The speed of the hard disk also affects the speed of the CD-R writing. If the hard disk is slow, then your CD recorder might not be able to write at its maximum possible speed.

Sampler requirements

To communicate with samplers, you need the following:
A MIDI interface, or. A SCSI card, or. Both a MIDI interface and a SCSI card.
Exactly which of the three is most appropriate, depends on the capabilities of your sampler and how you intend to communicate with it. See page 526.

SCSI card considerations

WaveLab works with SCSI cards that are 100% Windows compatible.
If you are buying a SCSI card specifically to communicate with the sam-
pler, we recommend that you get an original Adaptec card. Small deviations in SCSI implementations can cause transfer problems.

WAVELAB 2 16

About audio cards
WaveLab works with any Multimedia PC compatible audio card. However, the audio quality varies dramatically between cards. For serious work with WaveLab, we recommend that you get a card with the highest possible specifications. However, if you use WaveLab to edit files for use with other hardware (such as a hard disk based recording system using its own audio converters) any loss in audio quality that you experience when listening to the files in WaveLab (due to deficiencies in the audio card) will not affect the final audio files in any way. For professional use (mastering, etc.) we recommend that you get a card capable of playing back files in 24 bit resolution.

Live Input

To take advantage of the Live Input feature (see page 225), you need a system that can record and play back at the same time. This is known as full duplex most audio cards support this nowadays. If in doubt, refer to the audio card documentation.
About the System Information feature
After having installed and launched WaveLab, you can get a very detailed report describing your computer system by selecting System Information on the Help menu. This function analyses your system and lists operating system specifics; processor(s), memory, hard drives, and much more. This is especially useful if you need to contact Technical Support, since this allows you to describe your computer configuration accurately.

You can also re-sort the list by clicking on the file headings.

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About the file icons File status
To the left of the file you will find an icon providing information about the status of the file:
The file status icons Option Green circle Purple dot Description The file is ready to be processed. You cannot start processing unless at least one file has this status. The file is currently being processed. The Batch window cant be closed if any files have this status, the only way to stop a batch is then from the Monitor window, see page 221. The file has been analysed by an Ultra-pass processor but has not been processed and written to disk yet, see page 245. The batch has been processed without problems. In order to process the file again, you need to reset its status, see below. An error occurred. You will most likely have been warned via an alert box. If an error occurs, processing is cancelled by default. On the Extra menu there is however an option called Stop batch processing at first error. If you deactivate this, processing will not stop upon error, but instead skip to the next file in the batch.
Half filled green circle Green dot Red cross

Resetting file status

To reset the status of a file to the green circle status described above, click on the symbol to the left of the file. To reset the status of all files, select Reset status of all files from the Extra pop-up menu.

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The are three ways to open a source file in a Wave window:
Double click on it in the list. Select it and click the Open window button (to the right of the Play button). Drag it and drop it on an empty section of the WaveLab program window.
To instead open the processed file (after running a batch), proceed as follows:
Double click on the file in the Output column in the list, or. Select the original file in the list, hold down [Ctrl] and click the Open window button, or. Hold down [Ctrl], drag the file from the list and drop it on an empty section of the WaveLab program window.
Other file functions and options
The Show full path and Show name only options on the Extra menu allow you to determine what file information you want to see in the list. To play a file, select it and click the Play button (speaker icon).
Stopping is done using any of the usual methods or by clicking the button again.
If the file list contains files in raw format, you can specify the format for them, by selecting Raw file format from the Extra pop-up. If this is done, you dont have to specify the format manually each time a file in raw format is about to be processed.
For this to make sense, all raw files must be in the same format.

Closing the Processor List window
Once you have finished with all the settings, click OK to confirm the settings and close the dialog or Cancel to close it without saving any changes.

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The Output tab Settings for created files
This tab allows you to specify where the created files are to be located, in what format they should be and other related options. In fact, you can perform useful batch processing with the options on this tab, without using any processors at all! You might for example convert files from one format to another and/or just change the names of a number of files.
Setting up file locations and names
Setting up a simple destination folder
There are two ways to simply specify a folder for all created files:
Type in a path (file location) on the Destination folder line. Click the folder icon just beside the destination folder line, browse your way to a folder and select it.

