
Time Window

This is a resizable readout of the current cursor location both while idle and in playback/record. Cool Edit 2000 uses the format for the display (SMPTE drop, Bars and Beats, etc.) currently selected in /Edit/Display Time Format. You can make the readout as large as you like for easy viewing from across the room. This window floats, meaning it will stay on top of the rest of Cool Edit 2000 when open. Open and close the Time Window by choosing /View/Time Window.

	You can also close the Time Window by right-clicking in the bottom area of the window and choosing Close.


transport screen element
Transport

The transport toolbar is your control center for functions such as play, stop, record, etc. Cool Edit 2000's transport is fashioned similarly to those found on real-world tape machines, and functions in the same manner. The buttons appearing on the transport are as follows:

	Stop		Go to Beginning
	Play		Rewind
	Pause		Fast Forward
	Play to End		Go to End
	Play Looped		Record
	You can right-click on the Fast Forward and Rewind buttons to select varying speeds of advancement and rewind.


Stops playback or recording. This button is available only when playing or recording, appearing “greyed-out” at all other times. You can also stop playback/record with the spacebar.


Begins playback of the current selection, or of the entire waveform or session from either the left edge of the waveform display, or from the cursor location (see the Play From Cursor setting in /Options/Settings/General).


Pauses the waveform or session while in playback or recording. While paused, this button will become a bright yellow; pressing pause a second time will resume play or record.


This button will play the waveform or session, continuing beyond the right edge of the selection, or when zoomed in, beyond the right-edge of the waveform display. The normal Play button will stops at these locations, playing only the visible waveform data, for instance. In Edit Waveform View, you can use Play to End in conjunction with the Auto-scroll setting in /Options/Settings/General to update the waveform on the screen as playback occurs.


This button will play the waveform or selection repeatedly, looping it until the Stop button is pressed. The portion looped is that which is currently visible in the waveform display.


Press this button to return the playback cursor to the very beginning of the waveform or session, or to the previous cue marker, if any.


Press this button in and hold to rewind the playback cursor; release the button to stop rewinding. If you press Rewind while playback is in progress (in Edit Waveform View only), you will be able to hear the audio as the cursor rewinds over the waveform. Just like a real tape deck!

	Right-click on the Rewind button to select varying speeds of rewind.


Press this button in and hold to advance the playback cursor; release the button to stop forwarding. If you press Fast Forward while playback is in progress (in Edit Waveform View only), you will be able to hear the audio as the cursor cues over the waveform. Just like a real tape deck!

	Right-click on the Fast Forward button to select varying speeds of advancement.


Press this button to advance the playback cursor to the very end of the waveform or session, or to the next cue marker, if any.


Pressing this button will begin recording at the current cursor location, or into the current selection if present, overwriting any material there. In a session, a track must be enabled for recording before pressing the Record button will have an effect.


CD Controls

If your computer has a CD-ROM that makes use of the [MCI] CD Audio driver, you can control the playback of CD audio from within Cool Edit 2000. Choosing /View/Show CD Player or clicking on the CD icon in the View toolbar will toggle the CD Player controls on and off. The controls consist of transport icons, and fields for title, track number, and location.

The transport icons act similarly to the main Cool Edit 2000 transport:

	Stop		Pause
	Play		Rewind
	Fast Forward		Mark
	Go to Mark		Eject
	Tracks List
	Time Readout
	Title Display


Stops playing the CD. Play resumes at the beginning of the CD.


Pauses the CD. Play resumes at the same location. This button turns into the Play button when pressed so you can easily resume play.


Starts the CD either at the beginning of the disk or at the paused location. This button turns into the Pause button when pressed, so  you can easily pause the CD.


Rewinds the CD 10 seconds.


Forwards the CD 10 seconds.


Marks the location currently being played for jumping to with the Goto Mark button. Only one location is held in memory at a time.


Goes to the location marked with the Mark button.


Opens the CD tray on your drive, ejecting the disk.


Lists the track numbers. Click on any track number to start playing that track.


Displays the track's current location in minutes:seconds.


Displays the title of the CD. You can edit this field simply by clicking in the field and typing a new title. The title defaults to the length of the CD. If you are currently playing a track (the track number is highlighted in the track list), the field displays and allows you to edit its title. Use the TAB key to jump to the next track to easily enter the titles for an entire CD.


level meters screen element
Level Meters

Cool Edit 2000's Level Meters are used to monitor the volumes of incoming and outgoing signals. The signal is represented as the peak amplitude in decibels, where a level of 0dB is the absolute maximum before clipping occurs. If clipping does occur, the clip indicator to the right of the meter will light up, and remain lit.  Clicking on the clipping indicator at any time will reset it. Yellow peak indicators will stick for 1.5 seconds before resetting to allow for reading of the peak amplitude. When displaying stereo audio, the top meter represents the left channel, and the bottom, the right.

	To access the Level Meters configuration menu, right-click in the meter area.
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See Also...

  The /Options/Monitor VU Level menu topic


time display fields screen elements
Time Display Fields

These fields display beginning, end, and length information for the visible portion of the current waveform or session, and for the currently selected range. The top row of fields relate to selection times, and the bottom row to the viewing range. The format for used for the display is the currently selected format in /View/Display Time Format.

	You can left-click in any of the Time Display Fields and enter a value to adjust either the selection or viewing range.
	If no selection is made, the selection begin time displays the current cursor position.


Status Bar

The Status Bar can display a variety of information relating to file properties, free resources, and timing. The Status Bar itself is toggled on or off by choosing /View/Show Status Bar while in Edit Waveform View.

Right-clicking on the Status Bar presents it's display options:

Data Under Cursor

Sample Format

File Size (K)

File Size (time)

Free Space (K)

Free Space (time)

Time Display


Data Under Cursor

This field shows a live update of waveform information for data at the current cursor (mouse pointer) position. In Edit Waveform View it displays amplitude and time location in the format: dB @ Time. The time format used is that which is currently chosen in /View/Display Time Format. In Multitrack View, it simply displays the name of the waveform block under the mouse pointer.


Sample Format

This shows the format of the current waveform or session, with sample rate, resolution and mono/stereo properties.


File Size (K)

This displays the size of the current wave or session file in kilobytes. It shows size of the waveform data as opened in Cool Edit 2000, and not as saved to disk (therefore it does not reflect any compression which may have been used).


File Size (time)

This field gives the total length of the wave or session file in the time format chosen in /View/Display Time Format.


Free Space (K)

This is the amount of free space available on the drives currently selected in /Options/Settings/System/Temporary Directories. If the Primary and Secondary directories are on separate physical drives, the sum of the available space will be shown.


Free Space (time)

This field displays the amount of time left on the drives currently selected in /Options/Settings/System/Temporary Directories in the format hrs:min:sec.subdivision. If the Primary and Secondary directories are on separate physical drives, the sum of the available time will be shown.

	The available time is calculated using the current file's format; sample rate, resolution, and mono/stereo properties all affect free space, and therefore, free time.


Time Display

This is a readout of the current cursor location both while idle and in playback/record. The format for the display is that currently selected in /Edit/Display Time Format. This field hides itself when the Time Window is open (/View/Time Window).


