E Q U PC WAV I P M File E Editors N T If you want to edit WAV files on a PC, the heavyweight packages are and Wavelab. Martin Walker weighs up the pros and cons. T E S nyone who uses a PC for hard T disk recording or stereo A mastering will need a WAV file editor, either to process individual tracks from a multitrack environment, or to put the final touches to a stereo file before mastering. Many Midi+Audio sequencers come with a basic integral audio editor, as do many soundcard bundles, but for a comprehensive list of features you will need a specialist standalone package. For mono or stereo WAV file editing to a professional standard, two packages have risen to the top of the pile – Sonic Foundry’s Sound Forge, and ’s Wavelab. Currently, Sound Forge stands at version 4.5, and Wavelab at 2.01, but for anyone trying to decide which Sound Forge 4.5, complete with add-on package CD Architect, showing the real-time fade and crossfade capability. one to buy it can be a tricky prospect, especially since each product has an almost play back mono or stereo files with 8- or 16-bit resolution, encyclopaedic range of features. If you definitely need and any sampling rate between 2k and 96k (subject to support in a specific area (such as being able to import your soundcard supporting them, of course). Wavelab is or export a particular format of file), then it’s best to rather more ambitious: while offering an identical range of check this for yourself, either by looking at the manufac- sampling rates, it also supports 8, 16, 20 ,24, and even turer’s website, or speaking to a knowledgeable music 32-bit resolution files. This is a fundamental area in which dealer. What most people can’t tell you is what working even the latest Sound Forge (version 4.5, released July with each package is really like, and how they compare. ‘98) is lagging behind. If your soundcard can 20 or I’ve used both extensively, from their earliest incarna- 24-bit files, you should bear this in mind. tions, and watched them evolve and grow over the last However, Sound Forge is compatible with an extensive few years. What follows isn’t a feature by feature range of file types other than the common WAV, and breakdown, or a head-to-head review with an overall shows its games ancestry by supporting a huge range of winner – each product has its own individual strengths older ones including: Amiga (svx or iff), Covox (v8), and weaknesses. Look at it rather as an informed Creative Labs (voc), and Gravis Patch (pat); as well as a viewpoint, which hopefully you should find useful when large range of more general ones, including: Macintosh making a final choice. AIFF (aif), NeXT/Sun (au, snd), and MIDI (sds). If you ever receive samples in an unknown format, a special Formats Raw option is available which will read any file after you Sound Forge and Wavelab both support a large range of specify the number of bits, whether it is signed or different WAV file formats. Sound Forge can record and unsigned, mono or stereo, and even the order of the

115 bytes for 16-bit sounds (Little Endian for Intel, and Big channel, this can be automatically removed during the Endian for Motorola). This can sometimes prove recording. Both programs allow you to automatically invaluable for unravelling unknown sound files. create a new window for each new recorded take, but Wavelab supports a smaller range of file types – apart Sound Forge also has the option of creating a new from WAV it will load and save as AIFF, NeXT/Sun, Region for each take, which can also be useful. Ensoniq Paris (paf), and Raw (but with more limited options). Both programs support compressed formats Sampler support through Microsoft’s ACM (Audio Compression Manager), Many people with rack-mounting samplers would like to and if you have Internet Explorer 4.0 this will include edit its contents using the large graphic screen NetShow. However, Sound Forge’s support for Internet environment of a PC. This is one area that was streaming formats is impressive, with NetShow 3.0, pioneered by Sonic Foundry – Sound Forge has provided RealAudio/Video 5.0, and Java AU files. If you need to the means to upload/download samples via SCSI and prepare audio for Website use, then Sound Forge currently Midi/SDS for some time (to samplers that support such provides more support. protocols), but Steinberg has also added this function to Overall, although standalone format conversion utilities Wavelab on its last major release, v2.0. are available, if you regularly need to import