The most obvious application for this would be to down-mix a multi-channel recording to either stereo or mono, and this works well, with the user having control over the relative contributions of each original channel to the new mix. Sony have also provided useful presets for the Channel Converter, which include options for converting 5. This includes two default templates for 5. Despite the new Hardware Meters window, and good though the multi-channel recording and rendering options are, it is worth emphasising that SF9 is primarily an environment for audio editing.
As Sony have made clear in the supplied documentation, it’s not intended as a multi-channel mixing tool in the same way that DAWs such as Cubase, Logic or Pro Tools are. While SF could easily be used for basic mixing, the most obvious difference is in the application of effects. SF9 has excellent effects options, and these can easily be previewed, but they are always applied in a destructive fashion — although the Undo function works well if you do need to retrace your steps. Effects can be applied to single channels, stereo pairs or, if the plug-in supports it, multiple channels.
As far as I could see, only the Wave Hammer plug-in is currently supplied in a format compatible with surround. This provides both compression and volume maximisation for a six-channel audio file, and therefore could be useful for some basic mastering of a surround sound project. The plug-ins within the Izotope mastering suite described more fully below are designed for use with mono or stereo files only, although it is, of course, possible to apply them to individual channels or pairs of channels within a multi-channel audio file.
Izotope Bundle One of the highlights of the latest release is undoubtedly the inclusion of four ‘mastering’ plug-ins from Izotope. SOS readers will be familiar with Izotope through their various plug-in effects, such as Trash and Vinyl, and their flagship mastering suite Ozone.
When working with mono or stereo files, the individual plug-ins can, of course, be linked together using the SF Plug-in Chainer. With the exception of the multi-band compressor, the operation of these three plug-ins is relatively straightforward.
There is on-line help available via the question-mark icon in top right of the SF plug-in window, and this would be essential reading for those not familiar with Ozone.
Each is supplied with a useful range of presets and these also make a good starting point for new users. Multi-band Compressor features a rather pretty multi-coloured spectrum display that provides information on each of the four bands.
The crossover points between the bands can be adjusted, and the roll-off between one band and the next is indicated by the blending of colours for the two adjacent bands. Alternatively, the display can be switched to a ‘global’ mode which is similar to the default display in Ozone ‘s multi-band dynamics section. Unlike Ozone, this is a compression-only processor — Ozone features limiting and expansion in this section, but these are not replicated here.
Similar simplifications exist in the other plug-ins. For example, there are fewer bands in the Mastering EQ plug-in than in Ozone but, overall, there is still plenty of scope here for both corrective and creative mastering work.
For those that want to make their mix a little hotter, a combination of Multi-band Compressor and IRC Limiter will certainly do the business.
Sony’s CD Architect was already at v5. My only previous serious engagement with CD Architect was, however, prior to version 5 and, while I’ve always used SF for my routine audio-editing work, I’ve tended to use Wavelab ‘s excellent Audio Montage functions for compiling CDs. I took another look at CD Architect as part of this review, and it is certainly a well-featured application.
As mentioned earlier, it is now possible to drag and drop material between channels within a single audio file. This works very well, and the user has considerable control over how the ‘dropped’ material merges with or replaces the existing audio on the destination channel. Material can be copied in this way from multiple channels if required. Sony’s Noise Reduction suite — including the noise-print-based cleaning shown here — is now bundled with Sound Forge 9.
SF9 also includes some useful new metering options. For example, the Phase Scope meters can be added to either the Channel Meter or Hardware Meter views, and four different display types are available. These would, of course, be very useful for spotting phase problems in recordings made using two or more microphones.
While the PDF manual doesn’t really go into much detail on how these meters should be used, the on-line help within SF9 itself does provide some guidance, fortunately, and includes some simple examples of what the meters might look like if phase cancellation problems are present. Also useful is the simple, but effective, Mono Compatibility Meter. This can also be added to the Hardware Meter or Channel Meter views and can detect when phase cancellations between channels in a file will cause a problem if the file is replayed in mono.
