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popid_668115799="<div style=\"text-align: left; text-indent: 0px; padding: 0px 0px 0px 0px; margin: 7px 0px 7px 0px;\"><table cellspacing=\"4\" cellpadding=\"4\" border=\"0\" style=\"width: 70%; border: none; border-spacing:4px;\">\n\r<tr style=\"text-align:left;vertical-align:top;\">\n\r<td style=\"vertical-align:top;\"><p class=\"p_Tabletext\"><span class=\"f_Tabletext\">The chorus effect makes a vocal recording track sound as if it was performed by two or more people singing in chorus. This is achieved by adding a single delayed signal (echo) to the original input. <\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\">Chorus differs from Flanger in only a couple of ways. One difference is the amount of delay that is used - the delay time in Chorus is larger than Flanger, usually somewhere between 20 ms. and 30 ms. (The Flanger delay usually ranges from 1 ms. to 10 ms.) This longer delay doesn\'t produce the characteristic sweeping sound of Flanger. <\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\">Chorus also differs from Flanger in that there is generally no feedback used. The Chorus effect can be applied to the entire file or any given selection.<\/span><\/p>\n\r<\/td>\n\r<\/tr>\n\r<\/table>\n\r<\/div>\n\r"
popid_1014125842="<div style=\"text-align: left; text-indent: 0px; padding: 0px 0px 0px 0px; margin: 7px 0px 7px 0px;\"><table cellspacing=\"10\" cellpadding=\"4\" border=\"0\" style=\"width: ; border: none; border-spacing:10px;\">\n\r<tr style=\"text-align:left;vertical-align:top;\">\n\r<td style=\"vertical-align:top; width:344px;\"><p class=\"p_Tabletext\"><span class=\"f_Tabletext\">Compression has many uses. For example, applying heavy compression at a low threshold to electric guitar produces heavy distortion. <\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\">Compressors can be used to eliminate the variations in the peaks of an electric bass output signal by clamping them to a constant level, providing an even solid bass line. <\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\">Compressors can also be useful to compensate for the wide variations in the signal level produced by a singer who moves frequently or has an erratic dynamic range.<\/span><\/p>\n\r<\/td>\n\r<td style=\"vertical-align:top; width:344px;\"><p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Threshold (dB)<\/span><span class=\"f_Tabletext\">: Adjusts the audio level at which the software applies compression. Levels higher than the threshold value are compressed. Audio levels lower than the value go through the compressor without interruption.<\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Rate (%)<\/span><span class=\"f_Tabletext\">: Determines the amount of compression applied to audio signals surpassing the threshold.<\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Attack Time (ms)<\/span><span class=\"f_Tabletext\">: Determines how soon the audio signal is attenuated after rising above the threshold.<\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Release Time<\/span><span class=\"f_Tabletext\">: Determines how soon the software interrupts the audio signal attenuation after the signal falls below the threshold.<\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">RMS Time (ms)<\/span><span class=\"f_Tabletext\">: Sets the root mean square of the audio. The RMS is a measure of audio intensity over a period of time. The RMS power corresponds to the loudness perceived by a listener when measured over short time periods. Thus, rapid transient peaks might not be processed when you use higher values in RMS compression<\/span><\/p>\n\r<\/td>\n\r<\/tr>\n\r<\/table>\n\r<\/div>\n\r"
popid_988254324="<div style=\"text-align: left; text-indent: 0px; padding: 0px 0px 0px 0px; margin: 7px 0px 7px 0px;\"><table cellspacing=\"10\" cellpadding=\"4\" border=\"0\" style=\"width: ; border: none; border-spacing:10px;\">\n\r<tr style=\"text-align:left;vertical-align:top;\">\n\r<td style=\"vertical-align:top; width:344px;\"><p class=\"p_Tabletext\" style=\"margin: 7px 6px 7px 0px;\"><span class=\"f_Tabletext\">Before digital editing, sound editors accomplished a flanger effect by sending a signal to two tape recorders and then slowing down the reels of one deck. The resulting sound was a time-delayed effect.<\/span><\/p>\n\r<\/td>\n\r<td style=\"vertical-align:top; width:344px;\"><p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Delay Rate<\/span><span class=\"f_Tabletext\">: Sets the mix between the amount of original and flanged signal. If you use 100%, the result is no flanger effect. The result is a wavering sound, rather like a bad tape player. <\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Mix Depth<\/span><span class=\"f_Tabletext\">: Sets the amount of delayed signal, or wet sound, and unprocessed signal, or dry sound, that you want to mix in the final file. Enter 50 to mix the two sounds evenly. Higher settings result in a more pronounced flanger effect. <\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Feedback Gain<\/span><span class=\"f_Tabletext\">: Sets the percentage of gain applied to the phased signal. Take care to avoid clipping when applying higher positive values.<\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Sweep Depth<\/span><span class=\"f_Tabletext\">: Determines how wide the sweep is in terms of delayed time. As the sweep depth is increase, you notice more modulation in the pitch. Sweep depth is the maximum additional delay that is added to the signal in addition to the delay in the delay rate. It determines how low the first notch in the frequency response reaches. A small value for the depth keeps the variance in the delay time small, and a large value causes the notches in the frequency response to sweep over a larger area. <\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Sweep Rate<\/span><span class=\"f_Tabletext\">: Sets the rate at which the base frequency is modulated. An LFO sweeps the base frequency up and down by a factor of two at this rate.<\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Sweep Phase<\/span><span class=\"f_Tabletext\">: Determines the point in the sound wave to start the flanger effect.<\/span><\/p>\n\r<\/td>\n\r<\/tr>\n\r<\/table>\n\r<\/div>\n\r"
