Dedicated waveform audio - editing programs are indispensable tools for recording stereo sound , organise files for heavy multitrack projects , and polishing sound for CDs and other digital distribution . Whether you ’re a hobbyist producing podcasts or a pro creating studio apartment - timber projects like CDs or game soundtrack , BIAS ’ Peak Pro XT 5 could gibe the bill .
Digital audio workstation sidekick
Peak mix canonical stereo editing with ramp up - in audio effects , third party plug - in support , and CD - authoring tool . There are three edition of Peak 5 : LE , Pro , and Pro XT . For light enjoyment , LE includes most of Pro ’s redaction and CD - authoring functionality and incorporates digital - video functionality formerly usable in Peak DV ( now discontinued ) , but lacks features like quite a little processing . Peak Pro 5 is a full - blown editor in chief , with advanced feature — like Vbox personal effects chain — that LE lack . The new XT bundle includes the Peak Pro editor and adds a rooms of get the hang effects and noise - reduction and audio - restoration software .
Peak Pro 5 will only let you edit one stereo audio data file at a time , and it has no multitrack mixing or surround - sound capabilities , but it makes an idealistic comrade to multitrack software program like Apple ’s Logic Pro (; June 2005 ) or BIAS ’ own Deck (; February 2003 ) . It also has a full-bodied and well-heeled - to - habit mountain - processing feature , which reach it a terrific putz for managing lots of audio files . Combined with Peak Pro ’s new RMS Normalization feature for matching mediocre dynamic levels , the batch - processing feature prayer not only to audio engineers but to podcasting aficionados as well , since it ’s useful for prepping large groups of audio files for radio or podcast program .
Editing features
There ’s a cause why Peak has been a long - time favorite on the Mac : it ’s unmatched for detailed editing of individual data file . New Region Split functions and Snap To options in the Pro 5 version make its slicing and looping capabilities more powerful , but the most welcome addition is high - resolution , tape - style scouring . Tape scouring , the sound analog reel - to - reel tape work as it ’s moved slowly over a playback head , does n’t always translate well to software program , but in Peak Pro 5 it mapping and vocalize the agency it should . Even if you ’ve never edited with tape , you ’ll see that the scrubbing feature of speech make finding exact edit points by ear much easy .
Peak Pro 5 also shines for its plug - in capableness : it ’s the only Mac waveform editor that supports both VST and Audio Unit ( AU ) fire hydrant - in . Thanks to Peak Pro ’s addition of AU support in the Vbox effect intercellular substance , you may easily assemble multiple VST and AU quid - ins into chains and keep them as presets . If you ’re designing sounds for samplers or other instruments , you ’ll prize Peak ’s continued support of hardware samplers and the summation of live MIDI stimulation and VST and AU soft synth support , which lets you toy and record audio recording from instrument plug - ins without leaving the programme .
Macworld has noted in the past times that some element of Peak ’s interface could be improved , and that ’s still the case . While BIAS has redesign some of the more confusing toolbar image in this version , the monochrome gray - on - gray toolbar is still surd to read at a glance , and is n’t as customizable as standard OS X toolbars . Managing Peak ’s multiple windows can also be clumsy ; the new Tile and Stack mastery help , but there ’s no room to save custom windowpane sets , and window often overlap . These complaints apart , menu are well organized and the interface is useable overall .
Peak has new competition from Apple ’s Soundtrack Pro (; October 2005 ): Soundtrack ’s support for Final Cut Pro integrating , environment phone ( import / exportation though not true surroundings panning and mixing ) , multitrack editing , and action layers can assist in innovation and redaction workflows that Peak does n’t spread over . But Peak remains the skilful choice for many stereophonic intelligent - redaction chore , and it integrates cadmium authoring , which Soundtrack lacks .
CD mastering and authoring
The most striking fresh feature in Peak Pro 5 is the overhauled Playlist editor in chief , which can be used to combine several audio file with cross - fades , construct and glow CDs , or to prepare disc images for a pro atomic number 48 - overcome star sign . Peak Pro 5 adds high - quality POW - r dithering to Peak ’s excellent sample pace conversion , so you’re able to convert higher - resolution audio with a minimal impingement on heavy fidelity . you may then bounce the result to an audio file , burn it to a Redbook - compatible atomic number 48 , or with an optional fire hydrant - in , exportation to a Disc Description Protocol ( DDP ) file that can be sent to a candela - get the hang theater .
WaveBurner , an app included with Apple Logic Pro , has much of this CD - authoring functionality ( though no VST livelihood or DDP exportation option ) , but for exploiter of other programs , integrated atomic number 48 - master feature alone could make Peak a must - have putz . ( If you do n’t need the ability to create tradition raceway cross - fading , Peak LE includes all the CD - author features , minus the in writing Playlist editor . )
XT: Special effects house
Peak Pro 5 XT adds significant value to the redaction package via a generous choice of bundled effects . If you already have a wide choice of plug - ins or do only light product piece of work , you may not require XT , but if you ’re looking to append a entourage of polished processors to your effects arsenal , the bundle is now one of the best deals on the Mac .
The XT version includes both SoundSoap 2 and SoundSoap Pro (; November 2004 ) for noise step-down and restitution . The Master Perfection Suite included with the XT version includes dynamic processing , Repli - Q spectral matching ( which can be used not only to match hardware combining weight but other audio , as well ) , analysis and metering , and parametric EQ . Dynamic CPU include 3 - banding and 5 - lot versions of Sqweez , for multi - band compression , expansion , and limiting , and the GateEx gate / expander . The interfaces are beautifully designed , particularly in the fount of Sqweez , which incorporate an unusually detailed graphic preview . All include A / B / C / D comparability buttons , making it easygoing to retrieve the best setting ; it ’s too spoilt more compete effects do n’t comprise this feature .
The plug - ins are currently limited to practice with Peak Pro , but prejudice promises to contribute compatibility with other hosts in a free update , to be released presently . ( The Master Perfection Suite will also be usable separately for Pro Tools RTAS , AU , VST , and Windows for $ 599 . ) The only defective news is that Peak Pro 5 ask a USB key to operate , but fortunately for institutional setting , primal license can be get at over a meshing .
Macworld’s buying advice
Being effective in the studio is often a case of take the right tool for the right job ; and when it come to day - to - day study with stereo Indian file , you ’ll have a hard time recover a honest tool than Peak Pro XT 5 . Most user will be well - served by Peak LE 5 , but the Pro and Pro XT 5 versions are deserving consideration for their batch - processing power , and XT is one of the undecomposed note value on the Mac for processing bundles . Whichever version you pick out , you ’ll find Peak Pro 5 is an unreplaceable timesaver alongside your multitrack package of selection .
[ Peter Kirnis a composer and media artist , editor in chief ofcreatedigitalmusic.com , and author ofReal World Digital Audio(Peachpit Press , 2005 ) . ]
