Audiofile Engineering Wave Editor 1.4.6 For Mac

What Is Wave Editor
Audiofile Engineering Wave Editor 1.4.6 For Mac Download

Audio Editing Software For Mac OS X

My editing, mixing and mastering of sound effects is done in Nuendo, I think Wave Editor will be a good first pass at editing my sounds. With Wave Editor, I could directly from within Basehead run a mid-side decoder, normalize, trim, add some metadata etc.

Computer / Software >Audio Editors

Audiofile Engineering's elegant package offers impressive editing features at an affordable price.

Wave Editor's main waveform display, with layer control in a pop‑out tab, and Inspector and Processor windows. Other useful Processor options include Normalise, Dither and Remove DC Offset. The alpaca is not included.

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This morning in the supermarket I bought myself a pack of deluxe clothes pegs. I think it was a good buy at £2.99 for 12. Even when I'm a bit short of the readies, my theory is that it's better to splurge on really nice clothes pegs and, if necessary, economise on the expensive things in life to make up for it.

It's the same with audio gear. Save just a smidgeon on those D-A converters and you can afford some nice software stocking‑fillers. Wave Editor by Audiofile Engineering is a good example. At $79, it's not a trivial purchase, especially if you've already got all its functions in Pro Tools. And anyway, you can get free programs which do more or less the same thing — Audacity, for example. But Audacity is the ordinary clothes peg, while at the other extreme Pro Tools is the executive dry‑cleaning service. The deluxe clothes peg is Wave Editor.

So what's the advantage of the deluxe clothes peg over your DAW? Well, a specialised stereo editing program, if it's any good, will start up faster, run on smaller machines (useful on the road), and offer just the right tools for a quick editing job without the so‑beautiful‑I‑could‑eat‑them interfaces for synths, sequencers and kitchen sinks all screaming for your attention at the same time.

Alternatives to Wave Editor for the Macintosh include BIAS Peak Pro 6 (reviewed in January's Sound On Sound: /sos/jan09/articles/peak6.htm), DSP Quattro (SOS April 2003: /sos/apr03/articles/i3dspquattro.asp) and Rogue Amoeba's Fission (www.rogueamoeba.com). Fission is probably the best alternative for comparison, because it's cheap as chips at $32, although it has significantly fewer functions than Wave Editor. The freeware Audacity (http://audacity.sourceforge.net) is, in my view, clunk city in the user‑interface department, so let's reserve that for the really poverty‑stricken.

For me, the most important fact about any program is whether I can use it without reading the manual. If I have to read the manual, well, then, Wave Editor's manual is terrific, much better than most. But I still don't want to read it. So can I use Wave Editor just by playing, not reading? Yes. But only just. There are a few oddities and gotchas. One you'd better know about is that dragging a file onto the program icon, or using 'Open..' in the File menu, will not open sound files in most of the formats that Wave Editor supports. What? This is an audio editor. What do you mean it won't open sound files? The answer is that to open sound files in most of the supported formats you have to use the 'Import..' command. This opens files in pretty much any sound format, using the Mac's built‑in QuickTime for anything Wave Editor doesn't know how to process itself. Mono, stereo and all the commonly used surround sound formats are supported, and I'm pleased to say that the user‑interface infelicity I've described above will be fixed in the forthcoming version 1.4.5 of Wave Editor, which should be current by the time you read this.

Messing Around

Wave Editor looks simple when you first open it up. But like a good mid-fielder, its apparent straightforwardness hides a wealth of skills. These include a variety of basic sound‑processing options for when you haven't got the big‑gun programs to hand, and a huge range of useful features, such as the ability to set the tags in your MP3 files (and in many other types of files, some of which I didn't realise even had tags).

So what can you do with this thing? Well, it does more or less what you expect, with the emphasis on more rather than less. The main window shows your waveform. In theory, you can have any number of channels, and certainly 5.1 surround sound is handled well. You can layer waveforms, and save the layers in a proprietary file format to work on later — again, an obvious move for a DAW, but something that other mere editors can't do. You can apply effects in real time. You can monitor your peaks using peak‑hold level meters, a left‑right stereograph, and a spectrograph.. or all three, which is more fun than watching the hippy visualisations in iTunes. Monitoring: L‑R peak hold, stereogram and spectrogram.