Toolbars

Cool Edit 2000's toolbars contain button shortcuts to functions, and are grouped together by Menus. Each grouping has a specific background color. The toolbar groupings can be displayed or hidden through /Options/Toolbars. You'll find most functions of the program are accessible from a button on the toolbar.

	Holding the mouse pointer over a toolbar icon for a moment will bring up Tooltips for that button; a quick help pop-up that describes the button's function in simple terms.
	You can also right-click on the toolbars to select which toolbar groupings will be displayed. In addition, the right-click menu allows you to set a limit on the number of rows the Toolbars will consume.


amplitude ruler screen element
Amplitude Ruler

The Amplitude Ruler measures the relative volume of audio data.  In Waveform View, the ruler's display format can be set to either Samples (exact sample value of the data), a percentage (from -100% to 100%, where 100% is 0dB) or as a normalized value (-1 to 1). For spectral data, the ruler format is always in frequency (Hz).

	Left-click and drag on the Amplitude Ruler to scroll the waveform display vertically. While dragging, move the hand cursor to the very top or bottom of the window for a fast auto-scroll. Right-click and drag (the mouse pointer becomes a magnifying glass) to zoom the waveform display to show only the specified amplitude scale. Right-click on the Amplitude Ruler to call up a menu for selecting various Zoom, and Format options. Double-click on the Amplitude Ruler to cycle through the Vertical Scale Formats (sample, percentage, etc.).


Time Ruler

The time ruler shows the current location at any point in the waveform display. The format for the units used to mark time in the ruler are defined by the /View/Display Time Format. The time markings are subdivided into more detail when zoomed in, and less detail when zoomed out. The far left edge of the Time Ruler is labeled with the current Display Time Format (drop for SMPTE drop, bar for Bars and Beats, etc.).

	When zoomed in horizontally, you can left-click and drag on the Time Ruler (the mouse pointer will turn into a hand) to scroll the viewing range forward and backward in time (the zoom level will remain the same, however the waveform area being viewed will be shifted either forward or backwards). While dragging, move the hand cursor to the far right or left for a fast auto-scroll. Right-click and drag on the Time Ruler (the mouse pointer becomes a magnifying glass) to zoom the waveform display to the specified region. Right-click on the Time Ruler to call up a menu for selecting various Zoom, Snap, Display Time and editing options. Double-click on the Time Ruler to cycle through the Display Time Formats.


horizontal zoom buttons
Horizontal Zoom

Use the Horizontal Zoom buttons to get more or less detail on a waveform or session. You can Zoom all the way down to the individual samples of a waveform, which are displayed as small squares on a line (the line itself represents an analog interpretation of the digital data).

	When Zoomed In close on a waveform in Edit Waveform View, you can make fine adjustments to individual samples by clicking on them and dragging them up or down.
	Double-click on the samples to see the current sample value or to edit the value directly while in Edit Waveform View.
	Zoom In		Zoom Out
	Zoom Full		Zoom to Selection
	Zoom to Left of Selection		Zoom to Right of Selection


Zooms in on the center of current waveform or session. After zooming, use the Time Ruler to scroll to the desired location.


Zooms out from the current location.


Zooms all the way out to fit the entire waveform or session in the display window.


Zooms to the current selection. If no selection is made, this button zooms in on the cursor location.


Zooms in on the left edge of the current selection.


Zooms in on the right edge of the current selection.


vertical zoom buttons - edit waveform view
Vertical Zoom

The Vertical Zoom buttons increase or decrease the vertical scale in the amplitude ruler. You can zoom way in to get fine detail on the amplitude of your waveform.

	Zoom In		Zoom Out


Increases the vertical scale resolution of the waveform and Amplitude Ruler.


Decreases the vertical scale resolution of the waveform and Amplitude Ruler.


edit waveform view display area
Waveform Display

The Waveform Display is the area in which you view your audio material.  Generally this is in the shape of a waveform, though it can contain spectral data as well when in Spectral View. There are many mouse operations available in the Waveform Display for selecting data:

	Left-click anywhere in the waveform display to position the playback cursor. With stereo waveforms, position the mouse pointer at the top or bottom of the Waveform Display (the cursor will acquire the letter L or R) and left-click to enable only the left or right channel for editing (the disabled channel will “grey-out”, Ctrl+B will re-enable both channels).  Left-click and drag in the waveform display to make a selection. Double left-click in the waveform display to select the entire visible portion of the waveform (when zoomed in this does not select unseen areas which may be to the right or left!). Right-click to create, extend or shorten a selection. The selection will grow or shorten the currently selected range to the point specified, or stem from the cursor position if there is no existing selection. Right-click to create, extend or shorten a selection. The selection will grow or shorten the currently selected range or stem from the cursor position and is sized while dragging.


display bar screen element
Display Range Bar

The green Display Range Bar indicates which part of the entire waveform is currently being viewed in the Waveform Display.  When zooming in and out, this bar will get smaller and larger, as the portion being viewed changes with respect to the entire waveform or session.

	Left-click and drag the Green portion of bar to scroll forward or backward in time. As with dragging in the Time Ruler, the zoom level is retained, only the viewing range is altered. Right-click and drag on the Display Range Bar (the mouse pointer becomes a magnifying glass) on either the left- or right-hand boundary to shrink or expand  the waveform's actual zoom range. Dragging on the Left-hand portion of the range (green area) will shift the range at the waveform's leading edge, while retaining the waveform's right-hand edge position. Dragging on the Right-hand portion of the range will do the reverse. Double-click on the Display Range Bar to bring up the Viewing Range dialog, allowing for direct entry of values for the viewable area.


In Multitrack View, the track(s) recorded into when the record button is pressed is determined by the record enable button. This is the red button in the Track Console area of each track. The button will light up bright red when depressed to indicate the track is record-enabled.


The Multitrack View's pull-down Menus provide access to Cool Edit 2000's functions for multitrack editing and session handling.


Increases the number of tracks that are shown within the Waveform Display.


Decreases the number of tracks that are shown within the Waveform Display.


The track's Playback Device is the sound card output to which the contents of the track will be sent during playback. The button itself displays the number of the device currently assigned to the track. To change the device, click on this button to bring up the Playback Device window which lists the available outputs.


presets
Function Presets

Many of the functions in Cool Edit 2000 have a Presets feature you can use for storing and recalling your favorite settings. Some presets are included with the program when first installed. New presets can be added at any time by simply setting the dialogs parameters the way you like them, and pressing Add. To recall a preset, double-click on the name in the list, and the dialog's settings will change to those defined by the preset. To modify an existing preset, double-click on the name, make your modifications, and then press Del immediately followed by Add. This will delete the old preset and add your current settings in under the same name. To remove a preset from the list, highlight the name in the list and press Del.

	Be careful when naming presets, since there is no rule against you adding two presets with the same name. This can get confusing if the presets are different.


