The batch processor is great for repetitive jobs, such as converting a folder full of audio files to a different format, or applying a sequence of processes to all of them. The RMS Normalisation process, designed to match average dynamic levels, is still a long way from being intelligent enough to optimally match the subjective levels of different styles of music on the same album ballads would tend to sound too loud compared with heavier rock songs, for example , but it is infinitely better than using peak normalisation on everything and can be very useful when preparing material for the Internet or for Podcasts.
The smoother tape-style scrubbing makes marking up edit points even easier than it was before. Essentially a 'fingerprint' equaliser, Repli-Q, which is part of the Peak XT-only Master Perfection Suite, can impose the frequency spectrum of one sound onto another and offers numerous creative and corrective possibilities. As the manufacturers are very keen to point out, Peak is currently the only Mac waveform editor to support both VST and Audio Unit plug-ins within the same environment.
Despite the fact that software samplers have virtually decimated the hardware sampler market, Peak continues to support the most popular models of hardware sampler, and now that there's also a MIDI input feature and soft-synth support as I've already mentioned, both VST and AU , sounds can be played, recorded and processed entirely from within Peak.
However, it might have been nice to include specific support for the more popular soft samplers, such as Emagic's EXS As I use Peak only for special projects, usually mastering and file editing, I don't feel completely familiar with all of its operation and the toolbar icons still sometimes leave me scratching my head. The 'tool tip' info that comes up when you roll the mouse over an area helps here, but some days I still finding myself longing for the simplicity of the old Sound Designer II software, which I'd learned to use very quickly for editing and compiling.
In Sound Designer , I particularly liked the way you could use a couple of keys to mark the starts and ends of selections on the fly without first having to create markers. However, in Peak you can place markers on the fly and then use a keystroke to 'change markers to regions'; although the process is one step longer it's still pretty straightforward.
Perhaps allowing the user to add colour to some of the toolbar icons would be a simple step forward, and adding Logic -style screensets might also make sense now that the program has grown a few additional windows. Another feature that might help is to have the currently assigned key command displayed alongside the 'tool tip' information, as you can configure so many things now that it's a job to remember them all.
Of course, the beauty of Peak 's being so configurable is that if all you need is a Sound Designer alternative, you can can set up a limited set of toolbar icons and key commands that feel familiar. One thing in Peak that seems a bit 'clunky' to me is how you have to manually zoom in to the playlist waveform overview to see your crossfades in detail: in Sound Designer II or Jam , you simply click on the required part of the playlist and the crossfade window opens.
As far as I can see, you can also set up only one nudge value in Peak , whereas SD II allowed coarse and fine values to be set up. Maybe function-key combinations to increase the nudge time by a factor of 10 or would be useful here? A final request, if technically possible, would be the ability to place a track-start marker in the middle of a piece of audio without first having to perform an edit — for example, between two tracks that segue into one another or during an applause section in a live album.
To be fair, this is now easier than it was previously, as you can use the new Region Split command, but having it all in the Playlist window would be neater. In the Peak 5 Pro XT package you also get both the Soundsoap 2 and Soundsoap Pro noise-reduction and audio-restoration plug-ins, which came out very well in our reviews when we checked out the the stand-alone versions.
On top of that, as mentioned earlier, there's the Master Perfection Suite of plug-ins, offering mastering-quality multi-band three and five bands dynamics, the Repli-Q 'fingerprint' equaliser, new analysis and metering tools and a serious parametric equaliser. Unfortunately you can't yet open these plug-ins directly in other DAWs, such as Logic , but there are plans for an update that will allow this. It will be a free update for all XT users and will also be available as a separate bundled product. Examining the individual components of the suite in turn, I'll mention Repli-Q first.
This works in a similar way to other 'fingerprint' EQ products, in that it 'learns' a source frequency response and a target frequency response, then calculates a complex EQ curve to make the source match the target. The degree of detail in the EQ curve can be reduced using the smoothing slider, while the degree to which the source is processed can also be adjusted.
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Providing you're careful with this tool, you can make mixes of similar styles of music match in sound more closely, and also make DI'd acoustic guitars sound more natural by using a real miked acoustic guitar recording as the reference. You soon learn what this kind of processor can and can't do, but don't be afraid to experiment, as there's lots of potential.
One example that came to my mind was creating your own speaker emulator by processing a DI'd guitar sound against a reference from a miked combo. The Superfreq parametric EQ is as easy to use as any other parametric, and you can load versions with different numbers of frequency bands, according to your requirements, up to a maximum of In general, when adjusting EQ frequencies using the mouse, I initially found it difficult to arrive at precise settings, until I realised that you can use the mini wheel on the top of the newer Apple mouse to change the values in a far more relaxed way.
