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If you want multiple files open at the same time, tabs appear at the top of the Editor pane, and you can also open a second Editor pane and stack the two panes, either vertically or horizontally.
Depending upon where you drag - along a track's edges, in the centre or across tracks - you can select material from just a single track or all tracks again, it's all neat and very intuitive. Within the main display, the mouse can be used to make selections for editing tasks. Using the mouse to change the size or position of the highlighted portion in the overview is very intuitive, making it easy to move the selection or to control the degree of zoom in the main waveform display. Within the waveform overview, the mouse can be used to highlight a portion of the file, which is then shown in more detail in the main waveform area.
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The Editor pane dominates, displaying a waveform overview area which shows the full length of the audio file and the main waveform display, where detailed editing is carried out. The upper toolbar strip aside, the main SFPM display is divided into four user-configurable, areas.
Once your editing is done, your beautifully crafted audio can then be rendered in a range of audio formats including MP3, WAV and AIF.Īll of this sounds great, but I should point out now that, compared with the Windows version, there are also some surprising omissions in this first SFPM release. As well as applying processors individually to a file, or a selection from a file, users can also build plug-in chains and save them as presets, while effect controls can be automated via envelopes. A sensible selection of processing tools is, likewise, available, as is a range of third-party plug-ins from iZotope and Zplane, and any other VST or AU plug-ins on your system are also available within SFPM. All the usual editing tools - trimming, cutting, pasting, adding fades, and so on - are present and correct. You could, therefore, use SFPM to record or edit anything from the simplest mono sample up to a high-fidelity, multi-channel live recording, and presets for recording common surround channel configurations are included. SFPM supports record tasks of up to 32 channels.Hardware permitting, SFPM supports a wide variety of audio formats, and can record up to 32 simultaneous channels at 64-bit/192kHz resolution.
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Although this means that the transition between the PC and Mac versions is not a totally transparent experience for users, it does mean that SFPM looks very clean and fresh. While it bears some visual similarities to Sound Forge on the PC, Sony are at pains to point out that this is not a port: Sound Forge Pro Mac 1.0 has been built from scratch for OS X. To the surprise of many, given their very long-standing PC-only product line, Sound Forge Pro Mac is with us now. Mac users, by contrast, recently lost one of the few well-specified Mac-only audio editing packages when BIAS went out of business but, fortunately, Sony have now followed Steinberg in porting their flagship program to the platform.
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In recent years, the Windows platform has been much better supplied for audio editing software than the Mac, thanks to applications such as Steinberg's Wavelab, Adobe's Audition and Sony's Sound Forge. One of the giants of the Windows audio world has made it to the Mac at last. The Sound Forge Pro Mac interface is easy to use and fully customisable. New features include one-touch recording, metering for the new critical standards, more repair.
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