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Using path variables
If you need more advanced options, for example if you need to store different batches in different folders, you need to use the path variables, available on the pop-up to the right of the folder icon. Variables are text string enclosed in brackets (for example <Group Path>) that appear on the Destination folder line. You can type these variables yourself, but usually it makes much more sense to select them from the pop-up. When you run the batch, the variables are replaced by folder names. Exact details follow later in this text.
The specified folders are created automatically if they dont exist.
You can use more than one variable on the line, to create very advanced automatic file paths. Then the order of the variables on the line is very important since each added item will represent a subfolder inside the previous folder. When you add variables to the Destination path, they will appear just after the insertion point, just as when you type text. Hence, adding a variable is done as follows: 1. Click at the position on the Destination folder line where you want the variable added.
A blinking insertion point cursor appears.
2. Select the desired variable from the pop-up menu.
Please note that to completely replace the existing text with a variable, you can just select all text and the select the variable from the pop-up.

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The available variables have the following functions:
Variable Batch Name Function Creates a folder with the name of the batch, as specified on the Input tab (see page 249). Same as above, but instead uses the path that can optionally be specified for each batch, see page 234. Example If you have a group called MyAudioFiles, and the Destination file reads c:\<BatchName>\ the files will be stored in a folder called MyAudioFiles, located in the root of the C drive. If the path c:\MyFolder\ has been specified for a batch, the files in that batch will be stored in a folder called MyFolder on the root of the C drive.

Be careful with this option! If the processing didnt turn out as expected,
you cant redo it, because you wont have any files left to re-process!
Selecting an Output Format
If you want the new files to be in the same format as the original ones, simply select As source.

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If you want some other file format, select it from the menu and then click the large button below to make settings for the desired format.
For details about various file formats, see page 106.
If you select Wave as your file format, you can also ACM encode the files, using the same options as for the Save Special Encode (ACM) feature, described on page 115. Simply activate Encode and click on the large button below to make encoding settings.
Please note that all possible file formats are available in this dialog, not only the ones that apply to the current file format.
This happens because the program does not yet know which types of files you are about to process. Since options are displayed that may not apply to the file type you process, make your selection with care. If the settings arent valid, an error message will appear when you run the batch.
Note also that a number of ACM encoders expect the audio to use a specific sample rate.
If this is the case, you may need to insert the resampler plugin in the audio chain.

Scheduling

The Schedule tab is used for various options related to the performance of the batch processing:

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On start of batch process
This is where you instruct WaveLab what to do just before starting the batch operation:
Option Stop playback Open Monitor window Description Stops playback to free up some processing power. Opens the Monitor window (see page 221).
On batch process completion
This is where you select how WaveLab should behave after processing all files.
Option Beep Description WaveLab will beep to signal that the settings have been applied.
Show message box WaveLab will display a message to confirm the operation. Click OK to go on working.

On start of file process

This is where you select how WaveLab should behave when processing each file. There is only one option here: Minimize wave window. If this is activated and the document is currently open in a window, WaveLab will minimize this before the processing starts.
On file process completion
These settings determine what should happen after each individual file has been processed:

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Batch file encoding

Basic procedure

WaveLab can open and play compressed files in the formats MP3 and OSQ (Original Sound Quality), which is WaveLabs proprietary lossless audio format. Its also possible to convert files of other formats to MP3, WMA (Windows Media Audio) and OSQ. While this can be done by opening a file and selecting Encode from the Save special (wave) submenu on the File menu, you can also convert several files in one go (batch conversion). This is much like a simplified version of the Batch Processor, for when only batch file conversion is needed (no processing). Proceed as follows: 1. Select Batch file encoding. from the Tools menu.
The Encode audio files dialog opens.
2. Click on the green plus symbol.
A file selector opens, where you can select the desired audio files (Wave, AIFF, Sun/ Java or Ensoniq Paris files). Files must have the same sample rate and number of channels (e.g. stereo/mono).

Click here to add files.

3. In the file type pop-up select one of the available formats and then in the file list select the desired files. If necessary, use the [Ctrl]- and/or [Shift] keys to select several files. Confirm your selection by clicking Open.
This brings you back to the Encode audio files dialog.
Note that it is possible to simultaneously batch encode audiofiles of differ-
ent formats, given that all the files have the same sample rate and number of channels.
4. Select the destination folder for the converted files from the corresponding pop-up menu.

