(This version also adds Speed Fades, which can simulate the braking of a turntable.) Apple says all of these modes are based on new audio algorithms developed in-house, and the results sound terrific. The Speed mode changes the pitch along with the time, as would changing the playback speed of traditional analog tape. Different modes allow you to ensure the results fit the source material: Slicing and Rhythmic modes preserve the attacks of percussive material, whereas Monophonic and Polyphonic modes stretch the sound. You can change as few or as many points inside a waveform as you wish, whether re-grooving an entire recording or fixing one errant high hat. The effect is addictive and instantaneous the interface never feels like it’s in your way, because you can drag on the waveform directly to warp it. Drag the marker left and right, and the waveform squishes or stretches like Play-Doh. Click a waveform, and you can add a Flex Marker-a pointer to a position in the recorded waveform-which you can move forward or backward in time. Switch to the Flex Time view in the Arrange pane, and blocks of audio become stretchable. Logic Studio’s new Flex Time tool collection combines a new interface designed for making these changes with an under-the-hood engine that can warp sound more convincingly. For sound designers, producers, and remix artists, there are creative reasons to want to re-groove recorded audio, as well. That can limit some creative possibilities: even when working with talented musicians, part of a take might be slightly out of time–especially when adding up a day’s worth of different takes. Once recorded, sound traditionally ceases to be entirely malleable: you can slice and reorder sound, but changing its internal timing is more difficult. But those highlights aside, smaller fit-and-finish enhancements are often of equal importance in real-world production. MainStage has grown from a clever way to host instruments and effects to a more mature host, adding integration with other software, as well as playback, looping, and recording capabilities. New models of amps and effect pedalboards emulate traditional guitar gear and open up new performance possibilities. There’s an entirely new audio manipulation engine, allowing recorded sound to be reshaped in time. This has made things much easier in my studio, and any studio with a Macintosh should have WBPro.Overall, Apple’s Logic Studio 9 introduces some significant headline features.
#Waveburner recording software
And finally, this is very easy to use software you'll barely, if at all, need the manual. Just about any audio file format (SD II, WAV, AIFF, etc.), audiodriverformat(ASIO,EASI,DirectI/O,etc.)and SCSI/Firewire CD burners are supported. But of course with VST support, you can go more high-end and use the Waves or Universal Audio plug- ins. I haven't used the denoiser or base expander, but the others sound great and have lots of parameters to tweak with. The other really nice thing about WBPro is that is supports VST plug-ins and comes with six native plug-ins for mastering: Compressor, five band parametric EQ, Denoiser, multi-band (up to four) compressor, stereo base expander and limiter. Dithering from 24 to 16 bits is done with the POWr algorithm, the main competitor to Apogee's UV22.
You have total control over the fade shape for instance, and the new CD Text format is supported. All of this goes beyond the basics that you'd expect. It's also real easy to cross fade between two songs and to precisely set the index points that your CD player looks for. Graphic editing, or trimming the beginning and ending of each track is a piece of cake as are fade-ins and fade-outs. If you've been using Toast or Jam to burn CDs, you'll want to throw them away after you use WBPro. It only does one thing, but it does it really well: assemble, sequence and tweak two track mixes into Red Book compliant CDR masters. This is a beautifully useful and utilitarian piece of Macintosh software.
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