I also discovered that as you drag the mouse further away from the selected knob the resolution increases, so the designers have clearly thought this through. The Sqweez mastering dynamics plug-in can be thought of as a multi-band dynamic-cut equaliser or as a multi-band compressor, and it has a very informative user interface that displays the dynamically changing gains in the different frequency bands.
Personally, I find three bands enough to manage with for most routine mastering jobs, but it's always good to have the flexibility of more if you need it. I can't foresee ever needing more than the maximum of five bands.
Sqweez, the multi-band compressor that may be used for mastering and is also part of the XT package. Reveal is the only plug-in of the suite that doesn't actually apply processing, but it is immensely useful, as it offers an oscilloscope display of the audio waveform in stereo, a Peak and RMS power history, a spectrogram, a pan-power graph, real-time spectrum analysis again, in stereo and a phase meter.
This collection of meters constitutes an extremely useful set of diagnostic and quality-control tools. For example, if one side of your mix is unaccountably dull compared to the other and you haven't noticed it, the spectrum-analyser display will show you right away. By default, all the displays are visible at once, but there are tabs that allow any single display to fill the entire plug-in window.
To the right of the window are high-resolution Peak and RMS level meters whose maximum range can be set to 48dB, 96dB or dB, so you can also get a pretty good idea of where your noise floor is during supposed pauses in the material. GateEx is a practical combination of gate and downward expander and can be used both as an advanced noise suppressor during pauses and to increase dynamic range.
The graphical side of this plug-in has been very well thought out, with a display showing the signal waveform relative to the threshold settings and also a dynamics graph showing expander characteristics. Pitchcraft covers some of the ground already trodden by programs such as Auto-Tune , but it is also capable of pitch transposition with formant correction.
A graphic display at the top of the screen shows where and how much pitch correction is taking place, and there's that all-important slider for setting how quickly pitch changes are carried out. Users can set their own scales for correction and the familiar piano-keyboard note display is shown at the bottom of the plug-in window see screen opposite. We've covered Soundsoap and Soundsoap Pro before, but it's worth reiterating that these are very simple to use, yet effective audio clean-up tools for reducing artifacts such as hum and rumble, click and crackle, and broadband hiss.
Usefully, there's also a built-in noise gate for more assertive silencing of pauses. Peak has always been an extraordinarily powerful program and this latest incarnation continues the trend. The underlying ethos of the software is very simple to grasp, so the main complication is remembering the keyboard shortcuts for the many functions that are now available. As before, Peak Pro 5 will only let you edit one stereo audio file at a time — it is not designed to handle multitrack or surround- sound projects — but it still offers vastly more functionality than the waveform editors built into the mainstream DAW packages — including Deck, BIAS' own multitrack DAW.
Take your audio project to the next level with Peak Studio. It' s designed specifically to edit mono or stereo audio files, so it should be considered as. Deliver superior- quality audio without the learning curve.
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Also included is. 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 Peak is a 2- track digital audio editing program. The newest version builds upon its predecessor and includes many new developments that offer more creative potential than ever before.
Based upon Peak Pro, the industry standard professional audio tool, Peak LE combines pro- quality recording, precision editing, creative effects processing, podcast publishing, and Red Book CD.
Bias peak pro audio editing software for mac
I don' t want it to be hardware reliant if possible I know about the Digidesign series but if the price is right, maybe. Com, the most comprehensive source for safe, trusted, and spyware- free downloads on the Web. Using Software Samplers: Skill Pack. It was a product that was sorely needed- Digidesign' s.
BIAS Peak Pro 6 XT
Upgrades are available for. Has ceased operations. The additional signal processing tools make Peak Pro 7 the most comprehensive audio editing and processing application for Mac OS X in its class. I remember my school having something like cubasis AV for it but i do not know what that became. Thank you to the BIAS customers and friends for giving us the opportunity to have served the audio community for over 16 amazing years.
Peak Studio will include Peak Pro 7 along with a complementary suite of powerful tools for multi- channel mixing, mastering, restoration, streamlined analog archiving, and more. It is commonly used by amateur and professional audio and video editors, mastering engineers, musicians, sound designers, artists, educators, and hobbyists.
Mac Audio Editing Software Company Out of Business
Avid recently made ProTools hardware independent which is awesome. Now it is universal. Very steep learning curve so training students each semester will be a major pain. Then there is the free option, Audacity. Audacity is free, but compared to higher end options its interface is rather clunky. Still, it may not be pretty but it gets the job done. I know the home recording user community is decent but not sure the user community in the professional archive or music studio communities.