![]() For example, microphone plug-ins can emulate the sound of a variety of rare vintage and exotic modern microphones with a simple turn of the dial. Plug-ins can add an endless range of new features. They offer additional effects, samples, textures, sound synthesis, repair tools, emulation and digital signal processing, and usually provide their own interface within the workstation application. Plug-ins offer real power for customizing and enhancing the power of workstation applications. The mastering process consists of running the audio through a series of compressors, equalizers and limiters to add thickness, punch and consistency. Mastering takes the finished mix and moves it up to the next level, boosting weak sounding audio so that it’s optimized for broadcasting. Insert and send effects allow options to achieve the right tone and texture.Ī built-in mastering suite helps bring a polish to the final audio. Pitch correction and time stretching can be helpful tools to fix audio blemishes without having to re-record anything. A multi-band equalizer allows users to fine-tune the sound of recordings. With many workstation applications, the basic tools are included. Hindenburg’s applications have purpose-built features like loudness control for broadcasters and non-destructive editing, automated levels and voice profiler features for on-air journalists. Many of these workstations can be expanded for an extra cost to more capable technology. High-end workstations include Avid’s Pro-Tools ($700 without hardware), Apple’s Logic Pro X ($200), Adobe Audition ($20 a month) and MOTU Digital Performer 8 ($350). ![]() ![]() On the low-end is Cockos Inc.‘s Reaper ($60), Steinberg’s Cubase Elements ($100), Image-Line’s FL Studio (beginning at $99) and Ableton’s Live 9 ($100). Extensive plug-ins for even the free software can allow it to be customized for astounding power and capability. Other basic workstations start at well under $100. You can run plug-ins in whatever application you want to use without altering your workflow.”įull blown digital audio workstations begin at zero cost - the free Audacity and Garageband for Apple’s Macintosh computers are good examples. Software is downloadable and you can test it with free trials. But with the availability of powerful audio processors, things have changed,” said Evan Allen, product special at iZotope, a maker of audio plug-ins. “In recent years you’d have to spend thousands of dollars on hardware to achieve a particular goal. Entry level tools are now better than what cost hundreds of thousands of dollars only a few years ago. Whether broadcast engineers, editors working in post-production or musicians working in project studios, audio production software has undergone groundbreaking change. The difference today is much lower cost and dramatic ease of use. SoundSoap 3 is a professional quality noise reduction application for anyone working with interviews, video projects, iPhone/iPad videos, screencasts, podcasts or for transferring LP records or cassettes.īoth programs, along with other competitors, can remove clicks and crackles, unwanted hiss, room noise, rumble, electrical hum and other background noise from recordings - including digital video, analog cassette/tape recordings and vinyl LP recordings. Today, the same thing can be done by non-trained amateurs using an application called SoundSoap 3, which costs only $149. But in the 1980s, it cost $100 an hour for a skilled technician to use NoNoise to clean up crackles, hum and hiss on dicey recordings - such as old radio programming from the 1930s. Today, NoNoise is still made as a plug-in for Avid’s Pro-Tools and can be bought or rented for a fraction of the original price. Today, high quality audio can be produced for free on devices as simple as an iPad.Ī case in point is a product called NoNoise from Sonic Solutions from the mid-1980s. ![]() As computers have gotten more powerful and software has dropped dramatically in price, so has the capability and usability of the audio tools themselves.
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