Editing Sample Values

In the Edit Waveform View, you can zoom down to the individual samples that make up a waveform. Samples appear as small squares along the waveform line (the line actually represents the implied analog signal). Double-click on a sample square to bring up a dialog in which you can enter a numeric value for the sample.


keyboard shortcuts;zoom;selection;highlight;mouse controls;view controls;keyboard controls
Shortcuts

Cool Edit 2000 offers a wide variety of keyboard shortcuts to make editing easy and fast.  See the list below to find out how to use your computer keyboard and mouse to speed up your editing.

KEYBOARD

File controls:

Ctrl+N	Creates a new, initially blank file

Ctrl+O	Opens an existing waveform

Ctrl+W	Closes the current waveform

Ctrl+S	Saves the current waveform to disk

Ctrl+Q	Exits Cool Edit 2000

Selection controls:

Ctrl+A	Select Entire Waveform

Ctrl+B	Enable both channels for editing

Ctrl+L	Enable Left channel for editing

Ctrl+R	Enable Right channel for editing

Left Arrow	Adjust left side of highlight one pixel to the left

Right Arrow	Adjust left side of highlight one pixel to the right

Shift+Left Arrow	Adjust right side of highlight one pixel to the left

Shift+Right Arrow	Adjust right side of highlight one pixel to the right

Ctrl+Shift+A	Select current view

Escape	Deselect (if any selection made, it is unselected) and reset cursor to start

{	Find Next Beat (Left)

}	Find Next Beat (Right)

[	Anchors cursor position during playback

]	Anchors selection (right) during playback

Editing controls:

Ctrl+Z	Undo

F2	Repeat Last Command

F3	Repeat Last Command (no dialog)

Ctrl+C	Copy selection to internal clipboard

Ctrl+X	Cut waveform to internal clipboard

Ctrl+V	Paste from internal clipboard (or Windows clipboard if internal clipboard is empty)

Ctrl+Shift+N	Creates a new file and pastes waveform data from clipboard

Ctrl+Shift+V	Mix paste

Ctrl+M	Inserts the current selection or waveform into the multitrack environment

Delete	Delete selection

Shift+Delete	Cut selection to internal clipboard

Ctrl+T	Trim to selection

F11	Convert Sample Type

Ctrl+(1 through 5)	Switch between Cool Edit 2000’s 5 internal clipboards

Play and Record controls:

Space	Toggle Play / Stop

Ctrl+Space	Toggle Record / Pause

Shift+Space	Toggle Play from Cursor To End / Pause

Ctrl+Shift+Space	Toggle Play All / Pause

Alt+P	Play Normal

Alt+S	Stop (like Space when already Playing)

View and Zoom controls:

Home	Jump view to start of wave (doesn't affect cursor)

End	Jump view to end of wave (doesn't affect cursor)

Ctrl+End	Zoom into right side of wave selection or cursor

Ctrl+Home	Zoom into left side of wave selection or cursor

Ctrl+Up Arrow	Vertical Zoom In

Ctrl+Down Arrow	Vertical Zoom Out

Ctrl+Right Arrow	Zoom "In" (zoom to center of view)

Ctrl+Left Arrow	Zoom Out

Page Down	Scroll forward one screen-full (doesn't affect cursor)

Page Up	Scroll backward one screenfull (doesn't affect cursor)

Miscellaneous:

F1	Bring up Help

F4	Bring up Settings dialog

F8	Add current cursor location or selection to cue list while stopped or playing

F9	Bring up Waveforms List

F10	Monitor VU Levels

Enter	If CD window is up, accept text changes made in CD title window

Tab	Go to next song if CD window up

Ctrl+I	Info

Alt+Z	Bring up Frequency Analysis dialog

Ctrl+Tab	Go to next waveform window

Ctrl+Shift+Tab	Go to previous waveform window

MOUSE

Left click and drag on waveform(s) to highlight and select a range of samples

Shift+Left click (and drag) on waveform to extend selection

Double-click on Display Range Bar (green bar) to enter viewing range directly in samples

Click to the left or right of the Display Range Bar to page one screen left or right

Double-click on Level Meters (black bar beneath play buttons) to start/stop monitoring

Click on the Clip Indicator (to the right of the level meter) to clear it

Right click and drag on the Amplitude/Track Ruler to select a vertical viewing range

Right click and drag on the Time Ruler to select a horizontal viewing range

Right click on Time Ruler to zoom in or out or select Time Display Format

Right click on the Level Meters to bring up its configuration menu

Double-click on the Time Ruler to cycle through the Time Display Formats

Double-click on the Amplitude Ruler to cycle through the vertical display formats

Rest mouse over toolbar button to get explanation of button's function

Right click on Status Bar (below Level Meters) to configure display

Click and drag up/down (off the ruler area) on Amplitude/Track Ruler to scroll vertically

Click and drag left/right (off the ruler area) on Time Ruler to scroll horizontally

Double-click on title bar to Maximize/Restore

Right click on the Fast Forward and Rewind buttons in the Transport to alter their speed

Double-click on Time Display Fields to enter values for view/selection times

Right click on Amplitude Ruler (right side of waveform) to zoom vertically or select vertical scale

Double-click on an individual sample to see the current sample value or to edit the value directly

Right click (and drag) on waveform to extend selection

Click and drag near the top or bottom of a stereo waveform to select a single channel

Intellipoint™ Mouse specific

Roll the mouse wheel forward to zoom in

Roll the mouse wheel backwards to zoom out


Selecting Data

Defining selections is an integral part of digital waveform editing, used for everything from applying effects to creating loops. Simple selections are made in the waveform Display area by clicking with the left mouse button and dragging. This will produce a highlight that represents your selection range. In addition, Cool Edit 2000 provides a number of functions to aid in selecting waveform data which can be used in combination for exactness.

Basic Selection

Left-click and drag on a waveform to define a selection area (this area will become highlighted).

Shift+Left click (and drag) on a waveform to extend an existing selection in either direction.

Click and drag near the top or bottom of a stereo waveform to select a single channel.

Right click (and drag) on a waveform to extend a selection in either direction.

Double-click on the top row of Time Display Fields to enter values for selection times.

Double click on the waveform to select the entire visible portion of the wave.

Use the Left and Right arrow keys to adjust the selection by single pixels (hold Shift for the right border).

Find Beats

With the Find Beats function you can define a selection based on boundaries that make up musical beats. This feature is very useful when defining a range to be used for looping.

Snapping

Snapping acts similar to the grid functions found in many graphic editing programs. The edges of a selection, or waveform “snap” to certain time locations while dragging with the mouse. Snapping is used to align perfectly with time ruler locations when highlighting a region. This can be of great help when creating a Cue List entry that needs to cover a specific SMPTE time location, for example.

Zero Crossing

Zero Crossing adjusts the beginning and end points a selection to the nearest place where the waveform crosses the center line (zero amplitude point). This makes for seamless transitions when looping, or cutting/pasting.

Zooming

Cool Edit 2000 provides many methods of zooming in and out on your data. Zooming in on waveform material allows for more precise selections to be made. Use the buttons found beneath the waveform area in both Views to get more or less detail on a waveform or session. You can Zoom all the way down to the individual samples of a waveform, which are displayed as small squares on a line (the line itself represents an analog interpretation of the digital data). The Vertical Zoom buttons increase or decrease the vertical scale in the amplitude ruler.

