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Version 1.0 May 2, 1992
by Damien M. Jones
dmj software
PSC 8 Box 657
APO AE 09109
Sound Lab 1.0 Page 2
--- Copyright
Sound Lab and this manual are Copyright 1992 Damien M. Jones,
All Rights Reserved. You may not modify this program in any
way; however, you may copy it as you wish, provided all of
the files listed in READTHIS.1ST are included. You may not
charge for these copies, except reasonable charges to cover
the cost of the media it is distributed on (as in Public
Domain/Shareware distributors). This charge should not
exceed $10.
--- Shareware
This program is Shareware. If you like it and use it, please
send $20 to the address on the front cover. In return for
registering you will receive a printed manual, information on
how to use digitized sound in your own programs (GFA BASIC,
C, and assembly), and free disk updates. Updates to the
manual (which usually occur only with major revisions) will
be available for modest ($5 or less) cost.
If you got this program through a Public Domain/Shareware
distributor, you haven't paid for the program; you've just
paid the distributor to put the program on a disk and send it
to you. Please show your support by registering.
--- Disclaimer
I am not in any way responsible for damage to your equipment,
reputation, or mental or physical health caused by the use or
misuse of this program.
--- About This Manual
The text for this manual was created entirely with ST Writer
Elite 4.2.
--- About the Program
Sound Lab was written mostly in GFA BASIC (over 10,000
lines), with the high-speed editing routines (almost 2,000
lines) in assembly. The graphics were designed with a custom
paint program.
--- Feedback
It's always been my experience that the best improvements to
software always come from its users. My beta testers
reinforced that belief. So if you have any comments or
questions, please let me know!
Sound Lab 1.0 Page 3
--- Table of Contents
Introduction . . . . . . . . . . . 4
What Is Digitized Sound? . . . . . . . 4
Using This Manual . . . . . . . . . 5
The Basics . . . . . . . . . . . 6
Installing Your Digitzer Cartridge . . . . . 6
Loading (or Copying) Sound Lab . . . . . 6
The Main Screen . . . . . . . . . 7
"Help" and "Quit" . . . . . . . . 7
Loading and Playing Sounds . . . . . . . 8
File Formats . . . . . . . . . . 9
Recording Sounds . . . . . . . . . 10
Saving Sounds . . . . . . . . . 10
Blocks . . . . . . . . . . . . . 12
Marking Blocks . . . . . . . . . 12
Playing and Recording a Block . . . . . . 12
"Hide Blk", "Zoom In", and "Zoom Out" . . . 12
"Cut", "Copy", "Insert", and "Play Buf" . . . 13
"Remove" and "Trim" . . . . . . . . 15
Looping . . . . . . . . . . . 15
"Overlay" . . . . . . . . . . 16
Inserting or Overlaying a File . . . . . . 17
Loading or Saving the Buffer . . . . . . 17
Effects . . . . . . . . . . . . 18
"Clear" and "Gap" . . . . . . . . 18
"Volume" . . . . . . . . . . . 18
"Fade" . . . . . . . . . . . 19
"Echo" . . . . . . . . . . . . 20
"Reverse" . . . . . . . . . . 20
"Convert" . . . . . . . . . . . 20
Menus . . . . . . . . . . . . 22
/Info/ . . . . . . . . . . . . 22
/Rename File/ . . . . . . . . . 22
/Delete File(s)/ . . . . . . . . . 22
/Create Folder/ . . . . . . . . . 22
/Remove Folder/ . . . . . . . . . 23
/Free Space/ . . . . . . . . . . 23
/Format Disk/ . . . . . . . . . . 23
/Quit/ . . . . . . . . . . . 23
Tips for Using Sound Lab . . . . . . . . 24
Moving Dialogs . . . . . . . . . 24
Bypassing the Title Screen . . . . . . . 24
Choosing a Sampling Rate . . . . . . . 24
"High Bit" . . . . . . . . . . . 24
Loading and Saving Blocks - Partial Files . . 25
Loading .BAK Files . . . . . . . . . 26
Echo Effects . . . . . . . . . . 26
Background Sounds . . . . . . . . . 26
Preferences . . . . . . . . . . 27
Using the _Fileselector_ . . . . . . . . 29
If Something Goes Wrong... . . . . . . . 32
Quick Reference & Keyboard Shortcuts . . . . . 34
Index . . . . . . . . . . . . 40
Sound Lab 1.0 Page 4
-------- Introduction
Digitized sound: you've undoubtedly heard it. These days you
can find digitized sound in games, demos, and even music.
It's the only way to twist the ST's sound chip into producing
more than three limited tones. If you're not interested in
how digitized sound works (or if you already know) then
please skip this next section.
--- What is Digitized Sound?
Before explaining digitized sound, let me explain how a
speaker works. As the electric current provided to the
speaker changes, the speaker itself moves in and out. This
movement makes the air next to the speaker move as well,
creating sound waves that we can actually hear. Computers,
however, don't record things (like the current provided to a
speaker) in a steady stream. They handle things in a digital
fashion--lots of little bits that, when put together, make up
the whole. Whereas an analog tape records the current to the
speaker in a continuous wave, digitized sound records the
current many times per second. The more times per second you
record the current, the better your approximation of the
actual sound wave. Compact discs work like that; they record
the current 44250 times per second; this is so fast (and so
precise) that it sounds even better than audio tape (which is
an analog recording).
The quality of digitized sound is measured in three ways:
sampling rate, resolution, and the number of channels.
Sampling rate refers to how often you sample--or record--the
current applied to the speaker. This is usually specified in
Hz (times per second) or KHz (how many thousands of times per
second). Thus a CD has a sampling rate of 44250Hz, or
44.25KHz. Usually a sampling rate of 7.5KHz to 10KHz is
adequate; 20KHz can be used for exceptionally high quality.
The second way to measure the quality of digitized sound is
resolution. This refers to how precisely the current to the
speaker is measured. A CD has a resolution of 16 bits--the
current has 65,536 possible values. A home computer (as in
the ST) usually uses 8-bit resolution, measuring the same
range of current as a CD, but with only 256 values. You'd be
hard-pressed to tell the difference in most sounds.
The third way to measure sound quality is the number of
channels. This is simply how many sounds are played
simultaneously. Compact discs are in stereo--two channels
(like the STe). Most digitized sound is mono--one channel,
although this is beginning to change.
Now that you know basically how digitized sound works, let me
explain what Sound Lab is capable of. You can record and
playback at sampling rates from 4.9KHz to 30.72KHz, on a
Sound Lab 1.0 Page 5
single (mono) channel at 8-bit resolution. This is perfectly
sufficient for use on the ST.
--- Using This Manual
Sound Lab makes extensive use of the mouse, alerts, dialogs,
and menus. Throughout this manual, buttons will always be
referred to like this: "Button". Dialogs will always be
referred to like this: _Dialog_. Menu items will be referred
to like this: /Menu/. The manual has been organized as a
tutorial; you should be able to read it straight through.
For help with a specific item, use the Table of Contents or
the Index to find it.
Sound Lab 1.0 Page 6
-------- The Basics
This section will get you started using Sound Lab. It covers
installing cartridges, loading and copying Sound Lab, the
main screen, loading and playing sounds, file formats,
recording sounds, and saving sounds.
--- Installing Your Digitizer
What? You don't have a sound digitizer? Well, go get one!
This software works with both the ST Replay cartridge and
Pandaal's DaataSound cartridge. Others have not been
tested.
To install your cartridge, turn your ST off. Insert your
cartridge into the ST's cartridge port, label side up. It
should go in firmly. When fully inserted, turn your ST back
on. You can connect the input jack (the only jack on the
DaataSound) to the output of any small sound source--the
headphone jack of a portable cassette recorder or CD player
are good examples. Unless you want to see smoke curling from
the innards of your computer, you should never connect the
input jack to the high-power output of a stereo or other
amplifier; doing so may damage your stereo, digitizer, and
ST. To remove your cartridge (which may be necessary on
occasion) just turn off your ST, gently pull the cartridge
straight out (don't wiggle it) and turn your ST back on.
UNDER NO CIRCUMSTANCES SHOULD YOU INSERT OR REMOVE YOUR
CARTRIDGE WITH THE ST'S POWER ON. Doing so can very, very
easily damage your ST, as well as the cartridge. For further
information, consult the instructions for your cartridge.
--- Loading (or Copying) Sound Lab
There's nothing really to this. Just double-click on
SOUNDLAB.TOS from any ST resolution. If you want to copy
Sound Lab to another folder (as in, on your hard drive)
you'll need not only SOUNDLAB.TOS but also these files:
SOUNDLAB.COL Dialog information for MEDIUM resolution. If
you want to run the program using a color
monitor, you'll need this file. (Sound Lab
switches to medium res if run from low res.)
SOUNDLAB.MON Dialog information for HIGH resolution. If
you want to run the program using a monochrome
monitor, you'll need this file.
SOUNDLAB.HLP The help file. If it's not present, there
will be no online help.
SOUNDLAB.PRF This is the preferences file; without it, all
of Sound Lab's options will be reset to the
default settings.
Sound Lab 1.0 Page 7
If there isn't enough memory for Sound Lab to run, or if it
can't find the appropriate data file for the resolution
you're in, it will tell you what went wrong and then exit to
the Desktop. If nothing goes wrong, the program will load
and display the title screen. Press any key, and you're
ready to begin.
It is possible to put Sound Lab in an AUTO folder. If you're
using a 512K machine, this is recommended, since it will give
you more memory for using samples. To run Sound Lab from an
AUTO folder, rename SOUNDLAB.TOS to SOUNDLAB.PRG and copy it
into the AUTO folder. You can put any other things in there
that you want, but remember that you must put them in before
you put SOUNDLAB.PRG in, or they won't run until after you
exit Sound Lab. Also remember that other AUTO folder
programs will probably consume valuable memory. All the
other files (.COL, .MON, .HLP, and .PRF) should go in the
root directory. To run Sound Lab, just boot the disk.
