Now that the loudness wars are being won by the dynamics side, and there is more room for dynamic differentiation, loudness meters are becoming more important again. I particularly liked the true peak meters meters that measure the inter sample peaks, showing if the sound peaks between sample measurements. Soundforge provides a bundle of loudness metering options that cater to all those needs, including measuring average or integrated loudness using LUFS industry standards. For television, or film, there are average loudness standards you need to adhere to. The old days of Louder is Better, is over. If your music is too loud for Spotify, or Apple music, for example, it will get processed, or just turned down. Whatever platform you’re releasing your music onto, there will be standards that you need to adhere to in order for your music to be accepted, or at the very least, not processed further by 3rd parties who won’t care what it sounds like. This is an often overlooked, yet essential element to the music creation process.
Part of their collaboration is the inclusion of Izotope’s excellent Dither and sample rate conversion algorithms. To have Izotope products included in Soundforge is a very astute move. They are industry leaders in audio correction and processing. If you’re not familiar with either of them, check our linked reviews. These software packs provide a variety of professional quality audio processes available from within the Ozone and RX collection. Magix have smartly teamed up with Izotope, and offer RX and Ozone Elements bundled with SOUND FORGE Pro Mac 3. The standard audio editing tools prevail fades, trims, normalisation, gate, reverse, time stretch etc.
There is an option to edit multiple audio waveforms side by side or on top of one another, to give quick workflow and comparison windows. You have control over where on the page to place them, and key commands to introduce and remove them. The customisation of the interface is good, with options over where to place a variety of useful informational windows, such as plugin lists, channel meters, file system, recording levels. As you zoom in the clarity continues, right down to sample level.
The main waveform(s) image takes up most of the GUI, and is clear and easy to see. When you’re diving into audio files to find and correct issues, you want to be able to see what’s going on quickly. It’s austere and sparse not overly impressive looking.
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