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More about...

  Find Beats

  Snapping

  Zero Crossing


Playing and recording

Play and record, as well as other transport functions like Stop and Rewind, function in Cool Edit 2000 as they do on "real-world" tape machines. A Transport toolbar can be found at the bottom left of each of the main viewing windows. Click on Play to play the portion of the waveform that is currently being viewed, or the portion that is highlighted. With /Options/Loop Mode enabled, the waveform or selection will playback in a continual loop.

Click on Pause to temporarily pause the playback or recording of audio. The button turns a bright yellow when audio is paused.

Click on Record to start recording at the current insertion point. Any waveform data after that will be recorded over. The button will light up bright red when recording.

Click on Stop to end waveform playback or recording.

When a waveform is being played, a vertical yellow bar shows the current playing position.

You will also find buttons for Fast Forward, Rewind, Go to Beginning/End, and Play to End and Play Looped. See here for details on the Transport buttons.


Markers:

The Yellow Arrows above and below the waveform indicate the current cursor position (the point of insertion).

The Red Arrows, when present, represent the Cue List entries for a single cue marker.

The Blue Brackets, when present, represent the Cue List entries for a selection range.

To select a Cue range, click on one of the markers or between the two blue brackets.

Other indicators:

The Time Display boxes in the lower right area of the main window show the current Starting and Ending points of the current selection, or portion being viewed.  To toggle the time display between seconds, samples, and frames, double-click on the appropriate Time Display box.

The Wave Format window displays the format of the wave in Channels, Sample Rate, and Bits Per Sample.  To change the sample type, use /Edit/Convert Sample Type or double-click on the Wave Format box.

If an audio CD is in the CD-ROM drive, pressing the CD button will display the CD Player Controls at the bottom of the window.


edit channels
Editing individual channels

At times, you may want to edit only one channel of a stereo file. Normally both channels are edited simultaneously (as in applying reverb to a waveform). You can, however, edit channels independently by disabling the left or right side. To do so, simply press Ctrl+L to active only the Left channel, disabling the right, or Ctrl+R for the opposite effect. When pasting, the audio data is overlapped with what is already there, since inserting only on one channel will put the channels completely out of phase. To re-enable both channels for editing, press Ctrl+B.

	You can also select an individual channel by clicking near the top (for the left channel) or bottom (for the right) of the waveform. When you do this, the mouse cursor acquires and "L" or an "R". Click on the line separating each side to return to stereo editing.


Waveform and Spectral Views

Cool Edit 2000 has two modes for viewing waveform: Waveform View and Spectral View. Waveform View displays audio data in the familiar green-on-black sound wave format, where spikes in the x-axis (vertical) indicate increased amplitude, and the y-axis (horizontal) represents time. Waveform View is the default display mode. Spectral View displays a waveform by its frequency components, where the x-axis is frequency, and the y-axis is time. This allows you to analyze your audio data to see which frequencies are most prevalent. The greater a signal's amplitude component within a specific frequency range, the brighter the displayed color will be. Colors range from dark blue (next to no amplitude components exist in this frequency range) to bright yellow (frequencies in this range are high in amplitude).

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More about...

  Spectral View


spectral details
Spectral View

Spectral View (/View/Spectral View) is most useful for analyzing your audio data, to see which frequencies are most prevalent throughout the sound file. The more abundant a frequency (the greater a signal's amplitude component within a specific frequency range), the brighter the display color. Colors range from dark blue (next to no frequencies in this range exist) to bright yellow (frequencies in this range are very strong). Lower frequencies are displayed near the bottom of the display, and higher frequencies are displayed near the middle or the top. The display is linear. White lines on the left and right divide the display into 1/2, 1/4, 1/8, and so on. To top of the display represents frequencies at just below the Nyquist Frequency. If a bright spot appears near the top of the display for a signal sampled at 22 KHz, the frequency being represented is near 11 KHz.

	You can adjust the settings used for Spectral View in the settings dialog.
	To gain higher resolution and see more detail in the lower frequencies, use Convert Sample Type to downsample the waveform to a lower sample rate. The highest displayed frequency value will be one half the new sample rate.


scrolling through a wave
Scrolling through a waveform

The green and/or black Display Range Bar above the waveform indicates which portion of the entire wave is being viewed at that moment.  When zoomed in, this bar gets smaller, as the portion being viewed with respect to the entire wave is smaller. You can click and drag the green bar at any time to scroll the portion being viewed left or right. Clicking in the black region outside the green bar will scroll the bar exactly one screen to the left or right. Double-clicking in the slider bar region above the waveform display brings up the Viewing Samples text entry box. You can enter exact starting and ending points in this box. You can also click and drag on the Time Ruler to scroll through a waveform, move the to the extreme right or left while hold for ultra-fast scrolling.


16-bit/32-bit

Set the track default bit-rate to either 16-bit or 32-bit. You can specify either rate, regardless of the session specified sample rate. You may also set the default for all tracks to 16- or 32-bit in Options/Settings/Multitrack.


Same for All Tracks

This check box will cause the device selected in the list to be the same device used for recording on all tracks in the session.


multitrack track info
Track Info

Right-click in the track name area to bring up the Track Info dialog. The Track Info dialog contains track properties such as pan and level, and the input/output routing (sound card assignment) of each track. You can use this window to set the following properties for each track:

Track Pan	Record Device
Track Volume	Mute Track
Title	Solo Track
Playback Device	Record Enable Track


Displays the name of the track. To change the name place the mouse cursor in the text field and type a name.


This sets the track's overall pan. Each track has a global pan setting, while each waveform within a track has an individual pan setting. To set pan for the entire track, move the slider to the desired position, or enter a value from –100 (Left) to 100 (Right) in the box to the right of the slider .

  The Pan setting is non-destructive.


This sets the track's overall volume. Each track has a global volume setting, while each waveform within a track has an individual volume setting. To set a gain level for the track, move the slider to the desired position, or enter a value in decibels (dB) in the box above the slider .

  The Volume setting is non-destructive.


The track's Playback Device is the sound card output to which the contents of the track will be sent during playback. To change the device, choose one of the available outputs from the drop-down menu.


The track's Recording Device is the sound card input used when recording into the track while in Multitrack View. To change the device, choose one of the available outputs from the drop-down menu.


Press this button to mute the track. A muted track will have it's waveforms "greyed-out", and its Mute button will light up (bright green).


This button solos the track. A soloed track has the effect of muting out all other tracks, and is used to quickly isolate a track or tracks from the rest of the mix. Untrue to its nomenclature, more than one track can be soloed at a time. This button will light up (bright yellow) on any soloed tracks.


The record enable button arms a track for recording. When recording into a track, the input will be fed from the current recording device selected.


Level Meters_1
Level Meters

Cool Edit 2000's Level Meters are found at the bottom of both the Waveform and Multitrack Windows. The incoming signal from your selected sound card(s) is represented as the peak amplitude in decibels, where a level of 0dB is the [image] absolute maximum before clipping occurs. If clipping does occur, the clip indicator to the right of the meter will light up, and remain lit. Clicking on the clipping indicator at any time will reset it. Yellow peak indicators will stick for 1.5 seconds before resetting to allow for reading of the peak amplitude. When displaying stereo audio, the top meter represents the left channel, and the bottom, the right.