In addition, the Spectrum Analysis tools — which were already impressive within SF8 — have now been enhanced to deal with multi-channel audio. All sorts of minor enhancements have been made to the user interface, including more options for customising colours and layout.
However, two of the more significant improvements are a reworking of the way markers and the ruler can be used, and more flexibility in moving between the waveform and effects windows while previewing and adjusting effects that are to be applied.
One other detail is worth mentioning. As in the current version of Vegas, when ripping tracks from a commercial audio CD, SF9 now uses the Gracenote MusicID technology to obtain information about the contents of the CD and the track details. Conclusions It is very difficult not to be impressed by Sound Forge 9.
Sony have taken what was already an excellent editing environment for mono and stereo files and smoothly integrated multi-channel editing into it. For existing SF users with an interest in multi-channel audio, I think the upgrade to version 9 is almost in the ‘no brainer’ category.
For those using version 8 who have no need for multi-channel editing, the decision is perhaps less clear, but for anyone using an earlier version there are probably enough other incremental changes to make this upgrade good value for money. What is beyond doubt, however, is that the SF9 bundle represents very good value for money for new purchasers.
For example, you can resize any window and drag it to any part of the screen, where it will automatically conform to the rest of the viewable interface. Do you prefer the Explorer media library on the bottom or top of the screen or simply as an independent window?
Is it easier for you to edit the track when it’s maximized, or do you want to nestle it down below other open audio tracks? It’s really up to you. You can even customize the various toolbars with more than 50 different functions. Customize your interface by resizing or dragging any window to another part of the screen.
The Explorer window in particular deserves mention. It’s organized like Windows Explorer, so you can preview a track, then drag files onto the interface for editing or even within an existing track to create a mix on the fly.
Here, you can organize, rename, delete, and add tracks to the program’s Favorites folder with drag-and-drop simplicity. You will also see all the technical information related to a specific file when you highlight it. The Sound Forge Audio Studio interface is basic and extremely customizable. Simply drag and drop your media files from Explorer to any available space to open it. The track view is pretty standard, with the typical right- and left-channel perspective and the ability to maximize the screen and to zoom down to the sample level.
Overall, it’s easy to select a portion of a track either stereo or a single channel to edit, process, or resize. If you open a video file, you’ll get thumbnails of video that correspond to points in the audio, down to the sample and frame level. This view gives you the ability to precisely synchronize audio and video. Each track window has its own basic transport control, while the main transport toolbar includes record and loop buttons.
Purchase Sony Sound Forge Audio Studio 9
I purchased the turntable specifically because it has a USB output in addition to the usual audio output cable. Like many people, I rarely listen to CDs, records, or shudder tapes any longer, so I was looking for a turntable that would allow me to convert my old vinyl albums into a digital format. I hope that this tutorial will be helpful The operating system that I used to prepare this tutorial is Windows Vista. The following procedure should be almost, if not exactly, the same for Windows 7. You must do this first! When you run the software step 2 , it expects to find the turntable attached to the computer. Depending on the other peripherals attached to your computer, this choice may be different for you. You may have to identify which is the appropriate microphone device for the turntable. Click OK to close the dialog.
How much does it cost to buy Sony Sound Forge Audio Studio 9?
Find helpful customer reviews and review ratings for Sound Forge Audio Studio 9 [OLD VERSION] at bestbuyhow.com Read honest and unbiased product reviews from our users/5. Discover SOUND FORGE Audio Studio 14, the audio tool that offers professional results in no time at all and with just a few clicks. Recording Professional recording made easy: Record vocals, sounds and podcasts in excellent quality at up to bit/ kHz with this fast, uncomplicated and reliable audio . Sony Creative Software inspires artistic expression with its award-winning line of products for digital video production. The Catalyst Production Suite fuses powerful media preparation and fast, focused video editing to provide the backbone for your video productions.