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Batch le encoding
5. Select the desired destination format from the format pop-up menu.
6. Clicking on the switch to the right of the format the pop-up calls up a dialog, where you can set the encoding parameters (MP3/WMA only).
Use the on-line help in the dialog for a description of the various options.
Note that MP3 and WMA are lossy audio compression formats. This
means that the audio quality of such a compressed file will not be the same as of the original, uncompressed file. If you need audio file compression with uncompromised audio quality, you should use the OSQ (Original Sound Quality) lossless audio compression format instead (see page 111).

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Markers

What are markers for?
Markers allow you to save and name certain positions in a file. You can use these positions later on in various ways:
Set the wave cursor to a marker. Select all audio between two markers. Define CD tracks according to markers. Loop the section between two markers etc.
There is no limit to the amount of markers you can have in a file.

This sets the Montage cursor position (as indicated by the vertical line) and selects the track (as indicated by the highlighted Track Control area to the left).
4. Select Paste from the Edit menu, or press [Ctrl]-[V]. 5. A pop-up menu appears, listing a number of Insert options. Select one of these.
The options are described on page 313.
Once you have added the desired clips from an audio file, you dont need
to have the original Wave window open. Should you need to edit the original (source) audio file, you can access it from the clip context menu, as described on page 367 (any editing done to the source audio file is immediately reflected in all clips referring to the file). By dragging from the Files view
This way, you can add clips without having Wave windows open: 1. Select the Files view by clicking the Files tab. 2. Click the System tab to the left of the display.
The view now shows a file navigation environment, similar to the Windows Explorer.
3. Pull down the Files view : Browser menu and make sure that Show audio files is selected. 4. Use the left pane to locate and open the folder containing the audio files you want to import.
The contents of the folder are shown in the right pane.
5. Locate the desired audio file(s) and drag them to a Montage track.
If you are dragging a single file, a pop-up menu appears, allowing you to select one of the Insert options. If several audio files are dragged, the Insert audio files dialog appears, allowing you to specify how the files should be ordered and whether they all should be placed on one single track or separate tracks see page 313.

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By importing files
1. In the Track View, click in the track on which you want to put the clip, at the desired position.
2. Right-click in an empty area on the track and select Insert file(s). from the pop-up menu that appears.
A regular file dialog appears. You can also open this from the Files view : File menu.
3. Locate and select the audio file(s) you want to import, and click Open.
Depending on whether you have selected one or several files, the Insert options popup or the Insert audio files dialog will appear (see page 313). The new clips are then added, ordered according to your settings.
The two clips shown in the picture above have been imported. The first clip has been positioned at the Montage cursor. Note the default pre-gap time inserted between the first and the second clip.
By copying clips from another Montage
If you have more than one Montage open, you can copy clips from one Montage to another. This can be done either by using drag and drop (from the clip list or the Track View) or by using Copy and Paste. You can also use this method to copy clips within the same Montage.
When dragging or selecting clips in the Track View, you need to click at
the appropriate mouse zone, as explained on page 332.

This is the same automatic phase matching as in the Zoom view (see page 358). You can specify how far into the clips the program should scan, by selecting a Search range on the Zoom view : Options menu.

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2. The position of the clip you moved is adjusted slightly, to achieve the best possible match between the waveforms.
This creates a short crossfade. For details about crossfades, see page 388.
Note that this function only applies when moving from right to left, i.e.
snapping the start of the moved clip to the end of the clip to the left. About overlapping clips
You can move clips so that they overlap each other on the same track. Please note:
The tracks in the Audio Montage are polyphonic, which means that each track can play back several overlapping clips at the same time.
Overlapping clips will be transparent, allowing you to see the underlying clips and their waveforms.
To select an overlapped (underlying) clip, double click in the mouse zone to which Select/Move clip is assigned (by default the bottom clip area). There are automatic crossfading options that automatically adjust the volume envelope curves when you overlap clips.
This is described on page 388.

Duplicating clips

To make a copy of a clip, proceed as follows: 1. If you want to copy more than one clip, you need to select these clips first. 2. Position the pointer over the clip, in the mouse zone to which you have assigned the Drag/Copy clip function (by default the top clip area).