Start/Stop Meter Show on Play and Record Show Meters for All Devices Clear Clip Indicators Adjust for DC	Show Valleys 90dB to 30dB Range Dynamic Peaks Static Peaks
	If the option to Adjust for DC offset is enabled (see below), false clip readings may occur since the baseline is being adjusted. Disable the DC offset adjustment to have the clip indicators light up only when absolute clipping occurs.
	Monitoring may also be started and stopped by double-clicking directly on the Level Meters.
	To access the Level Meters configuration menu, right-click in the meter area. The following options are available:


Start/Stop Meter

Start or Stop monitoring of the input source. When monitoring is active, the meters will respond directly to the audio input.


Show on Play and Record

Activates the meters while playing and recording in Cool Edit 2000.


Show Meters for All Devices (Multitrack only)

In the multitrack view, choosing this option will show a level meter for each output and input device. When disabled, the meter shown will follow the first output device when playing, or the first input device when recording.

	Because it does use the CPU to do these real time metering calculations, you may want to disable this option if there are any dropouts during playback or recording.


Clear Clip Indicators

The box(es) at the right will light up if audio is clipping.  Click on the box or choose this option to reset the indicator. For tips on avoiding clipping, see Adjusting Levels  Note: The clip indicators will always light if clipping occurs, but if Adjust for DC is enabled, the indicators may light up when the audio has a DC offset.


Adjust for DC

Many sound boards record audio with a slight DC offset, which means that the center of the waveform being recorded is not at the exact center of the waveform display, but a little above or below it. This can dramatically throw the level meters off since the amount the waveform is displaced could be interpreted as a constant sound that loud. To compensate, make sure this menu item is checked. The recording meters will dynamically adjust to the DC offset, and display the true amplitude of the signal in decibels.


Show Valleys

Just as the yellow indicators show peak levels, if Show Valleys is chosen, valley levels (minimum amplitudes) will be marked as well.  This gives a good indication of the dynamic range of the audio.  If the valley indicators are close to the peak indicators, the dynamic range is low.  If they are spread far apart, the dynamic range is high (the difference between the quietest sounds and loudest sounds is greater).


90dB Range to 30 dB Range

This is the range that the meter covers.  When recording 8-bit audio, there is no need for anything greater than a 45dB range, since 8-bit audio can not really record anything below a volume level of -45dB.  Use a lower range to see the loud portions more clearly.  Use a higher range to see the quieter portions for very high dynamic range audio.  Note:  You may find that when you think your sound board is recording pure silence, you will see the meters fluctuating between points around -87dB up to -60dB instead of going all the way down.  This is because of noise in the sound board.  Some sound boards have higher signal-to-noise ratios than others.  Generally, the higher quality the sound board, the lower the meters will go down during pure silence.  To quickly see how noisy your own sound card is, choose /File/New and create a new 44.1Khz 16-bit file.  Then start the level meters, and choose the 90dB Range.  This test only works for 16-bit sound cards, since 8-bit sound cards have a maximum dynamic range of around 45dB.


Dynamic Peaks

Choosing Dynamic Peaks will cause the yellow peak level indicators to reset to a new peak level after 1-1/2 seconds.  In Static mode, the peaks never reset.  Use Dynamic mode to easily see visually the peak amplitude right now.  As audio gets quieter, the peak indicators will start backing off as well.


Static Peaks

Use Static mode to retain the maximum amplitude of the signal since monitoring, playing, or recording began.  The peak can still be reset manually at any time by clearing the clip indicators (clicking on the clip indicator at the right).  Static mode is great for finding out how loud a song will get before recording it.  Just start the meters and start playing the song.  When the song is over, the peak indicators will show how loud the loudest part of the song was.


windows clipboard topic
Windows Clipboard

Use this option to copy waveform data to, or paste it from, the standard Windows clipboard. Data on the Windows clipboard is available to other Windows applications, while data on Cool Edit 2000's internal clipboard is not. However, the internal clipboard does not have the memory limitations of the Windows clipboard.

Copy

Paste

Paste to New

   /Edit/Windows Clipboard


Event Electronics Darla Gina and Layla

Use 1 second, using 12 buffers in /Options/Settings to avoid skipping or popping problems in playback or recording.


Sonorus StudI/O

Use 2 or 2.5 seconds, using 6 buffers in /Options/Settings to avoid skipping or popping problems in playback or recording.


Applied Magic On Stage

Use .1.5 or 2  seconds, using 10 buffers in /Options/Settings to avoid skipping or popping problems in playback or recording.


MPEG Layer 3 (.MP3)

The MPEG Layer 3 filter enables Cool Edit to directly encode and decode MP3 files. When a file is saved as MP3, it is encoded and compressed as specified by the MP3 settings.  When an MP3 file is opened, it is decompressed into Cool Edit 's internal format, which is uncompressed.  This allows you to save the MP3 file back to disk as any file format.

You may notice that when Cool Edit compresses a file to MP3, it can take longer than come other compressors.  This is because Cool Edit uses the Fraunhofer-Thomson compression scheme, which is the original and highest quality MP3 compressor available.

Options

Your choices when creating MP3 files are displayed under Options when saving.

Available Formats	Write CRC Checksums
Do not show Mono Formats	Set 'Private' bit
Do not show Intensity Stereo Formats	Set 'Copyrighted' bit
Show Only Preferred Formats *	Set 'Original Material' bit
Target Bitrate	Padding
Quality Slider	De-emphasis for decoder
	Explanation
	If you don't know what options to use, go with one of the preferred formats, and leave the other settings in their defaults.
	Note that opening and re-saving an MP3 file will cause it to be compressed again, causing the artifacts that are part of the compressing process to become more pronounced. Avoid compressing the same audio to MP3 more than once..
   This function supports Presets.


Available Formats

Choose one of the encoding formats from the list.  Those formats marked with an asterisk (*) are generally going to be higher quality for a given bitrate.

MS Stereo encodes as Mid/Side (center/surround), which means that instead of coding the channels independently, the sum of the difference in the channels is encoded.  Intensity Stereo takes advantage of the fact that at lower frequencies, human hearing relies on both timing, amplitude, and phase to determine the position of the audio, while at higher frequencies, only timing and amplitude are as important. When encoding in IS stereo, only the directional and amplitude information are coded for high frequency sounds.  Do not use IS on audio that has been surround-sound encoded.


Do not show Mono Formats

When encoding a stereo file, checking this box will cause the Available Formats list to only display stereo options.


Do not show Intensity Stereo Formats

At higher frequencies, only stereo direction and magnitude information is stored when using Intensity Stereo mode.  Because of this, do not use Intensity Stereo for source that has been surround sound encoded.


Show Only Preferred Formats

When this options is checked, only those formats that are marked as Preferred (*) will appear in the list.

Preferred formats will sound better than non-preferred ones.  This determination is often based on the source material's sample rate, so changing the source material's sampling rate to a multiple of the target format's rate could change the preferred status of that format.