If you use Sound Lab with a monochrome monitor, you obviously
won't see any of the colors described in the manual. Light
blue on a color monitor corresponds to medium grey on a
monochrome monitor; dark blue shows as dark grey.
--- The Main Screen
At this point (program loaded, ready to use) I'll give you a
tour of the screen, since there's quite a bit here. At the
top you'll see the program's name, version, and completion
date. You'll also see, over to the right, the "Memory size";
this is just how big Sound Lab's area for editing samples is.
Below this title area is a large window, covering about
three-fourths of the screen. In the title bar you will see
some information. Inside the window you'll see a black line
across the middle; this is where you can see a visual
representation of the sample. The bottom border of the
window has a slider, used to move around the sample. Below
the window are twenty-four buttons, which are your main
control panel for using Sound Lab.
--- "Help" and "Quit"
Of the twenty-four buttons at the bottom of the main screen,
two are very important. The first is "Help", the top button
on the far right. You can either click this or press the
HELP key to access the online help; should the online help
fail to give you the information you want (which it
shouldn't), you can always refer to the manual. You can
press HELP anywhere.
The other important button is "Quit", the bottom button in
the right-most column. Select this to exit the program.
You'll be asked if you're sure; if you are, click "Yes", or
click "No" if you've changed your mind.
Sound Lab 1.0 Page 8
You can also find the "Quit" option in the menus. To access
the menus, just move the mouse pointer into the "Sound Lab"
box at the top left of the screen. The menus will appear
under the mouse. You'll find Quit at the bottom of the
File/Disk menu. Please note that if you have any desk
accessories loaded, you will not be able to access them;
Sound Lab is a TOS program (I bet you forgot that) and
accessories only work from GEM (.PRG) programs.
From here on, click on all buttons with the left mouse
button, unless specifically told to do otherwise. Some of
the buttons at the bottom of the screen have dual purposes.
To see the names of those buttons, move the mouse to the very
bottom of the screen, so it's not over any of the buttons.
Then hold down the right mouse buttons. You'll see several
of the buttons change. These are the functions that are
accessed with the right mouse button. Use it just like you
would the left.
--- Loading and Playing Samples
Digitized sound is what Sound Lab is all about, so it
wouldn't hurt to know how to load some samples in. To load a
sample into Sound Lab, click on "Load" (seventh column). The
_Fileselector_ dialog will appear, allowing you to select a
sample to load. You can load .SPL, .SAM, and .AVR files into
Sound Lab. (Only these types will appear in the
_Fileselector_.) Just click on the sample you want, then
click on "Okay", or double-click on the filename. (See the
_Fileselector_ section for more help; see the File Formats
section for more information about the different file
types.)
Once the sample is loaded, you'll see several things change.
First, the sample window's title bar will change to show you
information about the file you've just loaded. The name will
change, as will the file size, offset, zoom level, speed, and
block size. You'll also see the sample displayed in the
window.
Now that it's loaded, let's make sure it's at the correct
speed. If you loaded an .AVR type file, Sound Lab will
automatically change the speed for you. The other file
types, .SAM and .SPL, don't tell the proper speed of the
sample, so you have to guess. Click on "Speed" (second
column). A dialog will appear with a large number of
buttons: eleven with numbers, four labeled "x2", "x½", "Tone
Up", and "Tone Down", and four more labeled "Convert",
"Play", "Okay", and "Cancel". Between the top set of buttons
and the bottom set is a slider and a text field.
The text field in this dialog shows the current speed, in
KHz. You can change this speed in many ways; the easiest to
click on one of the eleven preset speed buttons. These
Sound Lab 1.0 Page 9
include some ST Replay 4 speeds, some Macintosh speeds, and
some STe speeds. You can double or halve the speed by
clicking on the "x2" or "x½" buttons. With the "Tone Up" and
"Tone Down" buttons, you can change the speed to the next
musical tone up or down. You can adjust the speed with the
slider, or you can enter the speed you want directly into the
text field.
The digitized sound routines used by Sound Lab (and most
every other sample editor or player) use the timers built
into the ST. Because of this, not every speed can be used.
Sound Lab will automatically round off any speed you enter to
the nearest speed available. Also, Sound Lab only allows
speeds from 4.915KHz to 30.72KHz.
After setting your speed, you can click on the "Play" button
inside the dialog to hear the sample at the new speed. You
can either wait for it to finish by itself, or press the
space bar or mouse button to stop the sound early. If you
want to keep the new speed, click on "Okay"; otherwise you
can click on "Cancel". Don't worry about the "Convert"
button for now.
Well, the speed has been set. You can now use the "Play"
button on the main screen to play the sound, if you want.
You can use the space bar or mouse button here as well to
stop the sound. If you do stop it early, a flashing vertical
bar will show you where it stopped (this will be handy
later). The bar will disappear as soon as you click on
another button, press a key to activate another button, or
select a menu item.
--- File Formats
Sound Lab recognizes three types of digitized sound files.
They are .AVR, .SPL, and .SAM.
The .AVR file type is the kind used by the newer ST Replay
software. If you want to save the speed of the sound, as
well as any looping information (more on that later), you'll
need to save in .AVR format, as only this type of file
records that information. For the same reason, Sound Lab
also sets this information when you load an .AVR file.
Usually you will use .AVR format files when loading or
saving.
The .SPL file type is called "raw data". It contains only
the sound, the whole sound, and nothing but the sound. This
is a good format if you know the speed of the sound, and you
want to include it in your own programs.
The last type, .SAM, is similar to .SPL. The difference is
that .SAM is signed data, whereas .SPL is unsigned. Signed
data is stored as a series of bytes, ranging from -128 to
Sound Lab 1.0 Page 10
127. Unsigned data records the same information in the range
0 to 255. If you're not sure which to use, just try one; if
the sample ends up sounding very noisy, use the other.
--- Recording Samples
If you have a digitizer cartridge, this section will tell you
how to use Sound Lab to record sounds from it. It's not
difficult at all.
First of all, you need to insure that the volume is properly
adjusted. Click on "Monitor" (first column). You'll see a
moving display right over the sample window. Adjust the
volume on your sound source so that the display shows strong
movement, but isn't clipped much at the top or bottom of the
display. Clipped points will stick briefly to the top and
bottom of the display, making it easy to see when clipping
occurs. A little clipping is all right, but a lot of
clipping will result in distorted sounds. Press any key or
mouse button to exit Monitor.
If you want to hear the quality of your sound before
recording it, click on "Monitor" with the RIGHT mouse button;
you'll see it change to "Listen", which will then begin. Now
you'll be able to hear exactly what the digitized sound would
be like, without having to actually record anything. This is
a good way to find out which speed to record at. Press the
space bar or mouse button to exit Listen.
What you're really interested in, though, is recording sound.
To do this, click on the "Record" (first column) button. An
alert will appear, asking whether to wait for the sound,
start recording, or cancel. Selecting "Wait" will cause
Sound Lab to wait for an incoming sound before beginning to
record. The mouse pointer will flash while Sound Lab is
waiting for a sound. Selecting "Start" will start recording
right away. "Cancel" will abort the record. Recording,
naturally enough, erases the previous sample. It's like
recording over an old audio tape. Sound Lab will stop
recording as soon as the sound fills up the memory; how
quickly this happens depends on your selected speed and the
amount of memory you have. You can also stop the recording
by pressing the space bar or mouse button.
You'll hear the sound while it's being recorded, as with
Listen. For some help on choosing a sampling rate to record
at, see the Tips section.
--- Saving Sounds
After recording a sound, you'll probably want to save it.
This is simple. Just click on "Save" (seventh column) and
the _Fileselector_ will appear. Enter the filename you want
to use for your file, and click on "Okay". "Cancel" will, of
Sound Lab 1.0 Page 11
course, abort the save.
If nothing went wrong, your file will be saved to disk.
There are three very simple things that might go wrong, but
aren't really a big deal. The first thing that might go
wrong is that the disk is full. Since samples can get very
large, this can happen a lot; if it does, you'll have to use
another disk. If you don't have another formatted disk
handy, see the Format Disk section for information on how to
format a disk.
The second thing that might go wrong is that you might have
left the write-protect tab in the wrong place. You can't
save to a disk that's write-protected; either select "Cancel"
from the alert, or fix the problem and select "Retry".
The third thing that might go wrong is that you tried to save
your sample with a name that's already being used. The alert
that appears will give you three options: "Erase", "Rename",
and "Cancel". The first option, "Erase", simply erases the
old file and saves your new file with that name. The second
option, "Rename", is a bit more complicated; it renames the
old file so that it ends in .BAK (erasing any file that had
the .BAK name), and then saves your file with the name you
requested. An example will make this clearer; if you try to
save MCHAMMER.AVR, and there is already an MCHAMMER.AVR on
the disk, the alert will appear; you select "Rename". The
MCHAMMER.AVR on the disk is renamed to MCHAMMER.BAK, and any
MCHAMMER.BAK that was there is erased. Then your new sound
is saved as MCHAMMER.AVR. Keep in mind that since samples
can be very large, you can run out of room _very_ quickly if
you keep a lot of backup (.BAK) files, even if you're using a
hard drive. The "Cancel" button from the alert cancels the
save, of course.
Sound Lab 1.0 Page 12
-------- Blocks
Sound Lab is more than just a sound loader, player, recorder,
and saver. It's also a sound editor. You can cut and paste
sections of sound much like you would cut and paste text in a
word processor; you can also do much more.