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While you are dragging the clip(s), a dotted line indicates where the first of the copied clips will end up. The position is also indicated on the info line (see page 303).
4. Release the mouse button.
If you dragged a single clip, the Insert options pop-up menu appears (see page 313). Select one of the options to insert the duplicate of the clip. If you dragged more than one clip, the duplicates are inserted, taking the auto-grouping settings into account, as described below.
The clip(s) will snap to any activated magnetic bounds, as described on page 333. You cannot copy mono clips to stereo tracks or vice versa. You can also duplicate a whole track, including all its clips, by selecting Clone track from the track menu.
Duplicating with auto-grouping
If you are copying more than one clip at the same time, the autogrouping settings in the Edit view (see page 340) affect the result: If Track auto-grouping is activated when you duplicate clips, all clips on the destination track, to the right of the new copy, will be moved to the right, to make room for the new clips. If Global auto-grouping is activated when you duplicate clips sideways, all clips to the right of the new copy in the whole Audio Montage will be moved to the right in the same way.

The Impulse Value dialog appears.
3. Specify the default impulse time in the Time field.
This is used for nudging the position of objects or edges.
4. Specify the default impulse level in the Level field.
This is used for nudging volume.
5. Click OK to close the dialog.
Note that the Large, Small and Micro impulses are relative to the default value, as described above.
The default impulse settings are not used when nudging Syncro offset

(SMPTE). See page 522.

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The nudgable elements

The following elements and properties can be nudged:

Clip position.

This moves all selected clips.
If the option Snap to waveform when crossfading is activated on the
Edit view : Fade menu, and the focused clip (if any, see page 337) is moved to the left so that it overlaps another clip, the nudged clip will be time-adjusted slightly to match the waveform in the left clip. This option is described on page 395. Clips left or right edge.
This is the same as resizing the clip, in static audio source mode (see page 345).
Clips fade-in or fade-out.
Moves the fade-in/fade-out junction point (see page 382). If the envelope is a stereo envelope, both sides will be adjusted.

Clips crossfade.

For this to work, you have to select the second clip (the one to the right) in a crossfade pair. Nudging will make the crossfade zone narrower or wider, by moving the junction points of both clips in the crossfade. For details about crossfades, see page 388.

Cursor.

Moves the Montage cursor.
Selected range left/right.
Moves the left or right edge of a selection range.

Current marker.

Moves the currently selected Montage marker. To select a marker, click on it in the area above the ruler.

Pan of focused clip.

Adjusts the Pan of the focused clip, so that Nudge+ pans to the left and Nudge to the right. The nudge amount is fixed at 1/100 of the full pan range. This means that the default impulse setting is not used.
Pan of all selected clips.
As above, but affects all selected clips.

Volume of focused clip.

Adjusts the volume of the focused clip, in steps according to the Level setting in the Impulse value dialog.

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Volume of all selected clips.

Synchro offset (SMPTE).

This is used when synchronizing WaveLab to external equipment. See page 522.

Using Auto-Select

If the Auto-Select option on the Nudge submenu is activated, WaveLab attempts to automatically select what should be Nudged, depending on your last action in the Track View. If your last action was to select or move a clip, the Clip position option is automatically selected on the Nudge submenu, if you adjusted the volume, the Volume of focused Clip option will be selected, etc. In most cases, this allows you to use the Nudge feature without having to manually select Nudge elements on the submenu.

The focused envelope curve is displayed with yellow handles for the envelope points.
The focused envelope curve.
To set the focus to an envelope curve, click on it.
Adding volume envelope points
The volume envelope points allow you to draw Volume curves by mouse-dragging the points in the clip. To add a point, double click on the envelope curve (or select New point from the envelope context menu). You may add as many points as you like.
Selecting envelope points
The following description applies to both volume and fade envelope
points. In other words, you can select, deselect and move both sustain and fade envelope points simultaneously.
Clicking on an envelope point selects it (it becomes red). You can also select several envelope points. The following rules apply:
[Shift]-click (on a point) to select all points between a previously selected point and the current point. [Ctrl]-click (on a point) to select non-contiguous points in the envelope curve. [Alt]-click (anywhere in the clip) and draw a selection rectangle.
All points inside the rectangle become selected.