Target Bitrate

Higher bitrates make larger but higher quality files.  For example, use 24 Kbps or so for speech, or 128 Kbps or more for stereo music.  128 Kbps is the most common encoding rate for MP3 files because of the relative balance of encoding (about 10:1) and quality loss.


The Quality Slider

Changing the position of the quality slider alters the list of formats that you can select in the Available Formats list. Higher quality encoding modes will take longer to encode, but will sound better when played back.  Formats with HQ=Yes will encode much more slowly than those where HQ=No.


Write CRC Checksums

CRC Checksums can be added to the audio stream so that the content can be verified for any errors in the stream when decoded.


Set 'Private' Bit

Each MPEG frame will have its private bit set if this is checked.  The program that plays or decodes the MPEG file can choose to handle this this information.


Set 'Copyrighted' Bit

Sets the Copyrighted bit. The program that decodes or plays the MPEG file can decide how to handle this information.


Set 'Original Material' bit

Sets the Original Copy bit in the MP3 file.  Use this if the material is original.  The program that plays or decodes the MP3 file can decide how to handle this information.


Padding

Choose ISO Padding by default.  If for some reason the decoder being used needs no padding, or always needs padding, then change this option.  Most decoders will work properly with the default setting.


De-emphasis for decoder

If the audio being encoded has a particular emphasis equalization curve to it, choose which type in order that the decoder can perform the proper de-emphasis.  If you don't know what this means, you can leave it on No Emphasis.


Explanation

The explanation box gives quick tips and explanations about whatever was clicked on last in the MP3 Save As options.


Aliasing glos
Aliasing

Noise that occurs from sampling a high frequency sound at a sample rate that is less than what is required to represent that frequency.  A certain sampling rate can represent a frequency equal to half its rate (the Nyquist Frequency).


Band Pass Filter

A filter or DSP effect that allows some audio frequencies to pass, and does not pass others.


CD-R

A CD-R is a blank, recordable CD disk that can be written to once.  They typically hold 650 MB of data or 74 minutes of audio.  CD-R can also refer to the computer drives that write, or “burn”, CD-R disks.


CD-RW

A re-writable CD-R disk.  A CD-RW also typically holds 650 MB of data or 74 minutes of audio, but unlike a CD-R, a CD-RW disk can be erased and written to again.


CODEC

Stands for Coder/Decoder.  It is an often used abbreviation when speaking of audio compression modules, such as ACM modules (often called ACM CODECS).


DAT
DAT (Digital Audio Tape)

A standard two-track digital audio tape format.  DAT tapes are sampled at 16-bit and 32k, 44.1k, and 48k (which is considered “DAT quality”) samples per second.


Digital Signal Processing (DSP)

The process of transforming a digital audio signal from one form to another via complex algorithms.  Examples include filtering or create a sound-simulation effect, such as a reverb or echo.


Noise, Brown

Brown noise has a spectral frequency of 1/f^2. This means, in English, that there is much more low-end, and there are many more low-frequency components to the noise.  This results in thunder- and waterfall-like sounds. Brown noise is so called because, when viewed, the wave follows a Brownian motion curve. That is, the next sample in the waveform is equal to the previous sample, plus a small random amount. When graphed, this waveform looks like a mountain range. The wave pattern is very predictable.


Noise, Pink

Pink noise has a spectral frequency of 1/f and is found mostly in nature. It is the most natural sounding of the noises. By equalizing the sounds, you can generate rainfall, waterfalls, wind, rushing river, and other natural sounds. Pink noise is exactly between brown and white noise (which is why some people used to call it tan noise, but pink was more appealing). It is neither random nor predictable. It has a fractal-like nature when viewed. When zoomed in, the pattern looks identical to when zoomed out, except at a lower amplitude.


Noise, White

White noise has a spectral frequency of 1. In other words, equal proportions of all frequencies are present. Because the human ear is more susceptible to high frequencies, white noise sounds very "hissy". Cool Edit 2000 generates white noise by choosing random values for each sample.


Noise Shaping_glos
Noise Shaping

A special type of dithering that shifts the dither noise into frequencies the ear is not as sensitive to.


Genre

The Genre, or classification of the original work. Examples are: Cartoon Voice, New Age, Instrumental...


glossary
A

ADPCM

A-Law

ACM

Aliasing

Amplitude

Amplitude Ruler

Audio File Format

B

Band Pass Filter

Bit

Bit Resolution

C

CD-R

CD-RW

Clipping

CODEC

Compressor

D

DAT (Digital Audio Tape)

Device

DC Offset

Decibel (dB)

Destructive Editing

Digitize

Digital Signal Processing (DSP)

Display Range Bar

Dither

Dynamic Range

E

Expander

F

Frequency

G

This letter has no entries.

H

Hertz (Hz)

I

Image

Impulse

J

This letter has no entries.

K

This letter has no entries.

L

Level (or VU) Meters

Limiter

Loop

M

MIDI

N

Noise Gate

Noise, Brown

Noise, Pink

Noise, White

Noise Shaping

Non-Destructive Editing

Nyquist Frequency

O

This letter has no entries.

P

PCM

Peak Files

Play List

Preset

Q

This letter has no entries.

R

RealAudio

Resolution

S

S/N Ratio

Sample

Sample Rate

Shortcut

SMPTE Time Code

T

Time Display Fields

Time Ruler

Time Window

U

u-Law

V

This letter has no entries.

W

Wave File

Waveform

X

This letter has no entries.

Y

This letter has no entries.

Z

Zero Crossing


Snapping

Enable this function to have the edges of any waveform “snap” to certain time locations when being dragged. Snapping is used to align a selection with time ruler locations when highlighting a region. This can be of great help when creating a Cue List entry that needs to cover a specific SMPTE time location, for example. The Snap To locations (which vary depending on the Snapping option you have selected) act as magnets for any waveforms dragged in their proximity, and have the effect of pulling the waveform toward them. If your Time Ruler’s format is hours:minutes:seconds, with seconds showing as the division at your current zoom level (1.0, 2.0, etc.), then dragging a waveform which starts at 1.6 seconds to the right will result in it snapping to the 2.0 location as it nears it. You can, of course, keep dragging beyond 2.0 in this case, if you wish. In Edit Waveform View, you can choose among three options in determining the time locations to Snap To.

Snap to Cues

Snap to Ruler (Fine)

Snap to Ruler (Coarse)

	You can also right-click on the vertical time ruler to access any of the Snap To options quickly.
   /Edit/Snapping


Uses for Cool Edit 2000

Thousands of people use Cool Edit for every audio project imaginable.  There are scientists using Cool Edit to analyze bat calls in New Zealand, ice skaters producing their performance music clips, computer game an multimedia producers creating sound effects and background music, medical researches analyzing heartbeat sounds, police officers cleaning up surveillance audio,  DJs and radio announcers creating commercials and zingers, and thousands of musicians and hobbyist recording, editing, and mixing their own music, voice, and audio every day.


