![]() ![]() It also admirably handles just about any file you can throw at it. With multitrack editing, batch processing, and repair, it does what Peak did but often more easily and at a fraction of the price. If you haven’t used it lately, it’s gotten a complete overhaul and cleaner, prettier, more usable UI. Amadeus Pro II is $59.99, also on the Mac App Store.Today, it’s a remarkably mature, elegant, and easy-to-use audio tool, and it’s just US$29.99 on the Mac App Store. This is literally the first tool (alongside SoundHack) I ever used on Mac OS X, back when … it didn’t run anything else. Audacity, which recently got some major updates.Here are some of the tools still at your disposal on the Mac (to say nothing of Windows and Linux): If you’re just editing individual audio files, if you’re batch processing, if you’re working with complex asset management, if you’re performing tasks like CD mastering, very often these tools provide unmatched capabilities or simply speed up workflows. And there’s still something to be said for dedicated waveform editors, even when multi-purpose DAWs share some of the same functionality. The good news is, the waveform editor is still very much alive on the Mac. (I do have a soft spot for Soundbooth it had some great ideas, but after an initial release seemed unsure of what its direction and audience were.)įor old time’s sake, here are the two most recent reviews in Macworld, written by me: Oh, yeah, and perhaps because it was so unsurprising as news, I missed the fact that Adobe killed its little-used, generally-disliked (ahem) Soundbooth editor at the end of April. (While not ever officially discontinued, Apple first moved Soundtrack Pro to the Logic suite, then quietly eliminated it entirely when Logic Studio moved to the App Store it can be considered “missing and presumed deceased.” Macromedia SoundEdit 16 can be traced back to the first popular tool in this category). Peak joins Apple’s own Soundtrack Pro and (arguably) WaveBurner and, once upon a time, Macromedia SoundEdit, along with tools like Digi’s Sound Designer II and TC Electronic’s Spark. The BIAS Authorization Manager Server is functioning for authorizing and de-authorizing BIAS products at this time.įollow these links to access the FAQ and updates areas of the BIAS site. We would like to thank all the BIAS customers and friends for the opportunity to have served the audio community for over 16 amazing years. BIAS’ site now redirects to a short message:īIAS, Inc. To that group, you can add perhaps the most famous and long-lasting Mac audio editor of them all: BIAS’ Peak. There do seem to be a lot of casualties of favorite Mac waveform editors over the years, however. Small music tool makers don’t always last forever, the victim of any number of circumstances that can cause them to fold. At any time the current spectrum can be used to create an Array for later use in SAO mode where the Spectraphon oscillates at all times, with the spectrum at the Odd and Even harmonic outputs being drawn from those stored Arrays.Remember me? Peak in its last release had a cleaner look, but I imagine something like this is what popped to mind when you heard Peak. In SAM the Spectraphon can be sequenced and frequency modulated like any VCO. In SAM, instead of oscillating at all times like an analog VCO, sound at the Spectraphon’s input is used to modulate the amplitude of a set of harmonics. The Spectraphon has two nearly identical sides, A and B, which oscillate in one of two ways: Spectral Amplitude Modulation (SAM), or Spectral Array Oscillation (SAO). ![]() This hardware, engineered by Jeff Snyder and Tony Rolando, provides more I/O at higher resolutions, and a lower noise floor than typically found in digital modules, allowing us to unleash Tom Erbe’s DSP code to a previously unattainable degree. The Spectraphon is the first module to be built by Make Noise on its new digital hardware platform. It is inspired by classic electronic musical instruments of the past, including spectral processors, additive synthesis, vocoders, and resonators especially the Buchla 296 and Touché, but it takes a physical form more resembling the classic analog dual complex oscillator in the lineage of the Buchla 259 and the Make Noise DPO. It uses real-time spectral analysis and resynthesis to create new sounds from those that already exist. The Make Noise/soundhack Spectraphon is a dual Spectral Oscillator coded by Tom Erbe of soundhack. Digital Adapters & Miscellaneous Cables. ![]()
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