On the subject of VSTs, Zplane’s élastique time-stretching tool, originally bundled with version 10, is happily still here – and, even better, it’s now joined by iZotope’s tremendously versatile Nectar Elements vocal processor, which combines preamp, compressor, reverb, de-esser, gate, EQ and even basic pitch correction functions in one efficient module. You can also now optionally route your input monitoring through the plugin chain – useful, perhaps, to help a performer tailor their performance to your chosen production style. Other welcome additions include a miniature overview of the entire waveform at the top of the window (a big help for navigating longer files) and an updated plugin chain interface that makes it easier than ever to manage a non-destructive sequence of VST effects. It’s a world apart from the old Paste Mix approach.

That means they can be dragged around, reordered and individually processed, making it a breeze to knock a raw recording session into shape.īest of all, non-destructive fading can be applied by simply dragging in from the top corner of an event, and where two events overlap, an automatic non-destructive crossfade is automatically applied.

Not to be confused with regions, events behave just like audio clips in Sony’s ACID software. Switching between takes isn’t exactly neatly handled – to access a previous take you have to step back through your undo history – but it works on a basic level.Īnother significant improvement is the new ability to split a file up into “events”. It’s also possible to record multiple takes, by simply hitting record with a loop active. It’s a much smoother experience.įor slightly more complex recording tasks, the new floating, dockable Record Options window lets you set up pre-roll (for easy punch-in recording), and start recording when the input signal crosses a certain threshold – or when a particular MIDI timecode message is received from an external source. Now the button immediately starts recording into the main wave view, with no clunky switching back and forth between dialogues. In previous versions of Sound Forge, clicking the Record icon on the toolbar suspended the main program and switched you to a dedicated recording interface. One of the biggest changes is the new “modeless” recording workflow. The answer is, a selection of specific refinements that don’t revolutionise the package, but which make certain tasks much easier. Recent versions have been so powerful that you might reasonably wonder what more could possibly be added to justify this latest upgrade. When it comes to waveform-based audio editing, Sound Forge is one of the best known names in the business – and deservedly so.

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