четвъртък, 28 януари 2010 г.
Chorus effect
The Chorus effect simulates the sound of several of the same instrument playing the same notes. Adding a Chorus effect works by adding very short delays and modulating the delay times.
Chorusing is very effective on stringed instruments and can be used as a special effect on vocals and other instruments.
What do you want to do?
Apply a simple chorus
Open the Sonic Foundry Chorus dialog.
Choose a preset from the Name drop-down list, or adjust the controls as desired:
a. Drag the Input gain fader to set the gain that is applied to the signal before processing.
b. Drag the Dry out fader to set the level of the unprocessed signal that will be mixed into the output.
c. Drag the Chorus out fader to set the level of the processed signal that will be mixed into the output.
d. Drag the Chorus out delay slider to select the delay time that will be the middle point for the modulation.
Chorusing effects are typically created with delay times between 25 and 50 milliseconds, depending on the source material. Shorter delay times will create a flanging effect, and longer delay times will create a doubling or slap-back delay effect.
e. Drag the Modulation rate slider to determine how fast the delay time is modulated. Choose values of 0.3 to 1 Hz for subtle modulation. Higher values will produce more intense effects.
Modulation will not be heard until you increase the Modulation depth setting.
f. Drag the Modulation depth slider to determine how far outside of the initial setting the delay time is modulated. Higher settings will create detuning effects. Lower settings are better for creating lush guitar and string effects.
Increase the chorus size
Drag the Chorus size slider to specify how many times the selection is processed with the chorus algorithm.
A larger Chorus size setting will add depth to the effect and will emphasize the effects of the Feedback setting.
Add feedback
Drag the Feedback slider to specify the percentage of the processed signal that you want to re-process.
Increasing feedback is another way to thicken up the chorus effect. By increasing the Feedback setting, additional delays are added to the signal. The result can range from subtly increasing the girth of the chorus to adding dramatic discrete echoes.
Invert the phase of the chorus or feedback signal
Select the Invert the chorus phase check box if you want to invert the phase of the processed signal before mixing it with the unprocessed signal.
Select the Invert the feedback phase check box if you want to invert the phase of the feedback signal before adding it to the chorused signal.
Inverting sound data reverses the polarty of a waveform around its baseline. Inverting a waveform does not change the sound of a file; however, when you mix different sound files, phase cancellation can occur, producing a "hollow" sound. Inverting one of the files can prevent phase cancellation.
In the following example, the red line represents the baseline, and the lower waveform is the inverted image of the upper waveform:
Attenuate high frequencies
Select the Attenuate high frequencies above check box and drag the slider to apply a low-pass filter to your selection. Frequencies above the frequency specified by the slider will be filtered.
A wide variety of non-chorus-like effects can be created with this function: if the Modulation depth is high, a vibrato effect will occur; if the Chorus out delay is small, flanging occurs.
Apply a simple chorus
Open the Sonic Foundry Chorus dialog.
Choose a preset from the Name drop-down list, or adjust the controls as desired:
a. Drag the Input gain fader to set the gain that is applied to the signal before processing.
b. Drag the Dry out fader to set the level of the unprocessed signal that will be mixed into the output.
c. Drag the Chorus out fader to set the level of the processed signal that will be mixed into the output.
d. Drag the Chorus out delay slider to select the delay time that will be the middle point for the modulation.
Chorusing effects are typically created with delay times between 25 and 50 milliseconds, depending on the source material. Shorter delay times will create a flanging effect, and longer delay times will create a doubling or slap-back delay effect.
e. Drag the Modulation rate slider to determine how fast the delay time is modulated. Choose values of 0.3 to 1 Hz for subtle modulation. Higher values will produce more intense effects.
Modulation will not be heard until you increase the Modulation depth setting.
f. Drag the Modulation depth slider to determine how far outside of the initial setting the delay time is modulated. Higher settings will create detuning effects. Lower settings are better for creating lush guitar and string effects.
Increase the chorus size
Drag the Chorus size slider to specify how many times the selection is processed with the chorus algorithm.
A larger Chorus size setting will add depth to the effect and will emphasize the effects of the Feedback setting.
Add feedback
Drag the Feedback slider to specify the percentage of the processed signal that you want to re-process.
Increasing feedback is another way to thicken up the chorus effect. By increasing the Feedback setting, additional delays are added to the signal. The result can range from subtly increasing the girth of the chorus to adding dramatic discrete echoes.