--- Marking Blocks
In order to do anything with your sound, you must tell Sound
Lab which part of the sound to use. To do this, you will
need to mark off a block of the sound. This is really quite
easy to do. First, load up a sound. Then move the mouse
pointer into the sample window, right over the sample. Click
the left mouse button. All of the sound to the left of where
you clicked has now turned light blue; the remainder, to the
right, has stayed black. The black part of the sample is
your block; what you've just done is to position the left
block marker with the left mouse button. Logically enough,
you position the right block marker with the right mouse
button. Just click the right button with the mouse pointer
somewhere between your left block marker (the boundary
between the light blue and black sample) and the right edge
of the screen. Voila! You now have a small block marked.
You've probably noticed that a vertical bar appears while
you're holding down the mouse button. This bar will follow
the mouse pointer as long as the pointer is inside the sample
window. This can help you position the block markers more
accurately.
--- Playing and Recording a Block
Just about every single function that does anything in Sound
Lab only works on the currently marked block. "Play" and
"Record" are no exceptions. After marking off a block, click
on "Play". Notice that you only hear the part you've marked?
This makes it very easy to isolate a particular sound from a
longer sound. "Record" works the same way--it will only
record over the section of block that you have marked.
--- "Hide Blk", "Zoom In", and "Zoom Out"
Although blocks are very useful (you'll find out just how
useful shortly), marking them can be a nuisance. So these
three buttons have been included to make things simpler.
The first button, "Hide Blk" (third column), simply
repositions your block markers at the beginning and end of
the entire sample. After clicking on it, you'll notice that
it seems to stick in place; if you click on it again, it will
come unstuck, and restore your block markers to their
previous positions.
Sound Lab 1.0 Page 13
The other buttons, "Zoom In" and "Zoom Out" (second column),
change the magnification of the sample in the window.
Normally, the magnification is set to "Max", which means the
entire sample is displayed in the window, regardless of its
size. With large samples, this can make the accurate
positioning of the block markers difficult. "Zoom In" comes
to the rescue; just click on it. Now you've switched to 16x
magnification, in which each pixel across the screen
represents 16 bytes of digitized sound. The slider at the
bottom of the screen will now change to reflect how much of
the sample is actually being displayed; you can move it
around, and the screen will display the corresponding portion
of your sample. You can click "Zoom In" again, to zoom in to
8x; then again, to 4x, and then 2x and 1x, in which each
pixel on the screen represents exactly one byte of digitized
sound. You can click "Zoom Out" again to back out a zoom
level.
At the very bottom of the window, just above the slider,
you'll notice that a very thin line changes as you mark your
blocks. It starts out as a solid white line, but after
marking a block, the white portion shrinks--roughly to the
same place on the screen as your block markers! This white
line shows you how much of your sample has been marked as
your block. It's sized to match the slider right below it.
When you're at maximum magnification, it's not needed, since
you can always see both ends of your block. When you start
zooming in, though, you won't always be able to see your
block markers; you can use that thin line as a guide to
positioning the slider. That way, you can use maximum
magnification to quickly place your block markers in the
general area you want them; then zoom in, move the slider,
and fine-tune your positioning.
Zooming in and out all the time can get repetitive. Usually
1x is the best for positioning block markers, but you have to
hit "Zoom In" five times (with a reasonably large sample) to
get to it! That's where "Min Zoom" and "Max Zoom" come in.
You've probably noticed that those buttons don't appear at
the bottom of the screen. That's because you need to use the
right mouse button to get to them. They're "under" the "Zoom
In" and "Zoom Out" buttons; just click on "Zoom In" with the
right mouse button, and it will change to "Min Zoom". This
will take you to 1x magnification, without seeing any of the
in-between zoom levels. Using the same technique, click on
"Zoom Out" with the right button to get "Max Zoom", which
takes you back to maximum magnification.
--- "Cut", "Copy", and "Insert"
Now that you know how to mark blocks, let's do something with
them. Your basic block functions are "Cut", "Copy", and
"Insert".
Sound Lab 1.0 Page 14
"Cut" takes your block out of the sample and stores it in the
buffer. This buffer is a section of memory marked off for
blocks that have been cut and copied; for the rest of these
instructions, it will always be called the buffer.
Once "Cut" has taken out your block, the rest of your sample
is moved down to fill in the gap. An example should make
this completely clear. Let's say you have a sample of George
Bush saying "Read my lips." You set your block markers so
that only "my" is marked. Click on "Cut". That chunk of
sound has just disappeared! Click on "Hide Blk" so that the
entire sample is marked; now click on "Play". George Bush
now says "Read lips."
The "Copy" button works very similarly to the "Cut" button.
It also copies your block into the buffer, but unlike "Cut",
it does not remove the block from the sample. Since it
doesn't remove the block, it is possible that you won't have
enough memory to make a copy of the block. If this happens,
an alert will appear to tell you.
Once you have a block stored in the buffer, you can then
"Insert" it. That will take the block and insert it where
your left block marker is. Going back to our George Bush
example, let's say your block is "my". You "Copy" the block
to the buffer, and then "Insert" it. Your left block marker
was still before "my", so when you insert "my", George Bush
says "Read my my lips." I had no idea he had a stuttering
problem.
As with "Copy", it is possible that you don't have enough
memory for an "Insert". When this happens, an alert will
appear, giving you four options. Before explaining them, let
me explain that the buffer, where cut or copied blocks are
stored, is the last part of the memory area. If you have a
memory size of 400K, then you can have up to 400K of
digitized sound in memory. If you load a 200K sample into
memory, that leaves 200K for cutting and copying blocks. And
if you were to cut a 20K chunk from that 200K sample, it
would be stored in the _last_ 20K of the memory. That
explained, the options presented when you have insufficient
memory for an "Insert" are "Lose Sample", "Lose Buffer",
"Insert to Fit", and "Cancel". "Lose Sample" means that the
entire buffer will be inserted, but the end of your sample
(whatever doesn't fit) will be lost. "Lose Buffer" means
that the entire buffer will be inserted, and all of your
sound will be saved, but the start of the sample in the
buffer will be lost. "Insert to Fit" will insert as much of
the buffer as will fit without losing the buffer. "Cancel",
of course, aborts the "Insert".
Phew! I realize that took a bit of explaining, but hopefully
it's much better than having Sound Lab say "Insufficient
Memory for Insert" and then do nothing.
Sound Lab 1.0 Page 15
After cutting or copying a block into the buffer, you may
want to play the buffer again, to remind yourself what's in
there. To do this, click on "Play" with the right mouse
button. You'll see it change to "Play Buf", and the buffer
will be played, instead of the block.
--- "Remove" and "Trim"
These are two buttons you may find useful. They are both in
the fifth column, but "Trim" is "under" the "Remove" button;
by this, I mean you use the right mouse button to select it,
instead of the left.
"Remove" is very similar to "Cut". The only difference is
that the block is not stored in the buffer; it's just removed
from the sample. This is much faster, since then Sound Lab
doesn't have to rearrange the data. Since this can't be
undone, you will be asked if you are sure.
"Trim" is a special function, useful after a sound has been
recorded. Often you'll find "pops" at the beginning and end
of sounds. Using "Cut" or "Remove" to get rid of them would
require that you isolate the pops, by carefully positioning
the block markers, and cutting them out. Instead, you can
position the block markers around the sound you want to keep.
Then click on "Trim" (by clicking on "Remove" with the right
mouse button) and everything before and after your marked
block will disappear. Since this, like "Remove", cannot be
undone, you will be asked if you are sure.
--- Looping
Looping is a very useful technique when you use digitized
sound in music. What it does is let you choose a part of
your sample to play repeatedly. So if you had a short sample
of some stringed instruments playing a single note, you could
loop the last part of the sound, so that they seemed to play
the note forever. Looping is most useful in this fashion.
To loop a portion of your sound, mark the part you want to
loop with the block markers. Then click on "Loop" (fifth
column). An alert will appear, with four options: "Set
Loop", "Reset Block", "Loop On/Off", and "Cancel". "Set
Loop" is the one you want, as this will set the loop to your
current block markers. You'll see your loop segment framed
in a dark blue box. Click on "Play" to hear the looped
sample. (While looping is on, the entire sample will be
played, with looping; your block markers are ignored during
"Play".)
More than likely you will need to adjust your loop to remove
the "pops" when the sample loops. Just move your pointers
and click on "Loop" again. Select "Set Loop" again.
Sound Lab 1.0 Page 16
The other options have other uses. "Reset Block" will move
your block markers to the current loop settings; that way,
you can mark other blocks, edit more sound, and still be able
to go back to adjust your loop easily. "Loop On/Off" will
turn looping on or off, without changing where the loop or
block markers are. ("Set Loop" and "Reset Block" both turn
looping on automatically.) "Cancel" will do nothing.
If you want to save the looping information with your sample,
you will need to save in .AVR format, as only this format
saves the looping information.
--- "Overlay"
Overlaying is a technique used to superimpose one sample over
another. You can use "Overlay" to take the sample stored in
the buffer and overlay it onto the block. To do this, just
click on "Overlay" (fourth column). And don't panic when you
see the dialog.
Despite its imposing look, the _Overlay_ dialog isn't that
bad. At the top you will see the dialog's title; directly
underneath is a large white box, showing you some waves. On
the left and right sides of this box are two sliders.
Underneath the box are two text fields, labeled "Block
Volume" and "Buffer Volume", and four buttons labeled
"Length". These are "Block", "Buffer", "Longer", and
"Shorter". At the bottom are two buttons labeled "Repeat
Buffer", called "Yes" and "No", and two other buttons, "Okay"
and "Cancel".