Control is exceptionally easy. Just for example, you can zoom in on the waveform using little zoom bars that are right there in the main waveform window, looking at you all the time. More importantly, Wave Edit makes it easy to do non‑destructive editing, thanks to a wide variety of ways of working with layers and other non‑destructive tools such as smart region labels that save their own effects settings. And there's a whole army of position‑finding labels to keep you sane: plain green Markers, orange Slices, red Regions, blue Loops, and black‑and‑yellow‑striped CD Tracks/Indices. Labels are kept separately for your various layers, and there are tooltips and snap‑back to your favourite places. There are also Handles and Grids.. why does this remind me of American football?

If you're not a mousey person, you can use your computer keyboard. Wave Editor comes with its own panels for setting keyboard shortcuts and to tell it what to do when you scroll the wheel on your mouse, and a pop‑up panel that reminds you what other mouse actions do, although these mouse actions are not all configurable. I don't know why they don't use the Macintosh operating system's built‑in keyboard configurator. It's usually a worry when a software company start doing things their own way rather than using the facilities the operating system provides, but in this case I can't see any harm arising, and it's nice to be able to get at keyboard shortcuts easily from Wave Editor's menus without having to go all the way to System Preferences. The options for mouse control are impressive: there are lots of them, and they seem well chosen. Wave Editor's very comprehensive list of mouse actions.For example, you can Command‑Option‑drag over a section of waveform, and without having to choose any menu commands or any hard work like that, the selection you've chosen will be expanded to fill the window. Nice.

What else can you do? Not much compared to a DAW, but still a hell of a lot. You can move bits of audio around, of course. You can record new audio. You can play back using a sophisticated transport bar with pre‑roll and post‑roll monitoring, with your audio sync'ed to a MIDI track. You can generate a few simple noises internally, including white and pink noise. You can locate peaks in more ways than I've had hot dinners. And you can apply the following transformations: change gain, normalise, invert phase, speed change, pitch shift, reverse audio, remove DC offset (that's thoughtful), fade (segmented linear, quadratic or Bezier), compress (called 'Thresholds'), and resample to change bit depth or dither, using Apple's built‑in algorithms or the proprietary Izotope resampler.

And that's just the built‑in effects. You can also apply any Audio Units or VST plug‑in, a simple phrase that describes so much joy.

Did You Leave The Handbrake On?

Wave Editor is touted as being optimised for speed, as you'd hope that something so streamlined would be. I tried it on a recent desktop with a dual‑core 2.66GHz processor, and also on an old G4, both with plenty of memory. Here are the times for encoding and decoding a 70MB MP3 file (80 minutes of stereo at 128kbps, VBR encoding), compared to competitor program Fission by Rogue Amoeba. If you don't want to read the table below, I can summarise it for you: encoding and decoding using Wave Editor is slow, slow, slow.

I made myself quite a few snacks waiting for Wave Editor to do its thing, I can tell you. Loading files in uncompressed formats such as WAV and AIFF is nothing like as glacial as these times, but it's still a little slow compared to the whizzy Fission. I believe that Fission doesn't do a separate decoding step: it manipulates the audio data in whatever format it finds it in. Perhaps this gives it an unfair advantage over Wave Editor, which converts data into its own uncompressed 32‑bit format. However, as end users we shouldn't have to care about this stuff. No matter why Fission is faster, it just is.

Wave Editor uses the freeware LAME package to do its MP3 work for it, and doesn't add any appreciable overhead to the time it takes for LAME to do its thing. So on the one hand there's nothing wrong with the competence of Wave Editor's programmers; but on the other hand, bringing Wave Editor up to the speed of Fission won't be easy. Back on the first hand, though (can I do that?) Fission doesn't have the wealth of editing features that Wave Editor does. So you takes your choice: incredible speed (Fission) or incredible features (Wave Editor).