Invert the phase of the chorus or feedback signal
Select the Invert the chorus phase check box if you want to invert the phase of the processed signal before mixing it with the unprocessed signal.
Select the Invert the feedback phase check box if you want to invert the phase of the feedback signal before adding it to the chorused signal.
Inverting sound data reverses the polarty of a waveform around its baseline. Inverting a waveform does not change the sound of a file; however, when you mix different sound files, phase cancellation can occur, producing a "hollow" sound. Inverting one of the files can prevent phase cancellation.
In the following example, the red line represents the baseline, and the lower waveform is the inverted image of the upper waveform:
Attenuate high frequencies
Select the Attenuate high frequencies above check box and drag the slider to apply a low-pass filter to your selection. Frequencies above the frequency specified by the slider will be filtered.
A wide variety of non-chorus-like effects can be created with this function: if the Modulation depth is high, a vibrato effect will occur; if the Chorus out delay is small, flanging occurs.
Chorusing is very effective on stringed instruments and can be used as a special effect on vocals and other instruments.
What do you want to do?
Apply a simple chorus
Open the Sonic Foundry Chorus dialog.
Choose a preset from the Name drop-down list, or adjust the controls as desired:
a. Drag the Input gain fader to set the gain that is applied to the signal before processing.
b. Drag the Dry out fader to set the level of the unprocessed signal that will be mixed into the output.
c. Drag the Chorus out fader to set the level of the processed signal that will be mixed into the output.
d. Drag the Chorus out delay slider to select the delay time that will be the middle point for the modulation.
Chorusing effects are typically created with delay times between 25 and 50 milliseconds, depending on the source material. Shorter delay times will create a flanging effect, and longer delay times will create a doubling or slap-back delay effect.
e. Drag the Modulation rate slider to determine how fast the delay time is modulated. Choose values of 0.3 to 1 Hz for subtle modulation. Higher values will produce more intense effects.
Modulation will not be heard until you increase the Modulation depth setting.
f. Drag the Modulation depth slider to determine how far outside of the initial setting the delay time is modulated. Higher settings will create detuning effects. Lower settings are better for creating lush guitar and string effects.
Increase the chorus size
Drag the Chorus size slider to specify how many times the selection is processed with the chorus algorithm.
A larger Chorus size setting will add depth to the effect and will emphasize the effects of the Feedback setting.
Add feedback
Drag the Feedback slider to specify the percentage of the processed signal that you want to re-process.
Increasing feedback is another way to thicken up the chorus effect. By increasing the Feedback setting, additional delays are added to the signal. The result can range from subtly increasing the girth of the chorus to adding dramatic discrete echoes.
Invert the phase of the chorus or feedback signal
Select the Invert the chorus phase check box if you want to invert the phase of the processed signal before mixing it with the unprocessed signal.
Select the Invert the feedback phase check box if you want to invert the phase of the feedback signal before adding it to the chorused signal.
Inverting sound data reverses the polarty of a waveform around its baseline. Inverting a waveform does not change the sound of a file; however, when you mix different sound files, phase cancellation can occur, producing a "hollow" sound. Inverting one of the files can prevent phase cancellation.
In the following example, the red line represents the baseline, and the lower waveform is the inverted image of the upper waveform:
Attenuate high frequencies
Select the Attenuate high frequencies above check box and drag the slider to apply a low-pass filter to your selection. Frequencies above the frequency specified by the slider will be filtered.
A wide variety of non-chorus-like effects can be created with this function: if the Modulation depth is high, a vibrato effect will occur; if the Chorus out delay is small, flanging occurs.
Apply a simple chorus
Open the Sonic Foundry Chorus dialog.
Choose a preset from the Name drop-down list, or adjust the controls as desired:
a. Drag the Input gain fader to set the gain that is applied to the signal before processing.
b. Drag the Dry out fader to set the level of the unprocessed signal that will be mixed into the output.
c. Drag the Chorus out fader to set the level of the processed signal that will be mixed into the output.
d. Drag the Chorus out delay slider to select the delay time that will be the middle point for the modulation.
Chorusing effects are typically created with delay times between 25 and 50 milliseconds, depending on the source material. Shorter delay times will create a flanging effect, and longer delay times will create a doubling or slap-back delay effect.
e. Drag the Modulation rate slider to determine how fast the delay time is modulated. Choose values of 0.3 to 1 Hz for subtle modulation. Higher values will produce more intense effects.
