Bias Peak 5.0 Is anybody using it?

[[email protected]]

I spent a bundle on the Bias Peak system for my OSX Mac.

It is really a PITA to use compared to SDII and MLCD.

Are there any other two track mastering programs out there for Mac that
are worth looking at?

Mot of my work is two channel to CD--End of Story--

I have found that I can edit much faster in Pro Tools then bounce to
Peak, but this seems kind of a kludge. (Sorry Scott)

The main problems that I have are that cross fading is not possible
within the document window and that it is not possible to deal with
track indexes as easily as MLCD.

What is everybody using?

To be fair, some of the functions in Peak are really fast and do work
well.

Richard Kuschel

[Benjamin Maas]

I'd look at the Sonic Studio's PMCD Program... It is a world better than
Peak.

http://www.sonicstudio.com/products/pmcd/pmcd01.html

--Ben

--
Benjamin Maas
Fifth Circle Audio
Los Angeles, CA

please delete the obvious spam blocking to reply
> wrote in message
ups.com...
>I spent a bundle on the Bias Peak system for my OSX Mac.
>
> It is really a PITA to use compared to SDII and MLCD.
>
> Are there any other two track mastering programs out there for Mac that
> are worth looking at?
>
> Mot of my work is two channel to CD--End of Story--
>
> I have found that I can edit much faster in Pro Tools then bounce to
> Peak, but this seems kind of a kludge. (Sorry Scott)
>
> The main problems that I have are that cross fading is not possible
> within the document window and that it is not possible to deal with
> track indexes as easily as MLCD.
>
> What is everybody using?
>
> To be fair, some of the functions in Peak are really fast and do work
> well.
>
> Richard Kuschel
>

[will]

Don't know if it will do all you want, but DSP Quattro has been
suggested as a reasonable alternative to Peak for Mac.

[[email protected]]

wrote:
> I spent a bundle on the Bias Peak system for my OSX Mac.
>
> It is really a PITA to use compared to SDII and MLCD.
>
> Are there any other two track mastering programs out there for Mac that
> are worth looking at?
>
> Mot of my work is two channel to CD--End of Story--
>
> I have found that I can edit much faster in Pro Tools then bounce to
> Peak, but this seems kind of a kludge. (Sorry Scott)
>
> The main problems that I have are that cross fading is not possible
> within the document window and that it is not possible to deal with
> track indexes as easily as MLCD.
>
> What is everybody using?
>
> To be fair, some of the functions in Peak are really fast and do work
> well.
>
> Richard Kuschel

[Edwin Hurwitz]

I guess it's just a matter of what you are used to. I use it every day
and find it to be very intuitive and quick. I got DSP Quattro and found
it to be a lot more convoluted.

YMMV, IMHO, etc.
Edwin


In article om>,
" > wrote:

> I spent a bundle on the Bias Peak system for my OSX Mac.
>
> It is really a PITA to use compared to SDII and MLCD.
>
> Are there any other two track mastering programs out there for Mac that
> are worth looking at?
>
> Mot of my work is two channel to CD--End of Story--
>
> I have found that I can edit much faster in Pro Tools then bounce to
> Peak, but this seems kind of a kludge. (Sorry Scott)
>
> The main problems that I have are that cross fading is not possible
> within the document window and that it is not possible to deal with
> track indexes as easily as MLCD.
>
> What is everybody using?
>
> To be fair, some of the functions in Peak are really fast and do work
> well.
>
> Richard Kuschel

[Adrian Tuddenham]

> wrote:

> I spent a bundle on the Bias Peak system for my OSX Mac.
>
> It is really a PITA to use compared to SDII and MLCD.
>
> Are there any other two track mastering programs out there for Mac that
> are worth looking at?
>
> Mot of my work is two channel to CD--End of Story--

I'm using Peak 2.02LE on Mac OS 8.6 for the same sort of work and it
seems to do nearly everything I want, very easily without hassle.


> I have found that I can edit much faster in Pro Tools then bounce to
> Peak, but this seems kind of a kludge. (Sorry Scott)

I've found the exact opposite. Pro-Tools has me screaming at the
computer. I only use it when I can't avoid it - and then only for the
short sections that need it.

>
> The main problems that I have are that cross fading is not possible
> within the document window and that it is not possible to deal with
> track indexes as easily as MLCD.

I certainly use cross-fading but don't understand what you mean by
'within the document window'. Does your shift-lock key switch the
fading on and off, as it does in 2.02LE? That is a very useful
facility for roughly trimming the regions before accurate cross-fading.

The track index problem doesn't arise because 2.02 doesn't export track
markers to "Jam", which I use to burn the CDs. The markers a very
useful for finding my way around long documents; their absence in
Pro-Tools is one of the reasons I curse it.


--
~ Adrian Tuddenham ~
(Remove the ".invalid"s and add ".co.uk" to reply)
www.poppyrecords.co.uk

[Mike Rivers]

wrote:
> I spent a bundle on the Bias Peak system for my OSX Mac.
> It is really a PITA to use compared to SDII and MLCD.