and export Both programs also support Playback looping, and this sounds with a wide range of formats, Sound Forge might is ideal when perfecting effects on a specific section of a be the easier solution, but for high-end audio with more track, or when editing drum loops. More extensive loop than 16 bits, Wavelab has the inside running. functions are also provided, such as being able to play back the attack portion of a sample, followed by a Basic editing looped sustain section, and maybe even a further release Both packages provide support for editing across section after the loop. Once a loop has been set up, multiple windows, so that you can view several files side automatic loop finding is available (using zero point by side (or above and below), as well as using drag and nudging for both the start and end), as well as more drop to move chunks of one file to another window. advanced options such as crossfade looping, with both Since most Windows applications use standard key also allowing you to crossfade into the portion beyond combinations for many operations like Cut (Ctrl-X), Copy the loop, as well as during it. (Ctrl-), and Paste (Ctrl-V), as well as Undo (Ctrl-Z) and Redo (Ctrl-Shift-Z), there is little to choose between the Real-time plug-ins two in these basic areas. For many people, one of the main reasons to buy a WAV However, there are still a few differences. Wavelab file editor is to use the latest real-time effects. This can provides a graphic overview of the entire file above its mean anything from adding the acoustics of real main graphic window, which can be very useful when buildings to an existing recording, to moving sounds you are working with a zoomed view, but still want to see beyond the speakers into the room with the latest 3D where you are in the overall file (this can be deactivated technology. With the large filesizes used by ‘CD quality’ if you prefer). Although there is no equivalent Overview audio (10MB per stereo minute), it can take a long time function in Sound Forge, it does have a smooth scroll to process the huge number of calculations required to option which follows playback in a zoomed window. This apply any audio effect. The huge advantage of the real- may take more resources than the courser flip-screen time aspect is that by splitting the audio into small scroll of Wavelab (but as always you can disable it if chunks, and then treating each separately, it becomes desired), but it does make it easier to follow the possible to hear the effects in real-time. waveform during playback. Microsoft’s DirectShow (which incorporates DirectX) is Adding Markers (a start position with a text name) to a standard that allows many third party developers to sections of a file is easy in both programs. However, provide plug-ins that will run on any application which some people may prefer the way that Sound Forge also supports it. During their evolution, both Sound Forge has Regions (Markers with an associated length), along and Wavelab have added the ability to run DirectShow with a Playlist (a list of Regions along with a number of plug-ins. However, the processing power provided by loops for each entry). For anyone used to loading in an modern PCs has greatly increased since the initial entire album from a DAT tape, and then marking the introduction of real-time plug-ins, and to take advantage start and end points of each track, Sound Forge’s Playlist of this, both programs also allow you to hear the results of is an ideal way to re-order playback of the tracks, add running several in series, for example you may want to suitable pauses in between, and then save the entire apply a little global EQ to an entire track, add reverb, and tweaked version back to another DAT tape. Wavelab also then normalise it. Since each process can add its own has extensive Marker options, including ones intended rounding errors, there is a further advantage in carrying specifically to mark the boundaries of CD tracks, but out multiple processes in one huge operation. The internal there is still no Playlist. calculations may be carried out at 24 or even 32-bit During the record process, both programs provide resolution (depending on the individual plug-ins), and input metering in record ready mode, but Sound Forge given that the intermediate stages stay at this higher also provides a useful DC offset option – if your resolution, this should ensure the highest possible audio soundcard exhibits any measurable offset on either quality for the end result.

