You can then repair them all with a click of a button, with different methods of healing, from copying the alternate channels audio, interpolating, or replacing with audio data immediately preceding. You can adjust the sensitivity, so it isn’t picking up claps or snare hits, for example. Find/repair will automagically run through the audio and locate clicks and glitches. Soundforge provides several methods of locating and cleaning up glitches and those pesky digital clips. I typically use software like Soundforge to clean up my audio before adding it to a project. When you’re not intentionally adding them, they can be a pain to source and clean up. More often than not, glitches and clicks are sounds you don’t want in your finished product. When you’ve finished mastering your track, and have printed it to the specs you want, you can double check by printing a loudness log, that gives all the necessary information needed for that track.

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.

Sound forge pro mac 3 $149.00