Modulation will not be heard until you increase the Modulation depth setting.
f. Drag the Modulation depth slider to determine how far outside of the initial setting the delay time is modulated. Higher settings will create detuning effects. Lower settings are better for creating lush guitar and string effects.
Increase the chorus size
Drag the Chorus size slider to specify how many times the selection is processed with the chorus algorithm.
A larger Chorus size setting will add depth to the effect and will emphasize the effects of the Feedback setting.
Add feedback
Drag the Feedback slider to specify the percentage of the processed signal that you want to re-process.
Increasing feedback is another way to thicken up the chorus effect. By increasing the Feedback setting, additional delays are added to the signal. The result can range from subtly increasing the girth of the chorus to adding dramatic discrete echoes.
Invert the phase of the chorus or feedback signal
Select the Invert the chorus phase check box if you want to invert the phase of the processed signal before mixing it with the unprocessed signal.
Select the Invert the feedback phase check box if you want to invert the phase of the feedback signal before adding it to the chorused signal.
Inverting sound data reverses the polarty of a waveform around its baseline. Inverting a waveform does not change the sound of a file; however, when you mix different sound files, phase cancellation can occur, producing a "hollow" sound. Inverting one of the files can prevent phase cancellation.
In the following example, the red line represents the baseline, and the lower waveform is the inverted image of the upper waveform:
Attenuate high frequencies
Select the Attenuate high frequencies above check box and drag the slider to apply a low-pass filter to your selection. Frequencies above the frequency specified by the slider will be filtered.
A wide variety of non-chorus-like effects can be created with this function: if the Modulation depth is high, a vibrato effect will occur; if the Chorus out delay is small, flanging occurs.
Reverb
Reverb
Reverb allows you to recreate the space that is typically lost with close-miking techniques. It may also be used to create effects by placing sounds in spaces where they would normally never be heard.
What do you want to do?
Apply a simple reverb
Open the Sonic Foundry Reverb dialog.
Choose a preset from the Name drop-down list, or adjust the controls as desired:
a. Choose a Reverberation mode from the drop-down list.
These modes are the basic types of reverb simulation available to you in the Reverb dialog. Rather than determine the length of the reverb, these modes determine parameters such as diffusion and the reflective patterns of the echoes that make up a reverb.
b. Drag the Dry out fader to set the level of the unprocessed signal that will be mixed into the output.
c. Drag the Reverb out fader to set the level of the processed signal that will be mixed into the output.
d. Choose an Early reflection style from the drop-down list, and drag the Early out slider to adjust the early reflections mixed into the output.
Early reflections are the first reflections you hear when a sound is created in a space. These reflections have typically only bounced once before reaching your ears. The human ear uses these first reflections to judge the size of the space.
e. Drag the Decay time slider to specify the length of the reverb. Decay time is the time it takes for the reverb to decay to -60 dB below its initial level. Typically, anything over three seconds is a very long reverb. Most small rooms have decay times of less than one second.
f. Drag the Pre-delay slider to specify the time between the initial sound and the start of the reverb. Pre-delay is another parameter that gives the human ear cues about how big a space is. Long Pre-delay times are usually associated with large spaces.
Adjust the placement of the source and reverb signals
You can adjust the Dry out, Reverb out, and Early out faders to sculpt the sound and place the source closer to or farther from the listener in the space you have created. A higher balance of dry signal will make the source sound closer. A higher balance of reverb will place the source farther away in the space.
Apply high- and low-pass filters
Reverb tends to lose high- and low-frequency material as it is reflected in a space. You can apply high- and low-pass filters to your signal to simulate the frequency loss of a space.
Select the Attenuate bass freqs. below check box and drag the slider if you want to filter low frequencies. Sounds below the specified frequency will be attenuated.
Select the Attenuate high freqs. above check box and drag the slider if you want to filter high frequencies. Sounds above the specified frequency will be attenuated.
Dull rooms will typically attenuate high frequencies starting around 4000 Hz. Brighter rooms will begin attenuation at higher frequencies.
Reverb allows you to recreate the space that is typically lost with close-miking techniques. It may also be used to create effects by placing sounds in spaces where they would normally never be heard.
What do you want to do?
Apply a simple reverb
Open the Sonic Foundry Reverb dialog.
Choose a preset from the Name drop-down list, or adjust the controls as desired:
a. Choose a Reverberation mode from the drop-down list.