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Deselecting points
You can deselect all selected points by clicking on a selected point or by selecting Deselect all points from the envelope context menu. To deselect a single point (amongst other selected points), [Ctrl]-click the point you want to deselect.
Dragging volume envelope points To move a point, click on it and drag it in any direction.
The junction points (the points separating the Fade parts and the sustain part) will only move horizontally this way. To move a junction part vertically, press [Ctrl] and drag.
To move several selected points, click any selected point and drag it in any direction.
All selected points will be moved.
Clicking on a curve segment (i.e. the part of an envelope curve between two selected points) allows all currently selected points to be moved vertically.
You are constrained to vertical movement using this method.
Clicking on a curve segment (i.e. the part of an envelope curve between two selected points) and then pressing [Shift] allows all selected points to be moved horizontally.
You are constrained to horizontal movement using this method.
[Ctrl]-clicking on the envelope curve and dragging it up or down will select (and move) the two nearest points to the right and left respectively.
You are constrained to vertical movement using this method. This method is useful as a shortcut for quickly adjusting the level of a curve segment.
[Shift]-clicking on the envelope curve and dragging it left or right will select (and move) the two nearest points to the right and left respectively.
You are constrained to horizontal movement using this method. This method is useful when working with Duck according to other track (see page 379) since it allows you to quickly adjust the position of duck regions.

The folder containing the RTF file opens in a separate window.
3. Double click the RTF file (or drag it to the desired RTF editor program icon).

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In this example, weve opened the file Header1.rtf.
As you can see, this is the personal information that was shown under the logo in the preview CD report template. The entries are written exactly as in the Edit Variables dialog; a title followed by a variable name enclosed with % characters.
All text in the RTF documents apart from the code inside the percentage marks will be shown in the report.
This lets you change headings, orders and similar; you may for example want to use another term than Engineer, exclude the address or phone number fields, etc. You can also change the fonts, styles and justification for the text. Also, if you have added a new user variable in the Edit Variables dialog, or defined a variable that is not called upon in the RTF file, then this variable has to be written into the RTF file (enclosed by % signs). However, while it is perfectly possible to enter the actual information (e.g. the name of the project) directly in the RTF file and remove the corresponding variable, this would require that you edited the RTF files each time you created a new Audio CD report. It is much better to set up the styling of your Audio CD report and its RTF files once and for all, and then only edit the variables and CD Text when you work with a new project. In short:
The RTF documents should be used for adjusting the appearance of the
report, not for writing in variable values.

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Burning an audio CD

This chapter describes the basic CD burning process, as well as some general reference information about the CD format. It does not, however, describe the necessary preparations for creating a CD from a basic audio CD or an Audio Montage. In other words, this chapter assumes that the respective preparations have been completed, and that you are ready to execute the actual CD burning. Please refer to the chapters Preparing a Basic Audio CD and The Audio Montage for a description of the respective preparations before following the instructions in this chapter.
Note that some procedures and menu items differ according to what
method has been used to prepare audio tracks for burning.

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Option Maximum and Minimum Average Description The level of the loudest and weakest points in the analysed section. The overall loudness of the whole analysed section.
Around Cursor The loudness at the wave cursor position at the time for the analysis.

The Pitch tab

The Pitch tab shows the values from WaveLabs extremely accurate pitch detection algorithm. This can be used for pitch shifting, for example, to get one sound in tune with another. There are no parameters to set. The display simply shows the pitch for each channel, both in Hertz (Hz) and as semitones and cents (hundredths of a semitone). Since the display shows an overall value for the entire analysed section, the hot point controls in the lower section of the dialog are not used on this tab.

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Usage guidelines The result is an average value for the whole selection. The method only works on monophonic material (not on chords or harmonies). The algorithm assumes the analysed sections has a reasonably stable pitch. The material must be relatively well isolated from other sounds. It is preferable to analyse the sustain portion of a sound, rather than the attack. The pitch is usually not stable during the attack. Some synthetic sounds may have a weak fundamental (first harmonic) which can possibly fool the algorithm.

The Extra tab

This tab shows you two things: The average DC Offset in the analysed section.
See page 179 for details.
The Apparent Bit Resolution.
This attempts to detect the actual resolution in the audio, i.e. how many bits are really used. This is useful e.g. if you want to check whether a 16 bit file really uses 16 bits (or if it was actually recorded with only 8 bit resolution and then expanded up to 16 bits).
You may want to use the Bit Meter for this instead (preferably in Analyse
Selection mode), as this provides even higher accuracy.