Audiofile engineering wave editor 1.4.6 for mac download

Conclusion

Wave Editor is a nice package, with an amazing abundance of options for an editing‑only program, and an exceptionally well thought‑out user interface that puts the options where they're needed, not in your face. I only have one worry: am I really going to use such nice editing facilities if it's a hassle to save my work because it's too slow? That depends largely on whether I need to use compressed audio files. If not, this is a neat package that fits the bill when you want an editor that's simple, but not too simple.

Super Support

Wave Editor positively encourages you to submit requests for help, or for new features.

Maybe the best thing about this product, and certainly the thing that impressed me the most, is the technical support. First of all, the manual is fantastic. Yes, I know I said I don't like to read manuals. That's partly because I'm lazy and partly because most manuals suck. But this one is a joy. It describes everything, and manages to do it without being boring. It even includes short examples of things you might want to do.

And in addition to all the help that comes with the program, there's another type of support: the program positively encourages you to ask the company's tech staff for help using a built‑in support window. That's pretty amazing for something priced basically as a stocking‑filler.

MP3 Process	Wave Editor	Accounting software free download. Fission
Decoding: Intel 2.66GHz	75 seconds	Less than a second
Encoding: Intel 2.66GHz	5 minutes	6 seconds
Decoding: G4 1.33GHz	8 minutes	8 seconds
Encoding: G4 1.33GHz	10 minutes	35 seconds

Pros

Multiple layers and labels allow easy non‑destructive editing.
Audio Unit and VST effects can be applied in real time.
Several useful audio manipulations are built in.
The interface is advanced and intuitive.

Summary

Wave Editor is a terrific program for anyone who needs a specialised audio editor. Top masculine cars. It's easier to use than a DAW, not just because it's got a simpler job to do but also because it's beautifully designed for straightforward editing.

information

$79

Ridiculously powerful. Seriously creative.

New

Live LoopsFor spontaneous composition.

Live Loops is a dynamic way to create and arrange music in real time. Kick off your composition by adding loops, samples, or your recorded performances into a grid of cells. Trigger different cells to play with your ideas without worrying about a timeline or arrangement. Once you find combinations that work well together you can create song sections, then move everything into the Tracks area to continue production and finish your song.

Remix FX

Bring DJ-style effects and transitions to an individual track or an entire mix with a collection of stutters, echoes, filters, and gating effects.

Logic Remote

Control features like Live Loops, Remix FX, and more from your iPad or iPhone using Multi-Touch gestures.

New

Step SequencerPure beat poetry.

Step Sequencer is inspired by classic drum machines and synthesizers. Using the Step Sequence editor, quickly build drum beats, bass lines, and melodic parts — and even automate your favorite plug-ins. Add sophisticated variations to your pattern with a wide range of creative playback behaviors. Use Note Repeat to create rolling steps, Chance to randomize step playback, and Tie Steps Together to create longer notes.

Logic RemoteTouch and flow.

Logic Remote lets you use your iPhone or iPad to control Logic Pro X on your Mac. Use Multi-Touch gestures to play software instruments, mix tracks, and control features like Live Loops and Remix FX from anywhere in the room. Swipe and tap to trigger cells in Live Loops. And tilt your iPhone or iPad up and down and use its gyroscope to manipulate filters and repeaters in Remix FX.

Multi-Touch mixing

Control your mix from wherever you are in the room — whether that’s next to your computer or on the couch — with Multi-Touch faders.

Pair and play

Use a variety of onscreen instruments, such as keyboards, guitars, and drum pads, to play any software instrument in Logic Pro X from your iPad or iPhone.

New

Sampler

We redesigned and improved our most popular plug-in — the EXS24 Sampler — and renamed it Sampler. The new single-window design makes it easier to create and edit sampler instruments while remaining backward compatible with all EXS24 files. An expanded synthesis section with sound-shaping controls brings more depth and dynamics to your instruments. The reimagined mapping editor adds powerful, time-saving features that speed the creation of complex instruments. Use the zone waveform editor to make precise edits to sample start/end, loop ranges, and crossfades. And save hours of tedious editing with new drag-and-drop hot zones.