The large white box is the "Preview" box. This shows you
some waves to give you a general idea of what will happen in
the overlay. The light blue wave is your block, and the dark
blue wave is your buffer. The black wave is the final result
of the Overlay. These waves are not your actual sample, just
representations for your convenience.
When you overlay two samples, you can adjust the volume of
each. Normally you'll want both at full volume, but this can
sometimes cause distortions in the final sound, especially if
you start with loud samples. In this case, you should lower
the volume for each sample. Use the left slider to change
the volume of the block; use the right slider to change the
volume of the buffer. Note that you can also enter the
numbers in the text fields directly. Also note that whenever
you change the volumes, the Preview box is redrawn, allowing
you to see the change.
Underneath the box you'll see the four "Length" buttons.
These let you choose how much to overlay. "Block" uses the
block's length, "Buffer" uses the buffer's length, and
"Longer" and "Shorter" use the longer or shorter sample.
This way you don't have to worry about making your block the
Sound Lab 1.0 Page 17
same size as the buffer.
Below the "Length" buttons is "Repeat". If you use the
"Block" as the length (or if you choose "Longer", and that
ends up being the block), Sound Lab may run out of buffer
sample before finishing the Overlay. Sound Lab gives you the
option of starting over on the buffer (setting "Repeat" to
"Yes") or using silence (setting "Repeat" to "No").
Once you've set your options, click on "Okay", and the
overlay will be done. Clicking on "Cancel" will abort the
Overlay. Overlays may take as much as ten seconds with long
samples.
--- Inserting or Overlaying a File
Many times you will wish to insert or overlay a sound, and
that sound isn't in memory. You can load it into the buffer
and do it (see the next section), but you can also insert or
overlay right from the file. To do this, click on "Insert"
or "Overlay" with the right mouse button. The buttons will
change to "Ins File" and "Ovly File". A fileselector will
appear, allowing you to choose the file you want to use.
What happens next depends on which button you used.
If you clicked on "Ins File", the insert will proceed as
though you had the file in the buffer. You might not have
enough memory, so the same options as "Insert" will apply.
If the file you insert is an .AVR type, and it's not at the
same sampling rate as the rest of your sample, Sound Lab will
ask you if you want to convert it.
If you clicked on "Ovly File", the _Overlay_ dialog will
appear. The entire file will be read when you click on
"Okay", to overlay it. Everything else will proceed like a
normal overlay.
--- Loading or Saving the Buffer
You can load or save directly to the buffer. To do this,
just click on "Load" or "Save" with the right mouse button;
the buttons will change to "Load Buf" and "Save Buf". Then
select the file you want to load or save to. Remember that
you can play the buffer by clicking on "Play Buf" (under
"Play").
Sound Lab 1.0 Page 18
-------- Effects
In addition to editing sounds, Sound Lab lets you modify the
sound itself. These are called Effects. They let you add
spice to your sounds. Remember, though, that these functions
modify the sound information itself. Except where noted, you
_cannot_ undo these functions. Always save your sample
before adding an effect, so that you can reload it if the
effect doesn't sound right. Also, effects only change the
part of your sample that is marked as your block.
--- "Clear" and "Gap"
"Clear" (fourth column) lets you clear samples from memory.
When you click on "Clear", an alert will appear with four
options in it. They are "Block", "Buffer", "Everything", and
"Cancel". "Block" will clear the sample between the block
markers, replacing it with silence. "Buffer" will erase any
sample you have stored in the buffer. "Everything" means
just that--selecting this will erase everything in memory.
"Cancel", of course, aborts the operation.
"Gap", which is under "Clear", can be used to insert a gap
into your sound. To use this, set the left block marker at
the point where you want to insert the gap. Then use the
right marker to show how big a gap you want; the size of the
gap will be the same as the size of your block. Then click
on "Gap". If there isn't enough memory to insert the gap,
you'll get the same options as for "Insert".
Something special happens when you select "Gap" and the left
block marker is at the end of your sample. As much memory as
is available will be added to the end of your sound; you
should then mark how much you want to keep (including the
original portion of the sample) and select "Trim". This way
you can make a sample longer, leaving blank space at the end
for echoes. To use this, switch to Max zoom, move the mouse
pointer all the way to the right side of the screen, inside
the sample window; then click the left mouse button. Then
click on "Gap". All of the remaining memory will then be
added to your sound.
--- "Volume"
This incredibly useful effect allows you to change the
overall volume of a sound. First mark off which section of
the sound you want to change; then click on "Volume" (fifth
column). A dialog will appear, similar to the _Overlay_
dialog, but not as complicated. At the top is the same
Preview box, but only one slider, on the right side of the
Preview box. Also, the Preview box contains a sample, not a
wave. Below is a single text field labeled "Amplify", and
three buttons: "Play", "Okay", and "Cancel".
Sound Lab 1.0 Page 19
Use the slider on the right to adjust the amplification.
"Amplify" of 1 means keep the same volume; 0.5 is half
volume, and 2 is double volume. As you change the volume
with the slider, you'll see the Preview box change as well.
The light blue sample is your original sound; the black
sample is the sound with the volume change. Don't forget
that you can also enter the volume change directly into the
text field. If you want to hear the volume change, click on
the "Play" button; "Okay" confirms the change, and "Cancel"
aborts it.
After clicking on "Okay", the change will be made to the
sample. With large samples (over 500K) this may take more
than five seconds, so don't panic.
One thing to be careful about is boosting the volume too
high. It's always a good idea to pretest the volume change
with the "Play" button; when you boost the volume (especially
more than double) you introduce some distortion to the sound,
and using the "Play" button lets you hear that distortion
before you put it into your sample.
--- "Fade"
This effect allows you to fade the sample in or out. To use
it, mark off the part of the block you want to fade. Then
click on "Fade" (sixth column). Another large dialog
appears, similar to _Volume_ and _Overlay_. It has the
preview box, sliders to the left and right, two text fields
labeled "Start" and "End", and six buttons: "Shape", "Play",
"Fade In", "Fade Out", "Okay", and "Cancel".
Basically, this dialog lets you set the beginning and ending
volume of the fade. The slider on the left sets the start
volume, and the slider on the right sets the end volume. You
can also enter the volume directly. Clicking on the "Fade
In" or "Fade Out" buttons will reset the values to those
defaults. "Okay" confirms the fade, and "Cancel" aborts it.
The "Play" button lets you hear the fade before making it
final, and the "Shape" button brings up a small dialog,
allowing you to choose the shape of the fade (flat line,
curve opening up, curve opening down, or S-curve).
With the _Fade_ dialog, you'll see an extra item in the
preview box--a light blue line showing you the fade
boundaries. It's hard to express in words, but when you see
it, it will be quite obvious what it's for. This also shows
you the difference between the different fade shapes.
As with volume, large samples take time to fade--about the
same amount of time as volume.
Sound Lab 1.0 Page 20
--- "Echo"
Echo effects add depth to sound. They make samples sound
like they're in a place, rather than in a sound room. Sound
Lab allows you a great deal of control over echo effects.
As with the other effects, you need to mark off your block
first. Then click on "Echo" (sixth column). A dialog will
appear, containing three slider/text field pairs, labeled
"Echo Fade Rate", "Echo Spacing", and "Maximum Echoes". At
the bottom are four buttons labeled "Load", "Save", "Okay",
and "Cancel". (Echo is too complicated to "Play" before
making the change final.)
The three sliders and text fields allow you to set the echo.
The first, "Echo Fade Rate", refers to the volume of each
echo. A value of 0.5 (the default) causes each echo to be
half the volume of the previous one. The second item, "Echo
Spacing", refers to how far apart (in seconds) the echoes
are. The last item, "Maximum Echoes", simply specifies the
number of echoes to add.
The bottom four buttons are in two groups. In the first
group are "Load" and "Save"; these two buttons allow you to
load and save the settings in the _Echo_ dialog from or to an
.EKO file. Use the _Fileselector_ to specify the file. The
other two, "Okay" and "Cancel", confirm or abort the adding
of echoes.
Echo is a complicated function. Don't be surprised if large
samples take about twenty seconds to do.
--- "Reverse"
"Reverse" (sixth column) simply takes your marked sample and
reverses it, so that when you use "Play", it will sound
backwards. This is a very fast option--even large samples
can take less than three seconds. If you don't like the
reversed sound, you can reverse it again, thereby restoring
your original sample.
--- "Convert"
This is not an effect, really. It's the "Convert" button in
the _Speed_ dialog. To use this, just use the _Speed_ dialog
to set the new speed for the sample; then click on "Convert".
An alert will appear, telling you the old speed and the new
speed, and asking you to confirm the conversion. Click on
"Okay" to begin the conversion, "Cancel" to abort.
If you clicked on "Okay", the conversion will begin. Sound
Lab uses two techniques to convert samples to different
sampling rates: "infinite oversampling", and linear
interpolation. When you convert to a slower speed, Sound Lab
Sound Lab 1.0 Page 21
uses the "infinite oversampling" technique to preserve as
much of the original sound data as possible, as slower speeds
have less information. Higher speeds, though, require more
information; the linear interpolation technique is then used
to try to "fill in" the missing data. These two techniques
have two things in common: they can be slow, and they are
only approximations. Samples that are noisy (like voices
with "f" or "s" sounds, or music with lots of drums) will
sound muffled when converted using either technique. And
large samples can take almost twenty seconds to convert.
To help alleviate the speed problem, Sound Lab also has
special optimized routines to convert to half or double
speed. These routines are very, very fast, so if you can,
convert to double or half speed.
If you chose to convert to a higher speed, then the sample
will grow in size; you may not have enough memory for this.
If you don't, Sound Lab will show you the familiar _Insert_
dialog, allowing you to choose what to do.
