CD Architect can do this, but its lack of VST plug-in support cancels out its advantage. An option to apply a chain of plug-ins to an individual track would make album mastering much easier. However, it’s disappointing that the audio plug-in chainer, which is used to process tracks for mastering, must be applied to the entire file. Sound Forge now incorporates most of the features of Sony CD Architect, creating Red Book-compliant audio CDs for professional replication.ĬD Architect was – and still is – bundled with Sound Forge, but keeping everything under one roof is a little neater. Sadly, there’s no support for Native Instruments Kontakt, Steinberg Halion or Emulator X sample libraries.Įvent-based editing is also crucial to the new disc-at-once CD-authoring facilities. We can’t imagine that the SoundFont 2 and DLS formats are used much in professional audio-production environments. The list of supported formats is, however, disappointing. Some software samplers include their own destructive editing tools, but Sound Forge’s are invariably superior.
These files typically comprise numerous individual samples, which are laid out across a MIDI keyboard and performed as a musical instrument. One of these is support for various software sampler files.
Event-based editing also paves the way for two other new features. Sound design often involves manipulating discrete sections of audio, so the ability to switch in and out of event-based editing and perform non-destructive fades proves to be a valuable time-saver. It’s also possible to switch in and out of event-based editing, but saving in WAV format discards the event boundaries.ĭespite its conceptual awkwardness, event-based editing has numerous practical benefits. Here, it turns Sound Forge into an odd hybrid of destructive and non-destructive editor: events can be trimmed and faded non-destructively, but applying effects and other processes remains destructive. Events behave in a similar way to audio objects in the Sony Vegas family of video editors.
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