popid_1431448889X="<div style=\"text-align: left; text-indent: 0px; padding: 0px 0px 0px 0px; margin: 7px 0px 7px 0px;\"><table cellspacing=\"10\" cellpadding=\"4\" border=\"0\" style=\"width: ; border: none; border-spacing:10px;\">\n\r<tr style=\"text-align:left;vertical-align:top;\">\n\r<td style=\"vertical-align:top; width:344px;\"><p class=\"p_Tabletext\"><span class=\"f_Tabletext\">The Reverb command differs from the Echo command in that the delays are not repeated at regularly spaced intervals. The reverb effect creates spaciousness in a monophonic signal. A monophonic signal has been recorded as or converted into a stereo audio file. A value as small as 300ms can open up the perceived spaciousness of a dry sound. Dry sound is sound recorded without any effects or reverb.<\/span><\/p>\n\r<\/td>\n\r<td style=\"vertical-align:top; width:336px;\"><p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Reverb Rate<\/span><span class=\"f_Tabletext\">: Specifies the rate of reverberation. If you set a high reverb rate for audio files that contain speech, this can make the spoken words harder to understand.<\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Delay Time<\/span><span class=\"f_Tabletext\">: Sets the space between peaks of sound in reverberation.<\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Feedback Gain<\/span><span class=\"f_Tabletext\">: Sets the feedback gain as a percentage. This setting compensates for feedback within the audio file. The higher the percentage that you enter in the box, the more feedback is reduced. Feedback is the process in which part of the audio is returned to the input audio. Feedback is usually unintended. Positive feedback can lead to instability.<\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\" style=\"font-weight: bold;\">Mix Depth<\/span><span class=\"f_Tabletext\">: Specifies how much the delay should vary. A value of 40 allows the delay vary from 0 to 40 milliseconds.<\/span><\/p>\n\r<\/td>\n\r<\/tr>\n\r<\/table>\n\r<\/div>\n\r"
popid_807326391="<p class=\"p_popup\"><span class=\"f_popup\">Click this command so that, when you place a CD-ROM in the drive, Blaze Media Pro automatically connects to the CDDB database and retrieves the track names, or song titles. For more about CDDB, refer to the CDDB Information topic.<\/span><\/p>\n\r"
popid_992441600X="<p class=\"p_popup\"><span class=\"f_popup\">Selecting Configure from the File menu allows you to change the following options. You can see these options only if you click Options &gt; General and then click the Use Alternate Conversion box.<\/span><\/p>\n\r<p class=\"p_popup\"><span class=\"f_popup\" style=\"font-weight: bold;\">CDDB Server Address<\/span><span class=\"f_popup\">: Indicates<\/span><span class=\"f_popup\"> the address, or URL, used to connect to the CDDB database.<\/span><\/p>\n\r<p class=\"p_popup\"><span class=\"f_popup\" style=\"font-weight: bold;\">CGI Script Relative Address<\/span><span class=\"f_popup\">: Sets the address of the CGI script which is used to contact the CDDB database.<\/span><\/p>\n\r<p class=\"p_popup\"><span class=\"f_popup\" style=\"font-weight: bold;\">Channels<\/span><span class=\"f_popup\">: Converts the CD track to either stereo or mono mode.<\/span><\/p>\n\r<p class=\"p_popup\"><span class=\"f_popup\" style=\"font-weight: bold;\">Priority<\/span><span class=\"f_popup\">: Sets how much system resources are allocated for the conversion module. The higher the priority, the better the performance. Lower is still good, but allows other programs to use more resources. The priority choices are High, Normal, or Low.<\/span><\/p>\n\r<p class=\"p_popup\"><span class=\"f_popup\" style=\"font-weight: bold;\">Max VBR Bitrate<\/span><span class=\"f_popup\">: Sets the maximum variable bitrate. The choices are None, 320, 256, 224, 192, 160, 128, 112, 96, 80, 64, 56, 48, 40, or 32.<\/span><\/p>\n\r"
popid_1059799592="<p class=\"p_popup\"><span class=\"f_popup\">Select a single track to convert by clicking it. Select multiple tracks by either pressing the Ctrl key while clicking the tracks or by pressing the Shift key and using the arrow keys to select a range of tracks. You can select all tracks by clicking Select All on the File menu.<\/span><\/p>\n\r"
popid_554704606="<p class=\"p_popup\"><span class=\"f_popup\">The four format options are at the bottom left part of the window. Select the format to which you want to convert the selected tracks.<\/span><\/p>\n\r"
popid_1376036903="<div style=\"text-align: left; text-indent: 0px; padding: 0px 0px 0px 0px; margin: 7px 0px 7px 0px;\"><table cellspacing=\"0\" cellpadding=\"0\" border=\"0\" style=\"width: 70%; border: none; border-spacing:0px;\">\n\r<tr style=\"text-align:left;vertical-align:top;\">\n\r<td style=\"vertical-align:top;\"><p class=\"p_Tabletext\"><span class=\"f_Tabletext\">The bit depth chosen for a recording limits the dynamic range of the recording. <\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\">Bit depth, also referred to as resolution, directly affects file size and quality. All other things being equal, a 32-bit file is twice the size of a 16-bit file, but has the capacity for increased quality. Likewise, an 8-bit file is half the size of a 16-bit one, with lower quality. <\/span><\/p>\n\r<p class=\"p_Tabletext\"><span class=\"f_Tabletext\">Bit resolution also affects CPU use. Processing in 32-bit quality requires significantly more work than 16-bits, and may lead to dropouts when recording on a slower computer. Also, many sound devices (especially those built into the motherboard) do not support a bit depth higher than 16-bit.<\/span><\/p>\n\r<\/td>\n\r<\/tr>\n\r<\/table>\n\r<\/div>\n\r"