Sound Lab 1.0 Page 22
-------- Menus
Sound Lab does have menus. Usually they're tucked away, out
of sight, but they can be called up very easily by moving the
mouse to the top left of the screen. The menus will appear
under the mouse, allowing you to select an item. If you
don't want to select an item, move the mouse out of the menus
and click the left mouse button. The menus will be
re-hidden, and you can go back to editing your sound.
These menus are not used for any of Sound Lab's sample
editing functions. Rather, they contain information, and
several disk utilities for your convenience.
--- /Info/
The /Info/ item, in the /Desk/ menu, has a submenu attached.
Just move the mouse into the submenu and select the item you
want. /Sound Lab/ brings up the title screen; /Shareware/
brings up information about how to register the program; and
/Thanks/ lists some people who helped in the completion of
this program.
What you won't find under the /Info/ item are the desk
accessories. Despite appearances, Sound Lab is a TOS
program, and does not cooperate with accessories in the least
little bit.
--- /Rename File/
This item, in the /File/Disk/ menu, allows you to rename a
file. After selecting /Rename File/, the _Fileselector_ will
appear, allowing you to choose which file to rename. Click
on "Okay". Then a small dialog will appear, showing the old
name, and allowing you to enter the new name. Click on
"Okay" to confirm the change, "Cancel" to abort it. (You
will not be allowed to enter an illegal filename; use other
utilities to do that.)
--- /Delete File(s)/
This item allows you to delete files from the disk. The
_Fileselector_ will appear, allowing you to choose which file
to delete. You can also enter a wildcard (like *.*). Click
on "Okay". An alert will appear, showing you which file or
wildcard you entered, and asking you to confirm your delete.
Click on "Okay" to delete the files, or "Cancel" to abort.
In either case, you will be returned to the _Fileselector_,
so you can delete more files. Click on "Cancel" when you're
done deleting files.
--- /Create Folder/
This item allows you to create a new folder on the disk. The
Sound Lab 1.0 Page 23
_Fileselector_ will appear; choose where you want to create
the folder, and enter the folder's name in the "Filename"
part of the _Fileselector_. Click on "Okay" to create the
folder, or "Cancel" to abort.
--- /Remove Folder/
This item allows you to remove an empty folder from the disk.
The _Fileselector_ should be used to choose the folder; the
"Filename" area of the _Fileselector_ should be left blank.
If the folder is not empty, it cannot be removed; use /Delete
File(s)/ to empty it. Otherwise, the folder will be removed
when you click on "Okay". "Cancel", of course, aborts the
operation.
--- /Free Space/
This item allows you to check the free space available on any
connected drive. Just move the mouse pointer to the desired
drive shown in the submenu and click the button. The free
space will (quickly) be checked, and then displayed, in both
bytes and kilobytes. Click on "It does, does it?" when
finished.
--- /Format Disk/
This option allows you to format a disk. After selecting
/Format Disk/, a dialog will appear, allowing you to choose
drive A or B, and one or two sides. Click on "Okay" to begin
formatting or "Cancel" to abort. You will be asked to
confirm the format, since formatting erases everything on the
disk. While the disk is being formatted, you can press any
key to interrupt. All disks are formatted 80 tracks, 10
sectors per track.
--- /Quit/
For completeness, I'll also mention /Quit/. It's found at
the bottom of the /File/Disk/ menu, and serves the same
purpose as the "Quit" button--it exits the program.
Sound Lab 1.0 Page 24
-------- Tips for Using Sound Lab
You now know how to use Sound Lab, mostly. What follows
could be called "Miscellaneous"; it covers special features
of the program, techniques you can use, and some overall
advice.
--- Moving Dialogs
Most dialogs (_not_ alerts) can be moved in Sound Lab. To do
this, click AND HOLD the left mouse button on the title bar
of the dialog. Then drag the hollow rectangle to the
dialog's desired position, and release the mouse button. The
dialog will be moved to the new position; every time you
bring up that dialog (until you exit the program) it will
appear where you last positioned it. You can save the
dialogs' positions when you save your preferences in the
_Preferences_ dialog.
--- Bypassing the Title Screen
If you don't like the title screen appearing, just hold down
the Alternate key while the program is loading until the main
screen is displayed. If you bypass the title screen, you
free up 20K of memory for samples; you can also press
Alternate-Tab to free up that memory after the program is
loaded.
--- Choosing a Sampling Rate
Whenever you record sounds, it's important to choose a
sampling rate that fits your purpose. The higher the
sampling rate, the higher the quality--and the more memory
used. If you're using the digitized sound in other programs,
good speeds are 7.68KHz (for voice) and 9.6KHz (for music).
If you have the memory, though, you should record your
samples at a higher speed--15.36KHz or 19.2KHz. These give
you much better quality. You can then convert these samples
to half their speeds.
Although Sound Lab allows you to convert from any speed to
any speed, you're best off sticking with doubling or halving
the speeds. There are two reasons for this: first, Sound Lab
has special routines for doubling/halving that are much
faster than any other conversion, and second, repeated
conversions can "muffle" the sound, especially if you don't
always use doubling/halving.
--- "High Bit"
This special button allows you to convert samples from signed
format to unsigned format. Sometimes you'll get a sample in
a format that Sound Lab does not recognize. Usually these
formats consist of a small header (a few bytes) followed by
Sound Lab 1.0 Page 25
the sample in raw form. Just load up these sounds and play
them. If all of the sample sounds very loud and noisy, just
click on "High Bit" (seventh column) to convert it to an
unsigned sample. Then play it again. If it doesn't sound
any better, I can't help you; something has altered the
sound. If it does sound better, except for some noise at the
beginning, that's probably the header--just cut the noise
out.
Since Sound Lab recognizes .AVR, .SPL, and .SAM files, you
probably won't need this button very often. But in case you
do, it's here.
--- Loading and Saving Blocks - Partial Files
Sound Lab does not require you to load and save entire
samples at once. You can load or save just blocks of
samples.
To load a block, just mark off the section of your sample
that you want to load over. Then click on "Load". An alert
will appear, asking if you want to load over your entire file
(as with normal "Load") or just the marked block. Select
"Block". Note the title of the _Fileselector_ changes to
show you are loading a block, not an entire file. (If you
select "File", note that Sound Lab selects the "Hide Blk"
button for you.) Select the file you want to load, and click
on "Okay". What happens next depends on whether your block
is longer than the file. If the block is longer than the
file, then the file is loaded over the first part of the
block; the remainder of the block is unchanged.
If the file is longer than the block, though, the
_Load_Partial_ dialog will appear. This dialog allows you to
choose which part of the file to load. Use the slider, or
enter the Offset (the amount of bytes to skip) in the text
field. Click on "Okay" to load that portion, or "Cancel" to
abort the load.
Whether or not you see the _Load_Partial_ dialog, the file
you load may not be at the same sampling rate as the rest of
your file. If it isn't, Sound Lab will ask you if you want
to convert it.
Sound Lab keeps track of which files have been loaded to make
maximum use of the _Load_Partial_ dialog. If you load an
entire file, then mark off a block, and try to load that file
back, it's obviously not going to fit. But Sound Lab sees
that the block filename (the one you've just chosen) is the
same as the sample filename, and will automatically set the
_Load_Partial_ dialog to exactly the portion of the file you
have marked. So if you accidentally damage a segment of the
sound, you can reload it easily.
Sound Lab 1.0 Page 26
Also, if you try to load an entire sample that is too large
for memory, Sound Lab will then show you the _Load_Partial_
dialog. And next time you try to load from that same file,
it will automatically remember where you last loaded from.
(This is separate from the block remember feature.) So you
can load in consecutively different parts of a very large
sample for editing work.
All of this load partial business wouldn't be much good if it
couldn't be saved the same way. So naturally, you can save
partials as well. Just click on "Save" as you normally
would; if you try to save back to the same file you loaded a
partial from, Sound Lab will ask you if you want to save it
back to the same place it came from. (This only works when
entire files have been loaded as partials, not just blocks.)
Click on "Partial" to save the file back to the proper part,
"Whole" to erase the old file and save this segment as the
new file, or "Cancel" to abort the save.
If you click on "Save" with a block marked, Sound Lab will
ask you if you want to save the entire file (as with normal
"Save") or just the marked block. Select your choice;
"Cancel" will, of course, abort.
--- Loading .BAK Files
Sound Lab has the option to rename old samples to ones with
extensions of .BAK if you try to save over them. This can
prevent you from accidentally erasing a sound. To re-load
these samples, you should use the /Rename/ option in the
/File/Disk/ menu to rename the file to its proper extension
(.AVR, .SPL, or .SAM), or else Sound Lab won't recognize the
file type.
--- Echo Effects
The "Echo" option in Sound Lab is quite potent. Use the
enclosed .EKO files as a guide for setting options.
A very interesting effect can be obtained by reversing the
sample, adding an echo effect, and reversing the sample
again. Thus the sample plays in the proper direction, but
the echoes precede the sound.
You can make other interesting effects by using Echo Fade
Rates of 1 or nearly 1. You should only try this with
relatively quiet samples, though; loud samples will be
distorted if you also add loud echoes to them.
If you want to hear the echoes at the end of a sample, you
should use "Gap" with your left block marker at the end of
your sample (see "Gap"). This will add blank space at the
end of your file.
Sound Lab 1.0 Page 27
--- Background Effects
The "Overlay" option in Sound Lab is more powerful than it
may first look. You can use it some recorded background
sounds; then overlay them at low volume (.2 or .3) onto a
louder sample. Use the repeat option to add the same sound
over and over. This gives "atmosphere" to a sample,
especially if you use echo effects as well. You can overlay
sounds even if they're too large to fit into RAM; just use
"Ovly File".
