To run Peak, the hardware needs to be a Mac 68030 or greater and 8 megs of RAM. PowerPCs users need System 7.1 or later with 16 MB of RAM. The hard drive should be 18 ms or faster seek time - the bigger the better. Two installations are provided on the copy-protected disks. The manual states that Peak is a “power hungry application.” To optimize the software’s performance, there are about a dozen parameters to set. Configuring the program can be a bit temperamental. In fact, “system extensions” may need to be disabled in problems situations. Fortunately, Peak comes with a good manual and their Web Site is full of helpful hints.
The work area in Peak is similar to other audio-editing programs. Comprising the main screen is the mono or stereo waveform. The program can also open and cascade other sound files at the same time. For playback and recording options, a small metallic-looking transport comprises a separate window. On the transport is a digital counter display, a loop playback button and level meters. I did not find the level meters to be particularly accurate. Peak also offers five options from the main menu bar. About a third of Peak’s commands have corresponding keyboard shortcuts. I would like to see more shortcuts added in future upgrades. To enable recording, engage the transport or the record menu option. Peak then presents the user with a configuration window. Choices include the sampling rate, bit resolution, input source, channels (mono or stereo) and hardware options.
Peak handles all of the standard audio-editing commands like cut, copy, paste, replace, silence and insert. With the mouse, simply choose the portion of the waveform to be worked on. From there execute the necessary edits. The Blending Command is very helpful in creating smooth crossfades at edited splice points. The process of cutting, pasting and inserting often creates an abrupt sound. By entering a value in the “duration” field, Peak will blend the necessary crossfade. To go one step further, use the Edit Blending Envelope to graphically edit the shape of the crossfade. If detail is needed in the editing process, then “zoom in.” This command can be used repeatedly to fill the screen with a detailed waveform. Conversely, “zoom out” and “zoom all the way out” expands the audio file back on the screen.
Markers play a significant role in Peak’s architecture. Simply put, a marker defines a specific location. By using a marker, the user can focus on that part of the waveform for editing or playback. For example, a marker might indicate a specific part in a song - a bridge, a chorus or a loop point. They can also name specific sections like “verse 1” or “guitar lead.” In addition, markers can be anchored or unanchored. Anchoring ties the marker to a specific location. So regardless of any future editing, it will remain in the same place. Unanchored markers maintain their position relative to the beginning of the waveform. So if any additional editing occurs, the unanchored marker may be in a different location. Peak defaults to anchoring. Markers can also be placed into the waveform while the program is playing or when it is stopped. And Peak supports an unlimited amount of named markers.
The program ships with an “Accessory Pak” of DSP functions. This is where the action is. Unfortunately, DSP is buried in a sub-menu off the main menu tool bar. I found this to be a nuisance. And furthermore, there are no keyboard shortcuts for it. Considering its importance, would it not make more sense to list DSP as a separate option on the main menu bar? Peak provides seventeen different DSP functions. Calling up one of these presents a dialog box for parameter settings. Many of these DSP effects handle standard processing like “fades,” “normalize,” “reverse,” “change gain,” “change duration” and “invert.” Others are a bit more esoteric like “reverse boomerang,” “rappify” and “phase vocoder.” With “reverse boomerang,” the audio waveform is turned backwards and mixed in with the original. The “rappify” command applies extreme dynamic filtering to the selected audio. And the “phase vocoder” combines pitch shifting with time compression and expansion. Other DSP effects perform utility functions like “sample rate convertion” and “repair clicks” (great for cleaning up old vinyl). If that’s not enough, Peak also supports Adobe Premiere plug-ins. These include Waves, InVision Interactive and Arboretum’s Hyperprism. I’m sure there will be more to add to the list.
One of the great features about this program are non-destructive edits with unlimited “undo’ and “redo” functions. In addition, there is an “edit list” window which lists all edits since the last saved command. Each line in this window gives the time, date and edit description. Clicking on the “revert to item” box will take you to any of the chosen edits. Keep in mind that the original files are not changed until the “save” command is activated. Peak uses a combination of RAM and disk based functions to handle these tasks. I wish this was standard fare in all sample-editing programs!
Peak also has excellent support for fade envelopes. Included in the program are eight presets files - fade ins, fade outs and cross fades. However, user designed envelopes are easy to create. Go to the “fade envelope editor” and an envelope line will be super-imposed over the designated area. Simply click on the line to create a breakpoint. Drag the breakpoint to the desired location. Keep adding breakpoints until the envelope curve is created. Then save the new fade envelope. Believe it or not, some audio-editing software can not do this.
Peak is easy to use. In fact, it passed my “no-brainer” test. That is, see how far you can go without reading the manual. I was up and running immediately. My version of Peak still has some bugs and occasionally crashes. We also had some initial problems getting it configured properly. Despite these problems, this is a great program. And BIAS is committed to improving and upgrading Peak. By the time you read this, version 1.5 will be shipping. This new upgrade provides RealAudio support, playback from a playlist, pre and post roll playback, batch processing and other useful tricks. So, if you do any kind of sample-editing, audio sound designing, post production or MIDI composing, you owe it to yourself to audition BIAS Peak.
Key Features: Non-destructive editing, built-in and plug-in DSP functions, unlimited named markers, sampler support
Price: $499
Contact BIAS at 415 331-2446
BIAS Peak 1.11 Audio Editing Software
by J. Arif Verner
BIAS Peak is the new kid on the block in the neighborhood of Mac-based digital audio editing software. And things ar starting to change. This 2-track editing program shares many of the same features as Digidesign’s Sound Designer II, Macromedia’s SoundEdit16 and Passport’s Alchemy. And while the competition is tough, Peak adds some new twists and turns of its own. Let’s take a closer look.Features
Peak reads and writes 8 and 16 bit mono and stereo files at any sample rate. Files can be saved in several formats including: Mac’s AIFF, Sound Designer II for Digidesign related applications, Quicktime for movie soundtracks, .WAV for Windows compatibility, Red Book audio for CD mastering and RealAudio for the Internet. From a compatible CD-ROM drive, Peak can also read audio data and convert it into program files. Many CD-ROM developers are now taking this route. Simply put the disk into the computer’s CD player and load in the samples. Edit as necessary. If the computer’s audio card and sampler’s interface supports digital transfers, that is the ideal situation!In Use
There are a lot of other features going for Peak. The software communicates directly with Ensoniq samplers. The program provides operations beyond sample transfer, including instrument, layer and wavesample renaming, creation and deletion. And via SMDI (a SCSI protocol for transferring samples), it can communicate with the Peavey SP, Kurzweil K2000/2500, E-Mu E-64, ESI -32 and E-IV. Apparently more sampler support for other manufacturers is on the way. Peak also has three different ways to scrub audio. “Dynamic scrubbing” allows the user to drag the mouse forwards and backwards over the waveform while Peak plays a loop. With “tape style,” the scrubbing rate is controlled by how far the cursor is moved from the midrange point. “Jog scrubbing” is similar to “dynamic.” However, it allows a greater degree of control when the audio is “zoomed out.” Finally, Peak works directly with Claris Filemaker Pro. By using Apple Events, the program can catalog sound files and audition them. Summary
Applications: Project studio, recording studio, post production