These modes are the basic types of reverb simulation available to you in the Reverb dialog. Rather than determine the length of the reverb, these modes determine parameters such as diffusion and the reflective patterns of the echoes that make up a reverb.
b. Drag the Dry out fader to set the level of the unprocessed signal that will be mixed into the output.
c. Drag the Reverb out fader to set the level of the processed signal that will be mixed into the output.
d. Choose an Early reflection style from the drop-down list, and drag the Early out slider to adjust the early reflections mixed into the output.
Early reflections are the first reflections you hear when a sound is created in a space. These reflections have typically only bounced once before reaching your ears. The human ear uses these first reflections to judge the size of the space.
e. Drag the Decay time slider to specify the length of the reverb. Decay time is the time it takes for the reverb to decay to -60 dB below its initial level. Typically, anything over three seconds is a very long reverb. Most small rooms have decay times of less than one second.
f. Drag the Pre-delay slider to specify the time between the initial sound and the start of the reverb. Pre-delay is another parameter that gives the human ear cues about how big a space is. Long Pre-delay times are usually associated with large spaces.
Adjust the placement of the source and reverb signals
You can adjust the Dry out, Reverb out, and Early out faders to sculpt the sound and place the source closer to or farther from the listener in the space you have created. A higher balance of dry signal will make the source sound closer. A higher balance of reverb will place the source farther away in the space.
Apply high- and low-pass filters
Reverb tends to lose high- and low-frequency material as it is reflected in a space. You can apply high- and low-pass filters to your signal to simulate the frequency loss of a space.
Select the Attenuate bass freqs. below check box and drag the slider if you want to filter low frequencies. Sounds below the specified frequency will be attenuated.
Select the Attenuate high freqs. above check box and drag the slider if you want to filter high frequencies. Sounds above the specified frequency will be attenuated.
Dull rooms will typically attenuate high frequencies starting around 4000 Hz. Brighter rooms will begin attenuation at higher frequencies.
Graphic EQ
Graphic EQ is a powerful plug-in that allows you to tailor sound with pre-defined bands or a user-definable envelope graph. Graphic EQ is divided into three pages: Envelope, 10 band, and 20 band.
You can create a rough representation of a filter with the 10- or 20-band page and then switch to the envelope page to fine-tune the frequency spectrum.
What do you want to do?
Use the envelope graph
Open the Sonic Foundry Graphic EQ dialog.
Choose a preset from the Name drop-down list.
Click the Envelope tab.
Adjust the envelope graph:
Drag the small boxes (envelope points) up or down. When the envelope is below the centerline, signals of the corresponding frequency level are attenuated. When the envelope is above the centerline, the signal is boosted.
To create a new envelope point, left-click on any point of the envelope.
To delete an envelope point, click it with the right mouse button, or double-click it with the left mouse button.
To move all envelope points, press Ctrl+A and drag when the envelope has focus (the cursor will be displayed as a ).
Click the Reset button to reset the graph.
Choose a setting from the Accuracy drop-down list to determine a balance between filter precision and processing speed.
Low precision is not recommended for performing very sharp filtering, when filtering very low frequencies, or when using a high sample rate.
Drag the Output gain fader if you want to apply a gain after processing.
Use the 10- or 20-Band EQ
Faders for high frequencies will be unavailable when working with files that use low sample rates.
Open the Sonic Foundry Graphic EQ dialog.
Choose a preset from the Name drop-down list.
Click the 10-Band or 20-Band tab.
Drag the frequency-band faders to boost or attenuate the selected frequency band.
To quickly disable a band, set the gain to 0.0 dB by double-clicking the fader handle.
The frequency displayed at the bottom of the fader is the center frequency of the frequency band affected by the fader.
Choose a setting from the Accuracy drop-down list to determine a balance between filter precision and processing speed.
Low precision is not recommended for performing very sharp filtering, when filtering very low frequencies, or when using a high sample rate.
Drag the Output gain fader if you want to apply a gain after processing.
You can create a rough representation of a filter with the 10- or 20-band page and then switch to the envelope page to fine-tune the frequency spectrum.
What do you want to do?
Use the envelope graph
Open the Sonic Foundry Graphic EQ dialog.
Choose a preset from the Name drop-down list.
Click the Envelope tab.
Adjust the envelope graph:
Drag the small boxes (envelope points) up or down. When the envelope is below the centerline, signals of the corresponding frequency level are attenuated. When the envelope is above the centerline, the signal is boosted.
To create a new envelope point, left-click on any point of the envelope.