> Are there any other two track mastering programs out there for Mac that
> are worth looking at?

> Most of my work is two channel to CD--End of Story--

See the discussion I started a couple of days ago on Sound Forge. It
seems that creeping featurism is what sells. The trick is to find the
tricks that work for you and learn how to ignore the stuff that you
don't use.

> I have found that I can edit much faster in Pro Tools then bounce to
> Peak, but this seems kind of a kludge. (Sorry Scott)

This is sort of my line of thinking with Sound Forge, too. ProTools is
an "object oriented" editor which means that chunks of sound (which
could be a whole song, or a verse, or the ending of an alternate take
that was tighter than the original . . ) can be manipulated
individually, placed where you want them, adjusted to match the
surrounding audio, and in general giving you a
what-you-see-is-what-you-hear interface.

Sound Forge (and I suspect Peak) work more like cutting and assembling
tape, but with some inconveniences as well as conveniences. What I've
discovered in just a couple of days is that it's simple to do one form
of tape editing - It's ideal for cutting things out. But when it comes
to replacing things, you need to take an extra step to make sure you
can locate where you want to stick the new piece in. It means that you
need to be more structured in your editing process.

In ProTools, you can cut out a verse that you want to replace with one
from an alternate take and, if you have the proper option set, you have
a hole to fill. It's easy to find it. You can put the alternate take in
the hole and move it around so that it fits the timing, then adjust the
crossfading in and out of the new segment so that the splices work.
With tape, you do the same thing - you cut out the segment, splice in
the new segment, and (if you did it right) you're done. In Sound Forge,
as soon as you cut out the part that you want to replace, the hole you
create is immediately closed up. If you have the new segment already on
the clipboard, the cursor is in the right place to paste it in and the
"tail" will move over to make room for the replacement segment.

But if you have to go off and find the piece to insert (or for any
other reason have to move the cursor from where you made the cut) you'd
better remember to put a marker there first - otherwise you'll never
find your cut again. (Well, some programs have a "go back to the last
splice" function - I'm not sure if SF has that - I haven't found it
yet.) So the workflow is a little different and it takes some getting
used to.

Like you with Peak, I haven't yet got a handle on crossfades. You can
set crossfade times, but unlike ProTools, you can't adjust them once
the section is pasted in.

> To be fair, some of the functions in Peak are really fast and do work
> well.

Same with Sound Forge. And all the worrying that I do about making
crossfades perfect usually isn't required - most of the time, when I
slap something in to where it seems right, it works just fine. But then
I'm not really listening critically. Maybe some day 50 years from now,
someone listening to a recording of a famous band that I made will say
"I can hear the edits." (like they do about the Beatles records).

[studiorat]

I use Bias Peak for ripping CD's and sampling, it's pretty much the
same as soundforge for editing etc. For editing music I'd nearly always
do it on PT the crossfades and just the general interface suits me
better for tricky edits, that said it wouldn't bother me to do some
serious editing on a RADAR or whatever, providing I had a pen and paper
handy...
For CD's I use Waveburner, it's the best CD prep. tool I know of...

[david correia]

Anyone else here using the Sonic PreMaster Cd software someone
previously mentioned? As someone with a Mac 8500 in the control room
just for running Sound Designer and MLCD, I'm kinda curious.





David Correia
www.Celebrationsound.com

[Benjamin Maas]

It is OSX only.... It is pretty good software, though. It is deep enough
that it will take me a bit of time to learn all the little things, but basic
functionality was achieved almost instantly for me.

--Ben

--
Benjamin Maas
Fifth Circle Audio
Los Angeles, CA

please delete the obvious spam blocking to reply
"david correia" > wrote in message
...
> Anyone else here using the Sonic PreMaster Cd software someone
> previously mentioned? As someone with a Mac 8500 in the control room
> just for running Sound Designer and MLCD, I'm kinda curious.
>
>
>
>
>
> David Correia
> www.Celebrationsound.com

[Doug Moran]

In article >,
david correia > wrote:

> Anyone else here using the Sonic PreMaster Cd software someone
> previously mentioned? As someone with a Mac 8500 in the control room
> just for running Sound Designer and MLCD, I'm kinda curious.
>
> David Correia
> www.Celebrationsound.com

Good to read you are still using that David! I'm using the same on a
Powermac 8100 and 7300. It does what I need it to do.