New

Quick Sampler

Quick Sampler is a fast and easy way to work with a single sample. Drag and drop an audio file from the Finder, Voice Memos, or anywhere within Logic Pro X. Or record audio directly into Quick Sampler using a turntable, microphone, musical instrument, or even channel strips playing in Logic Pro X. In a few steps, you can transform an individual sample into a fully playable instrument. And with Slice Mode, you can split a single sample into multiple slices — perfect for chopping up vocals or breaking up and resequencing drum loops.

New

Drum Synth

This powerful but easy-to-use plug-in creates synthesized drum sounds. Choose from a diverse collection of drum models and shape their sound with up to eight simple controls. Drum Synth is also directly integrated into the bottom of the Drum Machine Designer interface — giving you a focused set of sound-shaping controls.

New

Drum Machine Designer

Redesigned to be more intuitive and integrated, Drum Machine Designer lets you effortlessly build electronic drum kits. Apply individual effects and plug-ins on each discrete drum pad to experiment with sound design and beat-making in new ways. You can also create a unique layered sound by assigning the same trigger note to two different pads. To help you quickly edit sounds, Quick Sampler and Drum Synth are directly integrated into the Drum Machine Designer interface.

DrummerCompose to the beat of a different percussionist.

Using Drummer is like hiring a session drummer or collaborating with a highly skilled beat programmer. Create organic-sounding acoustic drum tracks or electronic beats with the intelligent technology of Drummer. Choose from dozens of drummers who each play in a different musical genre, and direct their performances using simple controls.

Compositions and PerformancesYour studio is always in session.

Logic Pro X turns your Mac into a professional recording studio able to handle even the most demanding projects. Capture your compositions and performances — from tracking a live band to a solo software-instrument session — and flow them into your songs.

The ultimate way to record.

Seamless punch recording. Automatic take management. Support for pristine 24-bit/192kHz audio. Logic Pro X makes it all easy to do — and undo. You can create projects with up to 1000 stereo or surround audio tracks and up to 1000 software instrument tracks, and run hundreds of plug-ins. It’s all you need to complete any project.

Get the most out of MIDI.

Logic Pro X goes beyond the average sequencer with an advanced set of options that let you record, edit, and manipulate MIDI performances. Transform a loose performance into one that locks tight into the groove using region-based parameters for note velocity, timing, and dynamics. Or tighten up your MIDI performances while preserving musical details like flams or chord rolls with Smart Quantize.

Industry-leading tools

As your song develops, Logic Pro X helps organize all your ideas and select the best ones. Group related tracks, audition alternate versions, and consolidate multiple tracks. Lightning-fast click-and-drag comping helps you build your best performance from multiple takes.

What Is Wave Editor

Smart Tempo

Go off-script and stay on beat with Smart Tempo, a way to effortlessly mix and match music and beats without worrying about the original tempo. Record freely without a click track. And easily combine and edit MIDI and audio tracks — from vinyl samples to live instruments to multitrack audio stems — with constant or variable tempo.

Flex Time

Quickly manipulate the timing and tempo of your recording with Flex Time. Easily move the individual beats within a waveform to correct drum, vocal, guitar, or any other kind of track without slicing and moving regions.

Flex Pitch

Edit the level and pitch of individual notes quickly and easily with Flex Pitch. Roll over any note and all parameters are available for tweaking.

Track Alternatives

Create alternate versions of a track or multiple grouped tracks, and switch between them at any time to audition different options. Create, store, and select from different edits and arrangements of track regions to make it easier to experiment with various creative ideas.

Takes and Quick Swipe Comping

Click and drag to choose the best sections of each take to create a seamless comp, complete with transition-smoothing crossfades. Save multiple comps and switch among them to pick the one you like best.

Track Stacks

Consolidate multiple related tracks into a single track. Use a Summing Stack as a quick way to create submixes. Or create layered and split instruments.

Project Alternatives

Create as many alternate versions of a project as you’d like, each with its own name and settings but sharing the same assets — efficiently saving storage space. Load any version to make changes without compromising your original.

Track Groups and VCA Faders

Manage large mixes with Track Groups and VCA faders. Assign any selection of channels to a track group, then control the levels or other parameters of all tracks in the group from any single channel in the group.