To delete an envelope point, click it with the right mouse button, or double-click it with the left mouse button.
To move all envelope points, press Ctrl+A and drag when the envelope has focus (the cursor will be displayed as a ).
Click the Reset button to reset the graph.
Choose a setting from the Accuracy drop-down list to determine a balance between filter precision and processing speed.
Low precision is not recommended for performing very sharp filtering, when filtering very low frequencies, or when using a high sample rate.
Drag the Output gain fader if you want to apply a gain after processing.
Use the 10- or 20-Band EQ
Faders for high frequencies will be unavailable when working with files that use low sample rates.
Open the Sonic Foundry Graphic EQ dialog.
Choose a preset from the Name drop-down list.
Click the 10-Band or 20-Band tab.
Drag the frequency-band faders to boost or attenuate the selected frequency band.
To quickly disable a band, set the gain to 0.0 dB by double-clicking the fader handle.
The frequency displayed at the bottom of the fader is the center frequency of the frequency band affected by the fader.
Choose a setting from the Accuracy drop-down list to determine a balance between filter precision and processing speed.
Low precision is not recommended for performing very sharp filtering, when filtering very low frequencies, or when using a high sample rate.
Drag the Output gain fader if you want to apply a gain after processing.
Paragraphic EQ
Paragraphic EQ
The Paragraphic EQ is a set of six very flexible parametric filters. Four independent band filters allow you to boost or attenuate specific frequency ranges. In addition, two shelving filters let you control the amount of low and high frequencies in your recordings. A Gain vs. Frequency graph shows the overall effect of the combined filters, making it easier to visualize the final sound.
Removing very low and inaudible frequencies after recording eliminates any DC offset and gives your sounds more headroom for audible frequencies.
Using the Paragraphic EQ
Open the Sonic Foundry Paragraphic EQ dialog.
Choose a preset from the Name drop-down list, or adjust the controls as desired:
a. Drag the Dry Out fader to set the level of the unprocessed signal mixed into the output.
b. Drag the Wet Out fader to set the level of the processed signal mixed into the output.
c. Drag the Gain fader to set the amount of boost or cut for the band. To quickly disable a band, set the Gain to 0.0 dB by double-clicking on the fader handle.
d. Drag the Width slider to specify the number of octaves (centered on the selected frequency) that will be affected by the filtering. Use a high value to affect a greater range of frequencies and a low value for a more selective (notch) filter.
e. Drag the Center frequency slider to specify the center of the selected frequency band.
f. Select the Enable low-shelf check box to attenuate or boost frequencies below the low-shelf cutoff frequency. The low-shelf cutoff frequency and gain are determined by the sliders to the right of the Enable low-shelf check box.
g. Select the Enable high-shelf check box to attenuate or boost frequencies above the high-shelf cutoff frequency. The high-shelf cutoff frequency and gain are determined by the sliders to the right of the Enable high-shelf check box.
The Paragraphic EQ is a set of six very flexible parametric filters. Four independent band filters allow you to boost or attenuate specific frequency ranges. In addition, two shelving filters let you control the amount of low and high frequencies in your recordings. A Gain vs. Frequency graph shows the overall effect of the combined filters, making it easier to visualize the final sound.
Removing very low and inaudible frequencies after recording eliminates any DC offset and gives your sounds more headroom for audible frequencies.
Using the Paragraphic EQ
Open the Sonic Foundry Paragraphic EQ dialog.
Choose a preset from the Name drop-down list, or adjust the controls as desired:
a. Drag the Dry Out fader to set the level of the unprocessed signal mixed into the output.
b. Drag the Wet Out fader to set the level of the processed signal mixed into the output.
c. Drag the Gain fader to set the amount of boost or cut for the band. To quickly disable a band, set the Gain to 0.0 dB by double-clicking on the fader handle.
d. Drag the Width slider to specify the number of octaves (centered on the selected frequency) that will be affected by the filtering. Use a high value to affect a greater range of frequencies and a low value for a more selective (notch) filter.
e. Drag the Center frequency slider to specify the center of the selected frequency band.
f. Select the Enable low-shelf check box to attenuate or boost frequencies below the low-shelf cutoff frequency. The low-shelf cutoff frequency and gain are determined by the sliders to the right of the Enable low-shelf check box.
g. Select the Enable high-shelf check box to attenuate or boost frequencies above the high-shelf cutoff frequency. The high-shelf cutoff frequency and gain are determined by the sliders to the right of the Enable high-shelf check box.