Using Your Sound Card Hardware

Check the back of your computer for the sound card input and output ports.  Most computers have "Mic", "Line In", and "Line Out" ports.  Mic is for a microphone--you can plug a standard microphone into this port in order to record your voice or whatever else you like straight into Cool Edit.  Line In is for analog line-level inputs like an external CD player, a synthesizer keyboard, or another pre-amplified signal.  Line Out is for output--when you play from Cool Edit, the signal comes out there, and you can connect that to an amplifier or recording device.


Using the Windows Mixer

Windows comes with a small mixer that controls the input and output levels of most sound cards.  You can launch it by going to Options/Windows Mixer in Cool Edit 2000 or, in Windows, by double-clicking on the yellow speaker icon near the clock in your task bar.  The mixer controls two kinds of levels: playback levels and recording levels.

The mixer shows the playback levels by default when you open the mixer.  Move the sliders to set the playback volumes of your different audio devices, such as wave, synthesizer (MIDI), and CD.  Make sure that the device you want to play from is not muted.  Cool Edit 2000 always plays out of the wave device.

If you want to change your recording levels, go to the mixer's Options menu, select Properties, select Recording and click OK.  Moving the sliders in this section will control the audio level recorded from each of these devices--such as the CD, line input, voice modem, or synthesizer (MIDI)--into Cool Edit 2000.  Make sure that the device you want to record from is selected and is not muted.

The Windows mixer:


attach audio equipment
Attaching Audio Equipment

You can attach almost any piece of audio  equipment to your sound card, but it might not be obvious how when you first glance at the back of your computer and compare it to the back of your CD player, synthesizer, or electric instrument.  Most sound cards have eighth-inch stereo ports for input and output, while normal audio equipment might have RCA jacks, quarter-inch jacks, or XLR jacks.  Whatever the adapter type on your sound card and audio equipment, you can probably hook them together if you use the proper adapter.  For instance, if you want to hook your electric guitar up to your sound card, you will need a quarter-inch to eighth-inch adapter. You can find the adapters you need at your local electronics or audio store.


Editing Audio

Editing in Cool Edit 2000 is as easy as clicking and dragging to select audio, and then choosing the function you want to use from the Edit menu.  Cut, copy, and paste audio just like you would text in a word processor, and use Cool Edit 2000's automatic editing features, such as automatically removing silence, auto cueing audio, finding the nearest zero crossing, or finding beats in your music.


Using Transforms

using a transform is as easy as editing audio.  Just click and drag on your waveform to select the part you want to change, and then go to the Transform menu to select the effect you want to run.


Data Analysis

Cool Edit 2000 has three main forms of data analysis that allow you to find features in your audio.  Frequency Analysis produces a graph of amplitude versus frequency, so that you can see what frequency components are the loudest in your audio.  Statistics gives handy information about your selection, including possibly clipped samples, RMS power, and DC offset.  It has a histogram option, which shows what volumes are most common in your file.  The last option isn't under the analyze menu, but is still a powerful analysis feature.  The Spectral View option in the View menu changes the main display from amplitude versus time to frequency versus time, where the brighter colors represent more of that frequency present.  This is very handy for picking out frequency patterns in your audio.


Compressing Your Audio

Normal, uncompressed digital audio, when recorded at the same quality as a CD, takes about ten megabytes for every minute that you record.  Several options exist for saving your files in a compressed form, and reducing the space required by a factor of ten or more.  Cool Edit 2000 supports more than 15 file formats, including MP3 and Real Media G2, which are the most popular compression formats today.  To create a file in one of these formats, just go to the File menu and select Save As and select the format you would like to use from the list of available formats.  Click the options button to change the settings from their defaults, and then click OK. to save the file.


Preparing Audio for CD

Cool Edit 2000 can prepare your audio to be written to CD as an audio CD.  Make sure that your audio is CD quality-- 44,100 samples per second, 16-bit, stereo--, and then save the file to the hard drive as a Windows PCM  (*.wav) file. Make sure that when you save it, the box marked "save extra non-audio information" is not checked.  This extra information can sometimes confuse CD writing applications. Once the file is saved, use the software that came with your CD-Recordable drive to write the audio to disc.


0 dB RMS set to Full Scale

This setting determines whether the RMS readings will be compared to a full amplitude sine wave or a full amplitude square wave.  The comparison point determines the scale on which RMS power is measured.  When audio measures 0 dB RMS, it is the same as a maximum amplitude wave, either sine or square, depending on this setting. A full amplitude square wave is 3.01 dB higher than the full amplitude sine wave.


dig audio fundamentals
A Short Course in Digital Audio

Audio in the computer is always in digital form.  When you record audio on the computer, your sound card is what converts the sound waves to digital format (also called digitizing), and when you play it, the sound card converts the digital signal back to analog so that it can come out the speakers.  Most sound cards can record and play back stereo (2-channel) audio.  Some sound cards can handle four, eight, or even more channels of audio.

Sampling and sample rates

When your sound card converts audio to a digital format, it breaks the sound up into a series of “snapshots”, each one a discrete slice of information about the sound. These snapshots, or samples, can then be played back and converted back from digital to analog form to reproduce the sound.  The rate at which snapshots are taken is called the sampling rate. You’ll often see sample rates written as 32k, which means 32 thousand samples per second were taken when the audio was digitized.

Bit resolution

Each sample, in turn, has a volume, so that when you put them all next to each other you can hear the original wave. This amplitude is determined by how many bits are used to describe it. The more bits are used to describe each sample, the more possible amplitudes it has. Eight bit sound allows for each sample to have 256 possible amplitudes, 16-bit allows for 65536, and 24-bit allows for almost 16.8 million amplitudes.

What does all this mean?

When you create a new file in Cool Edit 2000, it asks you which sample rate and bit resolution you want to use, and whether you want to make a stereo or a mono file.  What should you tell it?  It depends on what you want to do with the audio.  In most cases, CD-quality settings (44,000Hz, 16-bit, stereo) are appropriate, because a CD-quality audio is roughly capable of reproducing the full range of human hearing.  But keep this in mind: the higher the sample rate and bit resolution, the bigger the files are.  CD-quality files require up roughly 10 megabytes for each minute of audio.  If you are preparing files for FM broadcast, you may want to use 32,000Hz instead in order to save on disk space.  If you are producing telephone message prompts, 6,000 or 8,000 8-bit mono files are fine.  Always choose based on your needs for size and quality.  Also remember that stereo files take up twice the space of mono files.

  More sample rate examples


glos digitize
Digitize

The act of converting a signal from an analog (continuous) to digital (sampled) format.


Instant Purchase
Instant Purchase Form

To purchase Cool Edit 2000 or one of its plug-in packs, enter your mailing address, other information, and payment information.

Check or Money Order Enclosed

Pay by Credit Card

Purchase On-Line

Copy to Clipboard

Print

   /Help/Buy Now/Instant Purchase Form


Instant Purch check pop
Check or Money Order Enclosed

Select this item if you will be mailing Syntrillium Software a check or money order for your purchase.  When you select this item, Copy to Clipboard and Print both light up.  Use one of these options to create a form that you can mail in along with your payment.