You can also get an interesting effect by overlaying the same
sound onto silence several times in slightly different
locations.
--- Preferences
Sound Lab has no intentions of restricting you to its way of
doing things. You can configure many of the options to your
own preferences. Clicking on "Prefs" (eighth column) will
bring up the _Preferences_ dialog. In this are nine options
for you to set.
First is "Output", which lets you choose how you want the
digitized sound played. "Sound Chip", the default, refers to
the ST's sound chip; it's present in all ST's, and produces
moderate quality sound. "STe DMA" is only useful on STe's
and TT's; it selects the STe's digitized sound chip, which
creates exceptional quality sound. "Cartridge" plays the
sound through the ST Replay cartridge's output.
When you click on the "STe DMA" button, a small dialog will
appear with three sliders. These sliders control the overall
volume (from -80 to 0), the left and right volumes (from -40
to 0), and the bass and treble (-12 to +12). You can click
on "Play" inside the dialog to test the adjustments. Click
on "Okay" to confirm the settings, or "Cancel" to restore
them to their previous values. Clicking on "Cancel" here
does _not_ abort the STe DMA output option--just the
volume/bass/treble settings. (If you don't have an STe,
selecting the "STe DMA" button will just use the ST output.)
The second option is "Window Title". This lets you choose
what you want in the title bar of the sample window. The
default is "Pathname", which shows you the full path of the
current file, the speed, magnification, and block size.
"Info" shows only the filename of the current sample, leaving
enough room to show the file size in kilobytes and the offset
in bytes. This second option can be extremely useful to
programmers.
The third option in the _Preferences_ dialog is "Window
Display". This chooses how you want to have the sample
displayed in the window. You can choose from "Points" (the
Sound Lab 1.0 Page 28
fastest-drawing option), "Outline" (the default, also the
slowest), and "Solid" (a good compromise). The Preview boxes
in the _Overlay_, _Volume_, and _Fade_ dialogs all follow
this option, as well as the main window.
The fourth option is "Dialog Preview". It specifies whether
to use the actual sample ("Sample", the default) or generic
waves ("Wave") in the _Volume_ and _Fade_ dialogs. The
_Overlay_ dialog always uses waves, since using the actual
samples makes for a complete mess in the dialog.
The fifth option, "Sizes In", refers to which units are used
in the window title bar. The default is "Bytes", but you can
also select "Seconds". Note that this means only the window
title bar; it has no effect on items inside dialogs.
The sixth option is "Menus". It allows you to choose between
"Drop-down" (ST-type, the default) or "Pull-down"
(Macintosh-type).
The seventh option is "Zoombox". With this, you can turn the
"zoom" on ("Yes", the default) or off ("No"). This "zoom"
appears both before and after all dialogs, if turned on.
Eighth is "Existing Files". It allows you to choose what
Sound Lab will do when you try to save over an existing file.
You can choose "Erase", which erases the old file to make way
for the new; "Rename", which renames the old file so its
extension is .BAK, then saves the new file; or "Ask" (the
default), which asks this question every time the situation
occurs.
The last option is "Default Speed". Normally this is 9.6KHz,
but clicking here will bring up the _Speed_ dialog, allowing
you to choose any speed as the default.
At the bottom of the _Preferences_ dialog are three buttons:
"Save", "Use", and "Cancel". "Save" will save your
preferences (and the positions of all dialogs) to the file
SOUNDLAB.PRF, in the same directory as you ran Sound Lab
from. If you ran Sound Lab from an AUTO folder, the
preferences file will be saved to the root directory, not the
AUTO folder (don't panic, that's where Sound Lab will look
for it when it loads). If you ran Sound Lab from a floppy,
make sure your Sound Lab disk is in the drive when you hit
"Save". "Use" will keep the changes you've made, but won't
save them; this is most useful if you've called up the
_Preferences_ dialog only to adjust the "STe DMA" buttons.
"Cancel", of course, aborts the changes and restores the
previous settings.
Sound Lab 1.0 Page 29
-------- Using the _Fileselector_
Sound Lab uses the custom dmj software file selector. It's
really quite simple to use. If you have an alternate file
selector loaded (like the Universal Item Selector, or the
Little Green Selector) you won't be able to use it, since
Sound Lab is a TOS program, and alternate file selectors work
in GEM programs.
At the top of the file selector is a line of text telling you
what file you're supposed to be selecting with the file
selector. By "grabbing" this bar with the mouse (i.e. move
the pointer to it, press, and hold the left button down) you
can drag the entire file selector to a new spot on the
screen. The file selector will appear at this same spot
every time you use it, until you leave the program.
Below this line, you will see a line of text containing the
pathname. You cannot change this line directly. More on
this later.
Below the pathname is the major component of the file
selector: the filenames. This large white box contains up to
24 filenames at a time. To select a filename, just click on
it. Then click on the "Okay" button, which you will find in
the lower right hand corner of the file selector. You can
also just double-click on the filename and skip clicking on
the "Okay" button; it will do the same thing.
Below the white filename box you will see the name of the
currently selected file. This filename can be edited with
the keyboard. You can use the left and right arrow keys,
BACKSPACE, and DELETE to edit this filename. You will not be
able to enter an illegal filename. You can press ESC to
erase the filename completely; CTRL and the left or right
arrow key will move the cursor to the beginning and end of
the filename, respectively.
In the lower right hand corner of the file selector you will
find two buttons, "Okay" and "Cancel". Selecting "Okay"
confirms the choice listed in the "Filename" area in the
lower left hand corner of the file selector. Selecting
"Cancel" aborts this selection process. Pressing RETURN on
the keyboard is the same as selecting "Okay"; pressing UNDO
is the same as selecting "Cancel".
Directly to the right of the white filename box is a vertical
slider. This is only useful when there are more than 24
files in the current folder. You can use the up and down
arrow buttons to scroll the names; you can click above or
below the slider itself to move the slider in that direction
quickly; or you can drag the slider to a new position
directly.
Sound Lab 1.0 Page 30
You may have noticed some of the names in the white filename
box have a small > symbol to their left. These aren't files;
they are folders. You can click on a folder's name (just
once) to change the current folder and see what's inside it.
The pathname line directly above the white filename box will
reflect the change--the new folder name will be added on the
end. To exit back out of the folder, you can either select
the "<-" button in the upper right hand corner of the file
selector, or click on the part of the pathname that you want
to go to. For example, if your current folder is
"D:\SAMPLES\AVR\" and you wanted to go back to the SAMPLES
folder, you could either select the "<-" button, or click on
the word "SAMPLES" in the pathname line. You can jump back
several folders at a time with just one click. In the
example above, you could click on "D:\" and go to the main
directory of the disk, whereas it would take two clicks of
the "<-" button to do the same.
There are three other buttons in the upper right hand corner
of the file selector. One has a drive letter on it; another
has a disk icon on it; the third has "*.*" on it. The drive
letter button allows you to quickly change the current drive.
Just click and hold the mouse button down on the drive
letter. Move the mouse pointer to the drive you want to use,
and release the mouse button. You will not be able to select
a drive that does not exist--this also means drive B, so if
you have a single floppy drive, forget about drive B.
The disk icon button serves no other purpose but to tell the
file selector that you have inserted another disk, and you
would like to reread the disk's directory.
The "*.*" icon, however, will require some explanation. This
button calls up another dialog that allows you to select the
"search mask". The search mask is how you tell the file
selector which files you want to see in the white filename
box. You shouldn't normally need to use this. Before
explaining about the search mask dialog, a little explanation
about search masks themselves is necessary. Search masks are
just filenames with wildcards in them. There are two
wildcard characters that are used: the asterisk (*) and the
question mark (?). The question mark represents any
letter--but only one letter. The asterisk represents any
number of letters. Here's some examples to make things
clearer: the wildcard SND?.AVR would match SND1.AVR,
SND2.AVR, and SNDZ.AVR, but not SOUN.AVR, SND.AVR, or
SND23.AVR. The wildcard SND*.AVR would match SND1.AVR,
SND2.AVR, SNDZ.AVR, SND.AVR, SND23.AVR, and SNDTHING.AVR, but
not SOUND.AVR or SOUND19.AVR. See? That's why the wildcard
"*.*" is used to mean all files--because it matches all
filenames. Any number of characters, of any type, match the
first *. Then there's the period, which separates the name
from the extension. The last * matches any extension, no
matter how long it is. The catch here is that GEMDOS takes a
Sound Lab 1.0 Page 31
shortcut when it comes to "*.*". That wildcard shouldn't
match the filename "TEST", because it doesn't have a period
in it. But because GEM doesn't actually record the period on
the disk, it assumes it is there. So when GEMDOS checks for
files, "TEST" comes out to be "TEST.", and so fits the
wildcard.
You've undoubtedly used wildcards before. In the GEM File
Selector, the wildcard appears at the end of the pathname.
Many programs make use of wildcards to mask out files you
don't need to worry about. For example, when selecting a
picture from SPC-3375 (a Spectrum picture viewer), it uses a
search mask of *.SP?. This allows all files to appear in the
GEM File Selector, as long as the first two letters of the
extension are "SP". So anything with an extension of "SPC"
and "SPU" will show up. Unfortunately, anything with an
extension of "SPX" or "SPQ" will also show up. It would be
nice if there was an easy way to allow only the extensions
"SPC" and "SPU".
The dmj software file selector allows you to do just that.
It allows you to take several wildcards and chain them
together to make one mask; a file only needs to fill one of
the wildcards to appear in the white filename box. You
separate wildcards with the vertical bar character, |. So to
display just Spectrum pictures, you'd use the mask
"*.SPC|*.SPU", instead of the less precise "*.SP?". Of
course, you don't use pictures in Sound Lab; that's why the
default mask is "*.AVR|*.SPL|*.SAM"--it shows only .AVR,
.SPL, and .SAM type files.
