![]() ![]() Each of these Views also has its own mini‑toolbar, with functions specific to that View. The upper pane of the Audio Montage window is multi‑functional and contains a staggering 11 different Views, chosen by clicking on one of the tabs at its top, or by using keyboard shortcuts. The same audio snippets can be used as many times as desired, making it easy, for example, to create a looped backing track or repeat choruses at various points in a song. Each Clip is essentially a reference to a file on your hard drive, as well as a start and end position within it, so it's possible to assemble a Track comprising several complete audio files, or lots of shorter snippets extracted from them. The lower pane (the Track View) always shows one or more mono or stereo Tracks, each of which can contain an unlimited number of shorter 'Clips'. The new window is essentially a non‑destructive editor for multiple audio files, and is split into two panes. Here you can see the Edit View (above the waveform display), vector automation overlaid on the waveform display, and the Info line showing the options available for the current Mouse Zone. Audio Montage may only be a single feature as far as Wavelab is concerned, but as far as the user is concerned it offers enough possibilities to keep you engrossed for months. In fact, it's only exaggerating a little to compare the Audio Montage function with Sonic Foundry's entire Vegas Pro multitrack recording/editing package (reviewed in the November '99 issue of SOS). If you've already looked at the publicity blurb on the Steinberg web site you could be forgiven for thinking that this new window simply gives Wavelab the ability to mix multiple digital audio tracks together, but it does far more than that. Look further and you should notice a host of small additions and improvements (see the 'Smaller Tweaks' box opposite) but there is only one major new feature: the Audio Montage window. ![]() Experienced users of the software won't be disorientated when they first launch the updated version, since at first sight there are no obvious differences, apart from some subtle use of textured backgrounds. It's now been over 18 months since the last major upgrade to PC‑based audio editor Wavelab, but as with version 1.6 (which introduced CD writing and real‑time plug‑ins) and version 2.0 (featuring looping, file analysis, and support for samplers) version 3.0 has been well worth waiting for. Martin Walker is stunned by the possibilities. The latest upgrade to Wavelab, which takes the program to version 3.0, boasts only one major new feature - but it's a killer. The spectrum analyser option in the Meters View is very educational during mixdown. You will be able to measure a sound system’s Magnitude, Phase, RTA, Coherence or use a delay finder, a signal generator, and an integrated SPL meter/logger with calibration tools.Assembling and recording Clips in the new Audio Montage window is a breeze. ![]() ![]() Connect a measuring microphone to CH1 and set the Internal Reference Channel in RDNet. Zero-latency monitoring is also only possible with the larger interface.Īdditionally, the TRK PRO1 and TRK PRO2 integrate with the RDNet FFT analyzer software for PA calibration. The PRO1 has 1 balanced combo input for XLR and 6.3mm connectors while the PRO2 has 2 combo inputs with adjustable input levels. The interfaces differ mainly in the number of inputs and unit size. Of note is also the extensive software bundle containing Cubase LE, Wavelab LE, Cubasis LE, the REmatrix First convolution reverb plug-in, and two effects from fellow Italians Overloud. The TRK PRO1 and PRO2 offer two 1/4″ line outputs and a separate headphone output with dedicated volume controls. Both units are bus-powered, so an additional power supply is not necessary. The hardware looks respectable with its robust metal housing and converters handling up to 192 kHz at 24 bits. With the TRK PRO1 and TRK PRO2 audio interfaces, they enter the digital audio realm. RCF is a leading manufacturer of PA and monitor speakers. ![]()
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