Instant purch credit pop
Pay by Credit Card

Select this option if you would like to pay using your Credit Card.  When this option is selected, the Credit Card information fields become active.  Just enter your information, and click Purchase On-Line to automatically buy your copy of the software.  The entire process is encrypted, so there is nothing to worry about!  Your software will be automatically registered with your name.


Instant Purch online pop
Purchase On-Line

Once you have entered your credit card information, click this button to purchase the software.  Cool Edit 2000 will connect to Syntrillium via the internet, and complete the transaction for you.  That's it!

The transaction will be fully encrypted, so that there isn't a chance for your credit card information to be intercepted.

If Cool Edit 2000 can't connect to Syntrillium, make sure that you have a working internet connection and then try again.


Instant Purch Copy pop
Copy to the Clipboard

Click on this button to copy the entire form to your clipboard, to be pasted into your favorite word processor.  You can then print and mail the form, along with your check or money order, to Syntrillium Software.


Instant Purch print pop
Print

Click this button to print the registration form directly from Cool Edit 2000, so that you can mail it to Syntrillium Software with your check or money order.


Instant Registration Error

An error has occurred during the instant purchase process.  You can still purchase the software through one of the following means:

Visiting Syntrillium's online store at http://www.syntrillium.com/buyonline

Calling Syntrillium's sales department at 1-888-941-7100 (USA and Canada) or +1-480-941-4327 (other countries)

Faxing your order form to +1-480-941-8170

Mailing your order form to:

Syntrillium Software

P.O. Box 62255

Phoenix, AZ  85082-2255


3d echo chamber
  Echo Chamber...

The 3D Echo Chamber function can create almost any room ambiance, with settings for specifying room size and surface characteristics, along with the placement of microphones within the virtual room. The number of echoes is adjustable, up to about 25,000. The more echoes there are to calculate, the longer it will take for the function to complete.

Room Size

Intensity

Echoes

Damping Factors

Source Signal Placement

Microphone Placement

Mix Left/Right Into Single Source

	One great use for this function is to convert Mono audio to Stereo by adding ambiance. Here’s how.
   Edit View:   /Transform/Delay Effects/Echo Chamber

   This function supports Presets.

	Only a few presets have been made available as the settings depend, in large part, on the type of source audio that is being echoed. Experiment with the various settings to achieve the desired effect for your material.


1. Use /Edit/Convert Sample Type to split the mono signal into two equal channels.

2. In Echo Chamber, fill in Room Size, Damping Factors, etc. for your room.

3. Choose a "left" microphone placement that is one or two feet away from the "right" microphone. This will simulate a listener's ears and will give the effect of "being there" (try monitoring this with headphones for best effect).

A spatial, stereo expansion effect can be created by placing the two microphone locations far apart, further apart in the settings than if you were playing them through speakers in real life. For example, if your stereo speakers are 6 feet apart, try placing the left and right microphone settings 20 or 30 feet apart.


Room Size

Fill in the length, width, and height of the room. They are entered in feet (there are approximately 0.3 meters per foot). When entering source and microphone locations, they must lie between zero and the room's width for the "Distance from Left" parameter, and between zero and the room's length for the "Distance from Back" parameter. Room sizes can be as large as you like, but memory requirements will grow as room size increases, so you may run out of memory if you use very large room sizes.


Intensity

This determines the amplitude of the direct (original) signal. Because echoes (picked up by the “microphone”) add to the signal's overall amplitude, you should set the intensity to something less than 100% to avoid clipping. In fact, the more echoes there are, the lower this value should be set so as to prevent clipping. For example, a setting of about 30% would be appropriate for 100 echoes, whereas 15% would be better for 1,000 echoes.


Echoes

This is the number of actual echoes to produce. To achieve a nice Reverb and ambiance effect, use at least 300 echoes. The more echoes that are generated, the "truer" the result will sound, but larger numbers of echoes require more processing time.

	In order to reduce wait time when testing out a chamber's size and overall room sound, you may want to generate only 100 or so echoes. Once you achieve the sound you want, you can undo the test effect and increase the number dramatically for the final production. Up to 25,000 echoes can be generated, depending on the virtual room size and available memory.


Damping Factors

Use damping factors to describe the type of room in which the audio is being played. These factors can simulate wall coverings, floor coverings, and other objects in the room that absorb sound. Granted, in real life, various objects absorb different frequencies, but in this simulation all frequencies are reflected equally. For example, the fact that cement reflects high frequencies better than low ones isn't accounted for, but great effects can still be achieved (and they're much more realistic than those of basic Echo functions). The effects of speaker placement enhancing or canceling certain frequencies, though, is still accurate. A damping factor of 1.0 is the highest, simulating total reflectivity, while a factor of 0.0 is the lowest, which represents complete sound absorption (no reflecting surface).

	To give more control over the environment, dampening factors can be applied to any of the 4 walls, floor, and ceiling. If a wall has a dampening factor of 1.0, it is totally reflective (rather like cement). If a wall has a very low dampening factor, like 0.05, it will absorb most of the sound (like carpeting or sound proofing panels). You can also lower the dampening factor of some of the walls to simulate other objects in the room, which effectively absorb some of the audio.


Source Signal Placement

The source (originally highlighted audio range) can be placed anywhere in the room, with settings for distance from the back wall, left wall, and floor. The signal will then simulate a single, non-directional point source, meaning that the sound will radiate outwards in all directions. The distance between the source and the walls affects which frequencies are enhanced and is crucial to the overall ambient effect. When using a stereo source, each channel can be placed independently of each other.

	Use the Distance values in conjunction with Room Size values to determine exact 3D placement. If you use a values greater than the dimensions of the room (a Dx Above Floor of 21 ft. in a room with a Height of 20 ft., for example), Cool Edit Pro will use the greatest possible value (20 ft. in this case).


Microphone Placement

You can place up to two virtual microphone pickups in the room. Stereo signals will have two pick up microphones, while mono signals will have only one. Each microphone is routed to its own respective channel of a stereo audio file. The resulting echoes are exactly what the microphone would pick up if it were in the room at the specified location. Place the microphones in a stereo setting one foot apart to simulate human ears. The placement of and distance between the microphones gives the brain cues about the directions of each echo and the size of the room. Try listening with headphones to microphones that have been placed far apart; this gives a very large "aural" or "Spacy" feeling to the sound.

	Always place the microphone(s) sufficiently far away from the source. If the microphone and source are too close together, you will just hear the source and no echoes, since it is analogous to placing your ear right next to the sound source, where you will hear the sound only (due to its loudness).


Mix Left/Right Into Single Source

When working with stereo audio, there are actually two source signals (left and right) that can be placed independently. In most instances, the stereo effect will be dramatically enhanced and sound fuller and often richer when the Combine L&R is turned off. This does, however, require twice as many calculations as a single audio source, so for faster processing, check this option this option will sum the left and right channels of a stereo source file before routing to the effects processor.

  unchecked [image]  checked


Quick Play

When Quick Play is selected, play begins before all the buffers have been sent to the sound card.  This causes play to begin more immediately after you press the play button.  If Quick Play is disabled, all buffers are sent before play begins.  This can cause a slight delay between pressing the play button and when play actually begins.  Leave Quick Play checked unless playback stutters or skips right when audio starts to play.