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The Errors tab
This tab actually reports two totally separate things: Glitches
These are disruptions in the audio. Glitches may occur after problematic digital transfers, after careless editing etc. They manifest themselves as clicks or pops in the audio.
A digital system has a finite number of levels that it can represent properly. When a sound has been recorded at too high a level or when digital processing has raised the level past what the system can handle, hard clipping occurs. This will be heard as a very harsh type of distortion.
A sine waveform before clipping.

.and after.

Overall parameters Maximum number. and Minimum time. are the same as for the Peaks tab, see above.

This organizes plug-ins accessed from the Master Section or Batch
Processor, not the VST plug-ins in the Montage. Note however, that you can exclude some VST plug-ins completely, as described on page 630.

About the plug-in list

The Organize Master Section plug-ins dialog
These are plug-ins that can be used in the program. They are processors, or effects, that can be added to the Master Section slots (see page 201) or utilized from the Batch Processor (see page 241).

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In the Master Section folder in the list, you will find subfolders, representing groups of plug-ins. By organizing your plug-ins into folders, you arrange the way they appear on menus in the program. How you organize your effects is of course up to you, but initially, they are categorized according to their technical type, regular WaveLab plug-ins in one folder, VST plug-ins in another, DirectX plug-ins in yet another, etc (see page 201 for more details on these types of plug-ins).
VST and DirectX plug-ins need to be in a group, whereas WaveLab plug-
in can be outside all groups. The columns The Plug-in column displays the names of all the available plug-ins. The FX column determines whether a plug-in is active or not, see below. The PM (Post Master) column determines whether a plug-in is active after the master level faders in the Master Section. It can then be accessed from the dithering pane in the Master Section. See page 212 for more information. The Key column displays the key sequence defined for a plug-in. The Module column tells you the name of the plug-in (dll) file.
Activating and deactivating plug-ins and groups
By clicking in the FX column, you can activate/deactivate individual plug-ins or an entire group of plug-ins (see below for more info on groups). If you have plug-ins installed on your computer that you dont want to use in WaveLab, this lets you disable them completely, thus reducing menu clutter. The disabled plug-ins will still be applicable in other programs that can use them. An example of this would be DirectX plug-ins. Many of these do not apply to audio at all and have no relevance to WaveLab whatsoever. By disabling these, you will make it easier to find the plug-ins that you really want to use in WaveLab.

ESSENTIAL

Product Platform
Standards VST support DX plugin support ASIO support File formats supported MP3 support MP3 Pro support 24 bit 32 bit float Sample rate Editing systems Audio Montage (non-destructive editing system) Audio destructive editing Unlimited Undo/Redo in editors Audio Markers Master Section Number of slots Dithering Presets CD features Audio CD burning Data and Mixed mode CD Burning CD Copy Audio CD Extraction Integrated CD Label creator Professional CD report generator Basic Audio CD Tools Recording functionality Batch processing Automated file cutting system Audio looping tools Hardware sampler support Integrated backup system Audio database Live-input Jog and shuttle High precision signal generator Audio cleaning/restoration
WaveLab 4.0 Win98/XP/2000
x x x full set full demo x x 192 kHz
WaveLab Essential 1.0 Win98/XP/2000
x x x slightly reduced set full demo x x 96 kHz
fully featured fully featured x full 8 internal+uv22/hr x x (enhanced) x x x x x x full full, with specialized plugins x x x x x x x x x
2 tracks, reduced feature set fully featured x full 4 internal x x x x x

medium file encoding x

www.steinberg.net
File comparer Audio analysis Global offline audio analysis Realtime Audio meters 3D spectrum view Look and feel User Interface Workspaces save/load Screen sets Wave scrolling on play Auto Waveform Coloring Custom key commands Plugin organizer Plugins Plugins overview UV22 UV22 HR Internal dither Denoiser Declicker Q Spectralizer Multiband compressor Ducker EQ-1 CleanComp PeakMaster NaturalVerb AutoPanner Chorus Echo Resampler StereoExpander Puncher NoiseGate Leveler Externalizer VstDynamics ToolsOne VoiceAttenuator Playback options MTC synchro (as slave) Save files in background Pentium III/IV optimizations Can run multiple instances Manual
x x full set and features x fully featured x x x x x x full set x x x x x x x x x x x x x x x x x x x x x x x x x fully featured x x x x HTML help, full printed manual. HTML help, printed tutorial + PDF reference x limited x reduced set x x x x 2 meters, playback x idem, other style
x x x x x x x x x x x x x x x less features