Now that the enhanced wildcards have been explained, I can
explain how to use the "*.*" dialog. You will see ten lines
in the dialog, each with a different search mask. To select
one of these search masks, just select its button, which can
be found at the left side of the dialog. You can select "Ok"
to confirm your choice, or double-click on your choice to
avoid the "Ok" button. You can press F1-F10 in place of
click on the selection buttons, and you can press RETURN in
place of clicking on the "Ok" button. If you want to change
one of the search masks, click on the mask you want to
change. Then use the arrow keys, BACKSPACE, and DELETE to
edit the search mask on that line. Remember that simply
editing a mask does not select it; you must choose its button
on the left hand side. Also note that you cannot edit the
top two lines. These are reserved. The top line has the
mask provided when the fileselector was called up; the second
line has the catch-all "*.*".
This fileselector is very similar to the one used in DMJ GIF.
The difference is that you can now press F1-F10 in the
fileselector itself, without having to call up the search
mask dialog; you can also use ALT-A through ALT-P to switch
or reread drives.
Sound Lab 1.0 Page 32
-------- If Something Goes Wrong
Inevitably you will, at one point, find that things are not
going well for you. Here's a list of common things that
might go wrong, and brief explanations of how to fix them.
--- Sound Lab won't load.
Hopefully it told you what was wrong; if so, fix it.
Otherwise, it's possible that you have a damaged file (not
likely) or that Sound Lab doesn't like one of your
accessories or AUTO programs. If this is the case, fiddle
around with them and see if you can get Sound Lab to load; if
you figure out which one(s) Sound Lab doesn't like, please
tell me, so I can pass it on to other users.
--- Mouse won't move during play/record functions.
That's normal. When you move the mouse, it grabs time from
the processor, and that screws up the timing for those sound
routines. So the mouse is disabled whenever timing is
critical.
--- No sound during playback.
Turn up your monitor's volume. Or (if you're using the STe
sound) turn up whatever the STe's speaker ports are connected
to. The same goes for the Cartridge output. It's also
possible that you don't have a sound loaded. If you see a
flat line in the sample window, then no sound is loaded!
--- No sound during record/listen.
Turn up the volume on your sound source. Use the Monitor
function to check the volume, and adjust it correctly. Also
make sure that your cartridge is connected, and you have a
sound source connected. Neither the ST Replay nor Daatasound
cartridge amplify the sound source, so most microphones
cannot be connected directly to the cartridge. Use a
cassette recorder or portable CD player for best results.
--- Sample is very noisy, hard to hear.
You may have a signed sample. Try using "High Bit" to fix
it. (See Tips.)
--- Record/Listen are noisy.
Make sure you're using either ST Replay or Daatasound
cartridges. Other cartridges are not proven to work; I make
no claims for them. Also, use only high quality connections
between your sound source and cartridge; one bad connector
can ruin an otherwise good setup.
Sound Lab 1.0 Page 33
--- Samples don't load at the correct speed.
Use .AVR format when saving files. This records not only the
sample, but also the speed of the sample and any looping that
may go with it.
--- Loading or Saving produces errors.
It's possible that a disk could be damaged. If Sound Lab has
a problem with a disk, it will tell you what it is. If the
disk is damaged, you will need to save to another disk. If
you don't have another disk formatted, you can use Sound
Lab's /Format/ option to format a disk for you. You may also
need to do this if your disk gets full.
--- GFA BASIC Errors
You're up late one night, fiddling with your finest sounds,
and you get an alert saying, "GFA BASIC Error". Ugh.
Hopefully this won't happen to you. Sound Lab has been
extensively tested with a wide variety of AUTO programs on a
large selection of STs. On the off chance that something
does go wrong, I'd like to know about it. Please tell me
what happened, what you were doing just before it happened,
and which accessories and AUTO programs you're using.
Seriously--the more information I have, the better the chance
that I can figure out what went wrong. It wouldn't hurt to
tell me what kind of computer you're using, either.
Sound Lab 1.0 Page 34
-------- Quick Reference & Keyboard Shortcuts
This section lists all of the capabilities of Sound Lab, with
a brief description of them and their keyboard equivalents.
Throughout these descriptions, "Block" refers to your marked
block; "File" or "Sample" refers to the entire sample loaded
into memory; and "Buffer" refers to the area of memory set
aside by Sound Lab to store chunks Cut or Copied from the
sample. All keyboard equivalents are in lower case, except
where "Shift" is noted.
"Play" Plays the current block at the current speed.
Space bar also activates this option. If the
"Play" button appears inside a dialog, the
space bar activates it there too.
"Monitor" Displays the input from the sound cartridge
over the sample window, allowing the volume of
the sound source to be adjusted. The display
should show a wide range of motion, but should
not appear clipped at the top or bottom.
("M")
"Record" Allows the recording of sound, but only over
the current block. If the entire file is
marked as the block, then you can record into
the entire file area (as shown by "Memory
size"). You can choose to "Wait" for the
sound or "Start" immediately. (Return)
Sound Lab works with the Pandaal DaataSound
cartridge, and the ST Replay (non-stereo)
cartridge.
"Speed" Allows the adjustment of the current speed.
Brings up a dialog, with 11 preset speeds, the
ability to double or halve the speed, go up or
down a tone (as in music), adjust the speed
with a slider, or enter it directly. Valid
speeds range from 4.915KHz to 30.72KHz. (The
ST's sound chip can't go faster than that.)
You can "Play" the speed right in the dialog;
"Okay" confirms the change, "Cancel" aborts
it. Keyboard equivalents are F1-F10, F20,
"D", "H", up arrow, down arrow, space, Return,
and Undo. The function keys can also be used
at the main screen. ("P") The "Convert"
button is used to convert the sample from the
current speed to the newly selected speed.
"Zoom In" These keys adjust the zoom level. Max zoom
"Zoom Out" shows the entire file; 1x means each pixel on
the screen is one byte in the file. Max, 16x,
8x, 4x, 2x, and 1x are the available zoom
levels. "Z" and "A" are the equivalents.
"Hide Blk" This will temporarily hide the selected block,
selecting the entire file. The button (which
can be activated by "H") will "stick"; click
Sound Lab 1.0 Page 35
on it again to reveal your block.
"Cut" Cuts the block from the file, pulling the
remaining sample down. This block is then
stored in a buffer (the "Memory size" will
change to reflect the change in available
space). ("X")
"Copy" Like Cut, except it won't remove the block
from the file. ("C")
"Clear" When you hit this button, an alert will
appear, asking what you want to clear. You
can clear your "Block", which will replace
your marked block with silence; you can clear
your "Buffer", giving you more memory for
recording and such; or you can clear
"Everything", which erases _all_ of your
sample and buffer. If you elect to clear your
block, and your block is the whole file, then
Sound Lab will reset to the way it was when it
was loaded (all memory, except the buffer,
available for recording). Note that if you
"Record" while your whole file is marked as a
block, you can record as much as you have RAM
for, so this is not really necessary. (Home)
"Insert" Inserts the block stored in the buffer (with
Cut & Copy) into the sample before the left
block marker. If there isn't enough room for
the Insert, you'll be presented with four
options: Lose Sample, Lose Buffer, Insert to
Fit, and Cancel. Lose Sample will cause the
end of the sample to be lost; Lose Buffer will
preserve all of the sample, but trashes the
block in the process; and Insert to Fit will
insert as much of the buffer as will fit.
("I")
"Overlay" Brings up the Overlay dialog. In this three
waves are displayed; light blue is the block,
dark blue is the buffer, and black is the
result of merging the two together. The
slider on the left adjusts the block volume,
and the slider on the right adjusts the buffer
volume. The "Length" buttons allow you to
choose which sample (block or buffer) you want
as the length to Overlay with; the "Repeat"
buttons allow you to choose whether or not to
repeat the buffer if the Overlay is longer
than the buffer. Click on "Okay" to overlay
the samples, or "Cancel" to abort. ("O")
"Volume" Allows the volume of the block to be changed.
In the dialog, you can use the slider to set
the volume change, or enter it directly.
Valid values are from 0.25 (volume x 1/4) to 4
(volume x 4). The diagram shows the original
sample (blue) and the proposed change (black).
You can use the "Play" button to test the
Sound Lab 1.0 Page 36
change, hearing any distortion that will be
introduced because of the change. Clicking on
"Cancel" after the "Play" _will_ abort the
change; you _must_ click on "Okay" for the
change to take effect. ("V")
"Remove" This is like Cut, except it doesn't copy the
block to the buffer first. Since there is no
undo of this, you will be asked if you are
sure. (Delete)
"Loop" Allows the setting or clearing of a loop.
Brings up an alert with four buttons, "Set
Loop", "Reset Block", "Loop On/Off", and
"Cancel". "Set Loop" sets looping to the
current marked block. "Reset Block" moves the
block markes to the current loop settings.
"Loop On/Off" turns looping on or off (without
changing the loop or block markers), and
"Cancel" does nothing. While looping is on,
"Play" will play the entire sound with
looping, regardless of any marked block; "Set
Loop" and "Reset Block" both turn looping on.
("U")
"Fade" Allows the fading of the block. Don't let the
dialog scare you, it's only slightly more
complicated than the Volume dialog. This time
you have two sliders, one for the start
volume, and one for the end volume. You can
click on the "Fade In" or "Fade Out" buttons
to set the sliders to the appropriate default
positions; "Play" will pre-test the fade
before making it final, and "Shape" will bring
up a small dialog, allowing you to choose the
shape of the fade. In this dialog (or the
main _Fade_ dialog) you can use F1-F4 to
change shapes. ("F")
"Echo" This also looks worse than it is; it allows
you to add echo effects to your block. The
top slider is the volume of each echo compared
to its predecessor (0.5 is a good number).
