Sound Forge Pro is the software of choice for a generation of creative and prolific artists, producers, and editors. Record audio quickly on a rock-solid platform, address sophisticated audio processing tasks with surgical precision and render top-notch master files with ease. New features include one-touch recording, metering for the new critical standards, more repair and restoration tools, and exclusive round-trip interoperability with SpectraLayers Pro. Taken together, these enhancements make this edition of Sound Forge Pro the deepest and most advanced audio editing platform available. SOUND FORGE Pro is back and it's better than ever. It has always been an incredible tool for recording, editing, and processing audio at the highest pos... Read More »
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Sony Media Software today announced the highly anticipated launch of Sound Forge 8 Professional Audio Editing Software, the latest version of its award-winning professional digital audio editing product. New features include the addition of CD Architect 5.2 software for professional CD mastering, with direct track export functionality from Sound Forge software for fast and efficient Red Book audio CD creation. This new upgrade also provides application scripting functionality and batch processing which allows users to automate processes for multiple file encodes; customizable keyboard commands for streamlining workflow; the addition of low-latency ASIO driver support; and VST plug-in support which expands the number of effect options users can now apply to their audio.
Sound Forge software is the industry-standard for audio editing and is used worldwide for production in leading recording studios, post production facilities, broadcast and media complexes, home studios, radio stations and training facilities. The application includes an extensive set of customizable processes, professional studio effects and powerful tools for manipulating audio, creating streaming media, and offers support for a wide range of file import and export options for most standard formats.
In 2003, Sonic Foundry, the former parent company of Sound Forge, faced losses and tough competition from much larger companies; and, as a result, agreed to sell its desktop audio and music production product family to Sony Pictures Digital for $18 million. The software initially had Windows 3.x support, but after version 3.0 all support for 16-bit Windows was dropped. Additionally, Windows 95 support was dropped after Sound Forge 5.0.
On May 20, 2016, Sony announced that it would be selling the bulk of its creative software suite, including Sound Forge Pro, to Magix GmbH & Co. Magix announced via Facebook that their first new version of Sound Forge Audio Studio (Sound Forge Audio Studio 12) was released August 2017.
A single sound open in a window, ready to be edited. Common procedures are available from the drop-down menus under Process and Effects. VST and DX effects can be called up from the Plug-in Chainer tool highlighted by the cursor.
The second major update in SF8 is ASIO driver support, which means no more switching preferences in your soundcard drivers to WDM, or having to listen to a sound file over computer speakers. If your system uses ASIO, SF8 can use the same soundcard and monitor chain as the rest of your computer music software. Sound Forge should have had this capability all along, so I'm not sure whether this is as much a plus as simply dispensing with an anachronism, but better late than never.
New efficiencies also come from Sony's Batch Converter and Scripting. The Batch Converter is as simple as it sounds. Of course, one can do more than convert batches of sounds to a different format with it, but other processes are well laid-out and easy to understand. From Tools, choose Batch Convert and a separate window pops up. There are five tabs. 'Files to convert' is the first tab. Choices include single files or entire folders, which is simple enough. The Process tab inserts any effects to be applied during Batch Convert, making it an easy way to dither mixed files down to 16-bit for CD, turn WAV files into MP3s, or master a CD's worth of songs all at once with the same chain of effects. The Metadata tab embeds your choice of information with the file, so that record exec can't lose your name and phone number as long as he has the CD. Once a batch job is ready to go, use the Save tab. If a deadline is looming, you can keep an eye on the process in the Status tab. The whole is very simple, very neat and very functional.
This is an invaluable tool for dialogue replacement and foley work, because if you have an impulse response for a space, you can match the characteristic of the original recording. Even if you don't plan on a career in A/V post-production, having an impulse for an acoustic recording room can save a song. Years ago, I replaced a lead vocal chorus, and the new version had to be recorded in a different room from the original. The replacement lines not only had a totally different reverb, but even a naturally different EQ. To fit them together I had to slather them in artificial reverb. The lead vocal required reverb anyway, so it didn't sound bad, but today I would use Acoustic Mirror to match the characteristics of the original room, requiring less reverb on mixdown.
It is even possible to capture the sound of a favourite compressor or other outboard device in Acoustic Mirror and use that to process a recording. And by using a plain old WAV file instead of an impulse file, you can create all kinds of special effects. It takes time to come up with something that works, but such an experiment can produce some interesting results.
These might or might not be crippling problems; don't forget that up until version 8, the full Sound Forge wouldn't do VST either, even if other DX plug-ins worked. And lack of 24/96 support might not be too disastrous: after all, 16/48 was state of the art just a few years ago, and unless you already own an expensive recording studio you are not likely to hear much difference. Otherwise, Sound Forge 8 and the Studio version look and work much the same. Nobody needs to know, except you and your wallet.
Those who prefer to roll their own loops and samples will find a stereo editor such as Sound Forge invaluable. SF, of course, is designed to work hand in glove with Sony's Acid software. You can turn a hit into a one-shot sample, or Acid ise a longer file to allow its tempo and pitch to be manipulated in Acid or Acid-compatible software. One of the original uses for Sound Forge was exporting trimmed and polished samples to hardware units, and it still supports specific models from the likes of Akai, Emu and Kurzweil, as well as generic SMDI and SDS modes. SF will also produce synthetic sounds for sampling. Most samplers today, whether soft or hard, come with extensive libraries, but if you need a specific wave shape or FM sound, it can be produced inside SF and exported. The FM synthesis uses only four operators, so it is more like the Yamaha FB01 than the DX7, but it is still capable of making the distinctive sound of frequency modulation (or four-partial additive synthesis). The wave synthesizer can also produce frequency sweeps, which are perfect for checking out recording room or venue anomalies. There is even an arcane process for producing TDMF/MF tones, just like on a punch-button phone. I'm sure some designer had a good reason to include this function long ago, but I can't imagine what it was!
One or two minor things are still missing from Sound Forge 8. Sony introduced a Dim button into Vegas, where I seldom use it, and I was hoping it would make it into SF8, where I would. Sometimes, when you over-process a sound, the file redlines the meters and output. My audio interface, mixer and amplifier are all within reach, of course, but it would be quicker to limit the damage with the mouse.
Another chore for which I used SF8 was stripping out the audio of a song from a video project. The singer had changed her performance, was going into the studio and wanted a copy of it so she could practise in her car. This was harder than it should have been. I had a copy of the band's promo DVD, which included a live version of the song, but none of the Sony software will load the AC3 or VOB audio portion from a DVD. This was a problem in Vegas, too, where to make even a minor change to a DVD one has to go back to the original source files. I hoped SF8 would cure this problem, but no such luck. The video loaded in fine, but no audio. (Video in SF8 is displayed as a film strip, which can be animated. In the default film strip size, the motion within the small frames looks like stop-motion animation or Gumby claymation, which is cool, but didn't do anything about the audio problem!) Fortunately, I got a hold of the DAT tape they had used, and I was able to retrieve the song from there. I simply recorded the song straight into SF, cleaned up the in and out points, resampled the 48kHz file down to 44.1kHz and burned it straight from the TAO function. 2b1af7f3a8