116 Implementation of multi-stage real-time effects is rather more elegant in Wavelab, which features the Master Section – six slots which can each run a single plug-in, followed by a dithering and output section. It is quick and easy to audition different combinations of effects, or to quickly perform A/B comparisons while listening to playback, with negligible glitching as you switch them in and out. Another beauty of the Wavelab Master Section is that every other control is still available for use – you can rapidly switch to an alternate window to hear the same effects on a different file, or even load in another file while playing back Wavelab 2.0, showing the elegant Master Section for adding real-time effects, and the current one. the text-based CD Program window. Sound Forge has the equivalent Audio Plug-In Chainer. Audio Plug-In Chainer appears as Analysis an extra plug-in with a purpose of chaining many other Working with digital audio isn’t just about cutting and plug-ins together, complete with Solo and Bypass pasting, or adding EQ and effects. Sometimes you may facilities. However, there is a significant glitch every time need to examine your files more carefully, perhaps to you change the signal routing, and although none of identify problem areas during or after recording, or to these glitches would appear in the final ‘rendered’ file, it check for glitches or errors. Sound Forge provides a does make A/B comparisons more difficult. In addition, useful Statistics option which measures RMS power no control outside of the plug-in is active during the real- (useful when evaluating the background noise of time previews, which does rather restrict your options. soundcards), as well as finding the position and values of Another area in which the two applications differ is the maximum and minimum sample values. An that while Sound Forge supplies a host of built-in effects extremely comprehensive Spectrum Analysis tool is also (including EQ’s, delays, compression, and reverb), these available, and this can be used to measure frequency are off-line processes (non real-time), and require several content (in real-time or on existing files), as well as seconds of re-calculation every time you change any providing multiple slice displays of the familiar ‘waterfall’ parameter. Having said that, they are included as part of type, which can be invaluable when measuring room the program, work well, and give you an excellent acoustics. Extensive options are available for both the starting point without spending any additional money. frequency and amplitude axes, FFT size, and Smoothing Wavelab, on the other hand, provides relatively few algorithms. Furthermore, in addition to the more normal built-in off-line effects (EQ, Dynamics, Harmoniser and line, bar, or filled graph displays, both colour and black Chorus are the main ones) but makes up for this with and white sonogram displays are also available for more about a dozen DirectShow real-time plug-ins, such as EQ, specialist use. Reverb, and StereoImager. They may not be of the same Wavelab has a rather different set of analysis options. quality as some of the third party plug-ins available, but The rainbow-hued waterfall plots of its 3D Frequency they are certainly as good as those provided with Sound Analysis tool have graced many a magazine review, but Forge, and do work in real-time, which makes while useful, their amplitude calibration is not shown, and adjustments a lot easier. As an extra bonus for owners of it is often easier to achieve a pretty display than extract Steinberg’s Cubase VST, Wavelab also recognises useful information – especially since the display always VST-specific plug-ins, which can boost your plug-in shows multiple slices (it is not possible to show a single arsenal immediately if you already use this sequencer. frequency response plot for instance). Much like the chaining of plug-ins, both programs also However, Wavelab more than makes up for this with its feature batch processing. This feature can be extremely Global Analysis options – you can scan a file (or section useful, particularly for multimedia developers who are of it) for peaks, find the loudest parts (looking at sections faced with a huge number of audio files that need the of sound rather than individual sample points), measure same set of edit operations carried out on them, such as average pitch, DC offset, and (best of all) search for sample rate conversion, normalisation, and so on. The Errors. Both glitches (sudden changes of sample value) full range of available plug-in effects can also be used as and clipping (several consecutive points at full digital part of a batch process. value) can be detected, and this can be invaluable for