The second slider is how far apart--in
seconds--the echoes should be. (The current
speed is crucial to the accurate figuring of
this.) And the number of echoes is just that:
how many echoes should be added to the block.
Click on "Okay" to confirm, "Cancel" to abort.
Usually echo spacings of .125 and .062 are
good, and three or four echoes are plenty.
Use "Load" and "Save" to load and save echo
settings. ("E")
"Reverse" Flips the block so it plays backwards. ("R")
"High Bit" Used to toggle between signed samples (.SAM)
and unsigned samples (.SPL). .AVR files may
be of either type; Sound Lab uses unsigned
samples. If the sample looks and sounds very
Sound Lab 1.0 Page 37
noisy, try toggling the high bit. When signed
samples (.SAM or .AVR) are loaded, Sound Lab
automatically toggles the high bit for you, so
you shouldn't need this button very often.
("B")
"Load" If you have your entire file marked as your
current block (as with the "Hide Blk"
function), the entire file area is cleared and
a new file is loaded in (as specified by the
fileselector that pops up). If you don't have
your entire file marked, the file you specify
will be loaded over the sample you currently
have in memory, up to the length of the block
you mark. If you aren't sure which way the
Load is going to work, look at the
fileselector's title bar.
If there isn't enough room for the load
(because either your block or file area is too
small) Sound Lab will bring up the "Load
Partial" dialog; this allows you to choose
exactly which part of the sample to load. Use
the slider in the dialog or enter the amount
of bytes to skip, then select "Okay".
"Cancel" will, of course, abort the load.
"Load" uses the standard dmj software
fileselector, but now you can press ALT-A
through ALT-P to switch drives (and re-read
that drive), and F1-F10 can now be pressed for
the search masks without calling up the search
mask dialog. ("L")
"Save" This saves the currently marked block.
(You'll note the fileselector title reflects
whether or not the block is the entire file.)
The extensions .SPL (raw data, unsigned), .SAM
(raw data, signed), and .AVR (raw data and
header info) are all supported. ("S")
"Help" This button brings up the help system. Since
the Help is self-explanatory, I won't go into
details here. Help can also be activated by
pressing the Help key; this key can be pressed
_anywhere_ to get help with whatever you're
doing.
"Prefs" This brings up the Preferences dialog. ("?")
In this, you will find you can set several
items. The first, "Output", refers to how you
want the digitized sound to be played; choose
"Sound Chip" (for regular ST's), "STe DMA"
(for STe's), or "Cartridge" (if you have an ST
Replay cartridge with output). Clicking on
"STe DMA" will also bring up the _STe_ dialog,
allowing you to adjust the volume, bass, and
treble. Next is the "Window Title", which
sets what is to be displayed in the sample
window title bar; choose "Pathname" (which
Sound Lab 1.0 Page 38
displays the full pathname of the file, at the
expense of some other information) or "Info"
(which displays the filename only, leaving
room for the other info). The third item
refers to how to draw the display; choose
"Points", "Outline", or "Solid". Next is
"Dialog Preview", which sets the display
inside the _Fade_ and _Volume_ dialogs;
"Sample" uses the actual sample(s) involved,
whereas "Wave" uses generic waves. The next
option refers to what units to display sample
sizes in; choose seconds or bytes. The next
item, Menus, refers to how you access the
menus; "Drop-down" is like the typical GEM
menus, but "Pull-down" requires you to press
and hold the mouse button to access the menus
(like Macintosh menus). Next is "Zoombox",
which allows you to turn on ("Yes") or off
("No") the zooming boxes on dialogs. Last is
the "Existing Files" preference, which sets
what Sound Lab will do if you try to save over
an existing file; choose "Erase" (which
clobbers the old file), "Rename" (which
renames the old file to .BAK, killing any
previous .BAK of that name), or "Ask" (which
asks which of the two you want to do every
time the situation comes up). The only other
item here is "Default Speed", which sets the
default speed when Sound Lab first loads.
When you're done setting your preferences,
click on "Save" (which saves the settings to
SOUNDLAB.PRF), "Use" (which keeps the settings
but doesn't save them), or "Cancel" (which
restores the settings to their previous
values).
"Quit" Exits the program. You will be asked if you
are sure.
In addition to these twenty-four buttons, there are ten more
functions that can be accessed by clicking on one of the
twenty-four buttons with the _right_ mouse button. While the
right mouse button is down, you will see the buttons change
their labels to reflect the change in functions. Each is
placed "under" the most logical button for it.
"Play Buf" Plays the sample currently stored in the
buffer (from Cut or Copy) at the current
speed. (Shift space)
"Listen" Plays the input on the digitizer cartridge
through the monitor speaker, at the current
sampling rate. This allows you to hear the
quality of the digitized sound before actually
recording anything. (Shift "M")
"Min Zoom" Zooms in to 1x magnification. (Shift "Z")
Sound Lab 1.0 Page 39
"Max Zoom" Zooms out to Max magnification. (Shift "A")
"Gap" Inserts a chunk of silence before the left
block marker; this chunk is just as long as
the marked block is. If there isn't enough
memory for this, the Insert dialog will
appear, asking what you want to do about it.
("G", Shift "G")
"Ins File" Like Insert, but inserts a file instead of the
buffer. The fileselector will appear,
allowing you to select the file to be used.
(Shift "I")
"Ovly File" Like Overlay, but overlays a file instead of
the buffer. (Shift "O")
"Trim" Like "Remove", except that it removes
everything from the file that _isn't_ between
the block markers. This is useful if you have
just recorded a sample, and there are "pops"
at the start and end. Just mark the block so
that you can't hear any "pops", and select
Trim. This also requires confirmation.
("T")
"Load Buf" Allows you to load a file directly into the
buffer. If there isn't enough room for the
file, Sound Lab will ask you if you want to
overwrite the end of your sample to try to fit
in the buffer. Answer "Yes" or "No". If you
answer "No", Sound Lab will present you with
the "Load Partial" dialog, allowing you to
choose which portion of the file to load.
(Shift "L")
"Save Buf" Allows you to save the contents of the buffer
to disk directly. Other than that, it works
just like Save. (Shift "S")
There are also some other keyboard shortcuts that you should
be aware of. From the main screen, you can press F1 through
F10 and F20 to set the speed. Use ^N, ^D, ^C, ^R, and ^F to
select the /Rename File/, /Delete File/, /Create Folder/,
/Remove Folder/, and /Format Disk/ options; Alt-A through
Alt-P check the free space on that drive. ^I, ^S, and ^T can
be used to select the /Sound Lab/, /Shareware/, and /Thanks/
options from the /Desk/Info/ submenu. In all alerts and
dialogs, Return is "Okay", "Yes", or "Retry", and Undo is
"Cancel" or "No".
Sound Lab 1.0 Page 40
-------- Index
AUTO Folder 7, 28 Folder
Background 26 AUTO 7, 28
Backup Files 11, 26, 28 Create 22, 39
Block 12 Remove 23, 39
Clear 18, 35 Format Disk 23, 39
Convert 20, 34 Free Space 23, 39
Copy 14, 35 Gap 18, 39
Cut 13, 35 Help 7, 37
Echo 20, 36 Hide Block 12, 34
Fade 19, 36 High Bit 24, 32, 36
Gap 18, 39 Info 22
Hide 12, 34 Insert 14, 35
Load 25, 37 File 17, 39
Loop 15, 36 Listen 10, 38
Mark 12 Load 8, 33, 37
Play 12, 34 Block 25
Record 12, 34 Buffer 17, 39
Remove 15, 36 Echo 20, 36
Reverse 20, 36 Partial 25
Save 26, 37 Sound Lab 6, 32
Trim 15, 39 Looping 9, 15, 36
Volume 18, 35 Menus 22, 28, 39
Buffer 13, 34 Monitor 10, 34
Insert 14, 35 Moving Dialogs 24
Load 17, 39 Overlay 16, 35
Overlay 16, 35 Background 26
Play 14, 38 File 17, 39
Save 17, 39 Play 9, 34
Cartridge 6, 32 Block 12
Installing 6 Buffer 14,17,38
Playing Through 27, 37 in Fade 19, 36
Clear 18, 35 in Speed 9, 34
Copy 14, 35 in STe 27
Create Folder 22, 39 in Volume 19, 35
Cut 13, 35 Preferences 27, 37
Delete File(s) 22, 39 Preview
Echo 20, 36 Fade 19, 36
Techniques 26 Overlay 16, 35
Effects 18 Sample 27, 38
Fade 19, 36 Volume 18, 35
File(s) Wave 27, 38
Backups 11, 26, 28 Quit 7, 23, 38
Delete 22, 39 Record 10, 34
Formats 8, 9, 25, 33 Block 12
Insert 17, 39 Speed 24
List of 6 Remove 15, 36
Load 8, 33 Folder 23
Overlay 17, 39 Rename File 22, 39
Rename 22, 39 Reverse 20, 36
Save 10, 33 Sampling Rates 4
Fileselector 29 Choosing 24
Sound Lab 1.0 Page 41
Save 10, 33, 37
Block 26
Buffer 17, 39
Echo 20, 36
Partial 26
Speed 8, 34
Convert 20
Tips 24
Title Screen 7
Bypassing 24
Trim 15, 39
Volume 18, 35
Adjusting 10, 32
Window 7
Display 8, 27, 38
Title 7, 8, 27, 38
Zoom 12, 34, 38, 39
