![]() ![]() 1, as do the convolution and phase vocoder. Rappify (whatever that is) dates back to V. Most of Peak’s file-altering DSP functions have been around for a while. Peak will play QuickTime movies in a window, but it’s not surround-capable. If you’re working on a film soundtrack and need separate channels for dialog, Foley and underscore, all of them running at once, then you’ll need to use a different audio application. However, it can only overlap, at most, two stereo files at any given point. The Playlist can also be used for constructing podcasts or assembling bits and pieces of multiple takes - for instance, a studio classical piano recording - into a composite. At the end of the day, Peak gave me a CD master that had well-matched frequency spectra for the tracks and just the right spacing between them. It’s advisable to choose silent spots for the boundaries between regions, as sudden changes in the effects plug-ins can cause pops. ![]() I could have added multiband compression just as easily with the highly flexible Sqweez-5 compressor included in Peak. Once I scrolled over, adding EQ to Regions with Peak’s SuperFreq-10 10-band parametric was a point-and-click process. This would not be the case with a wider monitor. When trying to set it up, I noticed the List View was off my screen to the right and required a scroll move to access. Peak allows effects, including EQ, to be added to single Regions in the Playlist using Vbox 3, a wonderful tool for complex series/parallel plug-in routing. Rather than alter the original mixes, I decided to make the adjustments in the Playlist. Burning a test disc was easy, but when I listened to the CD on my stereo, it was clear that a couple of the tracks needed EQ. The intro of one track was too quiet compared to the end of the previous track, so I added a volume envelope to the intro and nailed the transition. Why the drag operation should be implemented in one interface but not the other is a mystery.Īdjusting the amount of time between CD tracks was a no-brainer. Eventually, I discovered I could change the order of the tunes by dragging one up or down in the list. Next I tried editing the start-time field in the text list, but the Mac issued its “error” noise and rejected the new data input. I wanted to change the order of the tunes so I tried grabbing a waveform with the mouse and dragging it to the left as I would in a DAW. ![]() 1) is displayed graphically and as a database-style text list. Importing the Regions into the Playlist was a snap, but after that the process got interesting. Alternately, users can simply drag the files directly to the playlist and region markers are automatically created. I then opened all of the files and added Region markers at the beginning and end of each. First, I copied the files from my PC to my new MacBook Pro (which was able to access the Shared folder on the Windows computer without trouble). For full details on the differences between Peak LE, Peak Pro and Peak Pro XT, check the BIAS Website.ĭuring the past few years, I’ve accumulated a variety of original music on my hard drive, so my first big project in Peak was importing the finished stereo mixes and creating a CD master. Features include a Metering window with seven displays called Reveal, a widget from Cycling ’74 that can capture the output of other audio apps as new Peak files a starter sound library with some loops and special effects and more. Peak Pro XT ships with plenty of extras, such as Peak Pro 6, SoundSoap Pro, SoundSoap, Master Perfection Suite and DDP Export. The Version 6 release is not a breakthrough, but it provides some welcome enhancements: multisegment volume envelopes for the regions in a playlist a broad variety of dithering, including precise clones of the most popular algorithms available support for FLAC and MPEG-2 files user interface enhancements, including improved crossfade modes richer support for CD subcode data and much more. But if you’re looking for a high-end stereo audio editor on the Mac, BIAS Peak Pro is the only game in town. The market for multitrack DAW software is crowded. Lab 5.1: listening to module 5 pieces, explain assignment 5.Figure 1: Peak’s Playlist editing window (background) and Vbox effects matrix (foreground, right) Lab 4.4: more Max/MSP, with emphasis on finishing final Max projects ( PDF) Lab 4.2: more Max/MSP review assignment 4.1 ( PDF) Module 4: synthesis, algorithm, interaction (Max/MSP) Lab 3.3: other Pro Tools inserts automating inserts dynamics Peak to Pro Tools and vice versa ( PDF) Lab 3.2: recording using Peak Peak plug-ins SuperFreq-10 SoundSoap other noise reduction techniques ( PDF - 1.8 MB) (Courtesy of Bias, Inc. Lab 2.2: Pro Tools busses, internal feedback loops, delay and reverb inserts Pro Tools tricks ( PDF) Lab 2.1: speaker-mic feedback outboard processing such as filters, delay, EQ, Aural Exciter ( PDF) Module 1: musique concrète, form and content ![]()
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