117 anyone importing music digitally from DAT tapes – one interface. Although you can edit a text-based Playlist stray click can be a nightmare to spot in an hour’s worth much as Wavelab, it is the graphic waveform window of material. To help you double check, Wavelab will where all the fun happens. This is fully linked to the create markers at any potential error points, and then Playlist, but the waveform for each track is a separate you can easily zoom in on them. Wavelab’s File entity, which can be dragged and dropped as you like. If Comparer will also highlight the differences between you want to extend the pause between any tracks, you any two files, and even generate a delta file of the just drag the remainder a little further on, and reordering differences (ideal for hearing exactly how a plug-in has of tracks is just as easy. However, the most creative changed your music). options are the fades. These can be added at any point by drawing a volume envelope where the fade is CD mastering required. A crossfade between tracks can be inserted by For many people, CD mastering is a natural follow-on simply dragging one track to overlap the other – the from stereo mastering (especially now that so many have crossfade is calculated automatically for you. The final CD-R drives in their PCs), and so an integrated solution touch is that these fades all happen in real-time during is ideal. Once your digital audio files have been the CD writing process – no permanent changes are perfected, you simply place them in the correct order made to your WAV files at all. and burn the result onto a blank CD-R, either as a one- off for a studio client to take home, or to send to a CD Horses for courses duplication plant for glass mastering. However, this is Choosing one program or the other is a personal decision, possibly the biggest area of difference in the approach and will depend largely on your intended application. For taken by the two packages. those who work mainly with multimedia and regularly Wavelab was the first of the two to offer CD burning deal with many different file types, Sound Forge may be facilities, and although the interface is their own, the the preferred option, especially with its more extensive underlying software engine for the burn process is audio streaming support, which will be ideal if you are licensed from Cequadrat (who market the WinOnCd involved with Internet development. For much of all range). After selecting a New CD Program from multimedia work, its highest resolution 44.1kHz 16-bit Wavelab’s File menu, you can access an extra set of format files will not be a limitation, especially since many commands in the CD Wizard menu that appears along CD-ROM applications use the 22.05kHz 8-bit format to with a text-based CD Program window. You ‘Add Tracks’ squeeze in as much audio as possible. to this window, and can then re-order them by dragging However, for those of you who are primarily working their names to a different position. If you want to see a with multitrack audio, and who require an application graphic representation of the whole album, the ‘Join all suitable for mastering, Wavelab may be more tracks into one virtual file’ option creates a new graphic appropriate. Especially given that Cubase VST can window showing every waveform, along with any pauses export its stereo mixdown file as 24-bit, which can then between them. The biggest limitation is that the text and be imported into Wavelab for tweaks at this higher virtual file windows are not linked, and if you change resolution before dithering down to a final 16-bit file for anything in either window, then this will not be updated CD burning. I do find general day-to-day editing easier in the other, which can be confusing. with Wavelab, largely due to its Master Section, which For many people, the creative part of the compilation makes it easier to audition and ‘A/B’ different effects in process is in re-ordering tracks, changing the gaps real-time than the Plug-In Chainer of Sound Forge. between them, and sometimes adding fade ins or outs to However, when it comes to CD mastering, I much individual tracks, or even crossfades between adjacent prefer the graphic approach of CD Architect, although tracks. All these options are possible with Wavelab, but it this is an accessory to Sound Forge, whereas Wavelab can involve some extra thought, and may involve editing has more basic but perfectly adequate CD mastering the individual WAV files before the burn takes place. facilities already integrated. Mind you, since both However, the actual burning process is simplicity itself, applications are in constant development, the situation and before starting it will flag any possible errors in your may be different in six months time. Isn’t life interesting? compilation, such as incorrect pause lengths or non AT 44.1kHz files. Sonic Foundry have taken a rather different approach with CD Architect, their CD writing application. It is not Distributed by included with Sound Forge, and can be run as a • Music Technology (Steinberg’s Wavelab) standalone package, since the bundle includes Sound Phone: +61 (0)2 9369 49900 Fax: +61 (0)2 9387 8676 Forge XP (a much cheaper cut-down version of Sound Music Technology on WWW: ‘www.musictechnology.com.au’ Forge with more limited facilities). However, for existing Steinberg on WWW: ‘www.Steinberg-us.com’ Sound Forge owners, CD Architect can instead be • Moore Music (Sonic Foundry’s Sound Forge) Phone: +61 (0)3 9419 0344 Fax: +61 (0)3 9417 6697 installed as a extra option which appears inside the Moore Music on WWW: ‘www.mooremusic.com.au’ normal Tool menu. CD Architect may be an extra purchase, but it makes Price up for this by providing an altogether more elegant • $795 (Wavelab); $599 (Sound Forge) 119