Doug

[Edwin Hurwitz]

In article . com>,
"Mike Rivers" > wrote:


> Sound Forge (and I suspect Peak) work more like cutting and assembling
> tape, but with some inconveniences as well as conveniences. What I've
> discovered in just a couple of days is that it's simple to do one form
> of tape editing - It's ideal for cutting things out. But when it comes
> to replacing things, you need to take an extra step to make sure you
> can locate where you want to stick the new piece in. It means that you
> need to be more structured in your editing process.
>
> In ProTools, you can cut out a verse that you want to replace with one
> from an alternate take and, if you have the proper option set, you have
> a hole to fill. It's easy to find it. You can put the alternate take in
> the hole and move it around so that it fits the timing, then adjust the
> crossfading in and out of the new segment so that the splices work.
> With tape, you do the same thing - you cut out the segment, splice in
> the new segment, and (if you did it right) you're done. In Sound Forge,
> as soon as you cut out the part that you want to replace, the hole you
> create is immediately closed up. If you have the new segment already on
> the clipboard, the cursor is in the right place to paste it in and the
> "tail" will move over to make room for the replacement segment.
>
> But if you have to go off and find the piece to insert (or for any
> other reason have to move the cursor from where you made the cut) you'd
> better remember to put a marker there first - otherwise you'll never
> find your cut again. (Well, some programs have a "go back to the last
> splice" function - I'm not sure if SF has that - I haven't found it
> yet.) So the workflow is a little different and it takes some getting
> used to.
>


This is much easier in Peak if you use the playlist feature. This way
you can save your edits and still go back to them and recreate the
crossfades and other parameters, including plugins on each section.

Edwin

[[email protected]]

Adrian Tuddenham wrote:
> > wrote:
>
> > I spent a bundle on the Bias Peak system for my OSX Mac.
> >
> > It is really a PITA to use compared to SDII and MLCD.
> >
> > Are there any other two track mastering programs out there for Mac that
> > are worth looking at?
> >
> > Mot of my work is two channel to CD--End of Story--
>
> I'm using Peak 2.02LE on Mac OS 8.6 for the same sort of work and it
> seems to do nearly everything I want, very easily without hassle.
>
>
> > I have found that I can edit much faster in Pro Tools then bounce to
> > Peak, but this seems kind of a kludge. (Sorry Scott)
>
> I've found the exact opposite. Pro-Tools has me screaming at the
> computer. I only use it when I can't avoid it - and then only for the
> short sections that need it.
>
> >
> > The main problems that I have are that cross fading is not possible
> > within the document window and that it is not possible to deal with
> > track indexes as easily as MLCD.
>
> I certainly use cross-fading but don't understand what you mean by
> 'within the document window'. Does your shift-lock key switch the
> fading on and off, as it does in 2.02LE? That is a very useful
> facility for roughly trimming the regions before accurate cross-fading.
>
> The track index problem doesn't arise because 2.02 doesn't export track
> markers to "Jam", which I use to burn the CDs. The markers a very
> useful for finding my way around long documents; their absence in
> Pro-Tools is one of the reasons I curse it.
>
>
> --
> ~ Adrian Tuddenham ~
> (Remove the ".invalid"s and add ".co.uk" to reply)
> www.poppyrecords.co.uk


The document window (their definition) is the main editing window in
Peak.

Much of the work that I do is two channel only from recital recording.
I often shorten the applause by cutting a chunk out of the middle of
the applause and use the heads and tails.

The Blending feature in Bias Peak is virtually useless for this, but in
Pro Tools I merely do a command F over the length that I need the
crossfade and the edit is seamless.

In Peak, I need to create a playlist, do the crossfade and then bounce
the playlist.

In Sound Designer, the process is even easier, as all of the fades are
in RAM, and NONE of the edits are destructive even when saved.

[Adrian Tuddenham]

> wrote:

> Adrian Tuddenham wrote:
> > > wrote:
> >
> > > I spent a bundle on the Bias Peak system for my OSX Mac.
> > >
> > > It is really a PITA to use compared to SDII and MLCD.
> > >
> > > Are there any other two track mastering programs out there for Mac that
> > > are worth looking at?
> > >
> > > Mot of my work is two channel to CD--End of Story--
> >
> > I'm using Peak 2.02LE on Mac OS 8.6 for the same sort of work and it
> > seems to do nearly everything I want, very easily without hassle.


> Much of the work that I do is two channel only from recital recording.
> I often shorten the applause by cutting a chunk out of the middle of
> the applause and use the heads and tails.
>
> The Blending feature in Bias Peak is virtually useless for this...

I can't see what the problem is. You initially set up the Blending menu
to give the required length of crossfade. It shouldn't vary with the
on-screen selection but should be set to suit the sort of material you
are editing. Too long a crossfade can give a comb-filter effect on a
sustained note, too short a crossfade can give an audible jump or a
thump on heavy LF.

Use the mouse to select the length you want removed and make sure the
Shift-lock key is down. Press Delete.

....That's it - there's nothing else needs doing.


> In Peak, I need to create a playlist, do the crossfade and then bounce
> the playlist.

That sounds more like ProTools to me. I've never done it that way in
Peak. I just use Save or Save As.

--
~ Adrian Tuddenham ~
(Remove the ".invalid"s and add ".co.uk" to reply)
www.poppyrecords.co.uk