Parametric EQ
Parametric EQ
The Parametric Equalizer is a set of four frequency-selective filters that allow for very precise changes in the frequency content of a sound signal:
A high-frequency shelf filter attenuates frequencies above a specified cutoff frequency. This filter is useful for removing high-frequency noise such as wind, tape hiss, or computer noise.
A low-frequency shelf filter attenuates frequencies below a specified cutoff frequency. This filter is useful for removing low-frequency rumbles such as wind, electrical hum, or traffic noise.
A band-pass filter attenuates or boosts frequencies outside of a specified range of frequencies. This filter is useful for removing hiss and low-frequency rumble simultaneously or boosting a specific frequency range.
A band-reject (or notch filter) attenuates frequencies within a specified range of frequencies. This filter is useful for removing to remove narrow-bandwidth noise such as amplifier/microphone feedback or 60 Hz electrical hum.
Using the Parametric EQ
Open the Sonic Foundry Parametric EQ dialog.
Choose a preset from the Name drop-down list, or choose a filter from the Filter style drop-down list.
Adjust the filter frequency:
If you're using the High-frequency shelf filter, drag the Cutoff frequency slider to set the frequency above which the filter will be applied. The Transition width slider sets the slope of the filter.
If you're using the Low-frequency shelf filter, drag the Cutoff frequency slider to set the frequency below which the filter will be applied. The Transition width slider sets the slope of the filter.
If you're using the Band-pass or Band-notch/boost filter, drag the Center frequency slider to set the frequency at which the filter will be applied. The Band width slider controls the range of frequencies affected by the filter.
Drag the Amount fader to set the gain applied to the specified frequency band. This gain may be positive or negative.
Drag the Output gain fader if you want to apply a gain after processing.
Choose a setting from the Accuracy drop-down list to determine a balance between filter precision and processing speed.
Low precision is not recommended for performing very sharp filtering, when filtering very low frequencies, or when using a high sample rate.
The Parametric Equalizer is a set of four frequency-selective filters that allow for very precise changes in the frequency content of a sound signal:
A high-frequency shelf filter attenuates frequencies above a specified cutoff frequency. This filter is useful for removing high-frequency noise such as wind, tape hiss, or computer noise.
A low-frequency shelf filter attenuates frequencies below a specified cutoff frequency. This filter is useful for removing low-frequency rumbles such as wind, electrical hum, or traffic noise.
A band-pass filter attenuates or boosts frequencies outside of a specified range of frequencies. This filter is useful for removing hiss and low-frequency rumble simultaneously or boosting a specific frequency range.
A band-reject (or notch filter) attenuates frequencies within a specified range of frequencies. This filter is useful for removing to remove narrow-bandwidth noise such as amplifier/microphone feedback or 60 Hz electrical hum.
Using the Parametric EQ
Open the Sonic Foundry Parametric EQ dialog.
Choose a preset from the Name drop-down list, or choose a filter from the Filter style drop-down list.
Adjust the filter frequency:
If you're using the High-frequency shelf filter, drag the Cutoff frequency slider to set the frequency above which the filter will be applied. The Transition width slider sets the slope of the filter.
If you're using the Low-frequency shelf filter, drag the Cutoff frequency slider to set the frequency below which the filter will be applied. The Transition width slider sets the slope of the filter.
If you're using the Band-pass or Band-notch/boost filter, drag the Center frequency slider to set the frequency at which the filter will be applied. The Band width slider controls the range of frequencies affected by the filter.
Drag the Amount fader to set the gain applied to the specified frequency band. This gain may be positive or negative.
Drag the Output gain fader if you want to apply a gain after processing.
Choose a setting from the Accuracy drop-down list to determine a balance between filter precision and processing speed.
Low precision is not recommended for performing very sharp filtering, when filtering very low frequencies, or when using a high sample rate.
сряда, 27 януари 2010 г.
Sound for Film and Television Instructional DVD from Barry Green and WBS
http://books.google.bg/books?id=wBlRtAlKPFsC&printsec=frontcover&dq=sound+on+film+and+television&source=bl&ots=pU8KqJb0cW&sig=_de0TctK14GF3IP56dUY_zsjmOQ&hl=bg&ei=4xhgS72RCaCYmAPbteXODA&sa=X&oi=book_result&ct=result&resnum=6&ved=0CCUQ6AEwBQ#v=onepage&q=&f=false
