Editing
Audio editing & fades
Work on timing and level while preserving your source.
In this guide
Import and open
Drop a supported audio file onto an audio track or an empty part of the arrangement. New imports default to original timing with Warp / Pitch set to Off. Select a region and open Clip. A loading message means the file is still being prepared; an error is not evidence of an empty recording. Keep the original file if preparation fails.
The source tempo and estimated key are analysis results. A filename tempo such as “75bpm” can supply the tempo; otherwise detection can be wrong or twice/half the intended value. Listen and check a known downbeat before applying timing changes.
Inspect the current occurrence
The left inspector groups Clip timing, Audio level and Warp / Pitch. Position (beats) locates the region on the arrangement, and Length (beats) sets its duration; Loop start and Loop length locate the repeating material. Gain and Gain (dB) change the whole occurrence from −60 to +24 dB. Waveform offset moves the source start in seconds; it is different from moving the region on the arrangement.
Fit audio shows the current occurrence. The timeline range controls pan and zoom the view; waveform height enlarges the drawing without changing gain. Stereo channels have separate display lanes. At narrow widths the inspector can scroll; enlarge Clip with the divider when you need more room.
Change only a selected passage
- Turn off the gain line while selecting time, then drag across the waveform to highlight the intended passage.
- Check the selected beat span in Selection gain. The controls need editable audio; stop recording first.
- Click +1 dB or −1 dB, or enter a Change (dB) and click Apply. Enter also applies the typed change.
- The edit splits at the selection edges and adjusts only the selected pieces. The selection remains available for another adjustment.
- Use Command+Z to restore the prior clip and selection; Shift+Command+Z reapplies the completed edit.
A 0 dB change leaves gain unchanged. Existing gain limits still apply. This operation changes the scalar region gain, not the source file or its source-time gain-envelope points. Other loop occurrences outside the selected timeline passage keep their gain. Check the actual highlight before applying another edit.
Draw a gain line
Turn on Show gain line in the Clip menu or its Gain line control. Click the line to add a point, then drag it to change level and timing. Double-click a point to remove it. The line ranges from silence to +12 dB and multiplies with the occurrence gain. Shift locks the point's time while changing level; Option locks its value while changing timing. The time grid applies to point placement. Escape cancels the active drag; a completed change can be undone.
The gain line uses source-time points, so a loop can repeat its envelope. It is different from Selection gain, which isolates an arrangement passage. Right-click the waveform and choose Reset Gain Line to remove its points. Check the line after a source-offset or warp edit. Closing and reopening the clip retains saved points.
Add fades and inspect joins
Fade in (beats) and Fade out (beats) set boundary fades. Their shape controls change the curve; listen across the boundary after changing it. Fade (6) in the arrangement also edits fades. Option-drag bends their shape; add Shift for fine control. A crossfade needs suitable neighboring audio and source handles. Disabled crossfade controls mean the current pair cannot provide that operation; do not assume every join has a crossfade.
At a join, start a Gain or Fade gesture inside the region you mean to edit. The region under the pointer takes priority over a nearby handle on its neighbor. Read that region's gain and fade values, then listen across the join. Command+Z reverses a completed change.
Warp / Pitch
Off keeps original source timing. Repitch follows the timing map and changes pitch with speed. Stretch changes duration independently of pitch. Grain is a separate texture-oriented mode. Choose deliberately and compare a short passage before processing a full song.
In version 1.3.0, Off hides both the Warp and Transients lanes and gives their space back to the waveform. Repitch and Stretch show the Warp lane only. Grain shows both lanes. The Warp / Pitch controls stay in the header. Changing mode, Undo or Redo updates the visible lanes automatically; hiding a lane does not delete its markers.
Warp markers are beat anchors. Drag an internal marker to retime the audio; Shift ignores snapping. Off has no active warp timing. The Transients lane describes source hits used by Grain; it is not another set of warp beat anchors. Keep region boundaries, loop phase and the source offset in view when editing.
Quantize and Warp from playhead
Quantize controls choose a grid and strength, then Quantize clip moves detected beats toward that grid. Warp from playhead keeps earlier timing and quantizes later detected beats; it needs a playhead position inside the eligible clip. A clip without detected beats cannot supply these operations.
Preparation can take time. Pending work disables duplicate requests. If the clip changes or the operation is no longer editable, preparation is canceled without applying the stale result. Read the status and retry on the current clip. Each completed timing operation can be undone. Do not switch Warp / Pitch just to dismiss a preparation failure.
Select, split and preserve the source
Range marks time; Scissors splits at a clicked position. The Clip menu provides selected-time split, copy and delete actions when an eligible range exists. Slip moves source content inside the boundaries. Rotate offsets looped content while retaining the outer region. Eraser removes the occurrence and retains its stored source.
A split preserves source continuity at the current tempo map. The resulting pieces have independent timing anchors, so a later tempo-map edit can affect those anchors independently. Undo restores the original arrangement. Compare attacks, tails and loop phase after a timing edit.
Listen and save
Compare the result in isolation and in the full mix. Save the project and keep an independent Project Bundle before a larger edit. This guide describes implemented controls; recording reliability, plug-in compatibility and audio-device qualification remain separate checks. Read Saving and export.
Split stems in the background
Use the audio clip's stem-separation command and read the dialog before starting. The default Mute the original choice mutes the original clip when the result arrives. Progress appears on the track header while you keep working. Cancel stops the job; a completed result places stems with the original track in a group. Preserve the original audio and compare the separated parts before relying on them.
Bounce in Place
Bounce in Place renders the selected lanes without adding sibling audio or note lanes to the result; automation is preserved. Review the destination and Include track effects before starting. Applying multiple completed results is one Undo step. Cancellation before application keeps the original edit intact, and a failed edit rolls back.
With Replace + Include track effects, the original track chain remains active and can process the baked effects again. The dialog warns about this. Turn effects off in the bounce options or on the track if you do not want them heard twice. Completed imports can remain as recoverable unused library audio after cancellation; Free Up Space can remove them when no protected reference remains.
Dawnamite user guide for macOS. For changes between versions, see update history.