Snapshots: every save of a session keeps a snapshot of it, with a picture of the window, up to the last 20. File › Snapshots… shows them and restores one as unsaved changes (save to keep it, or Revert to Saved to go back). The audio each snapshot needs stays in the session, stored once however many snapshots share it; Save As takes them along.
Quick Look shows a saved session with the latest snapshot's picture of the window above its tracks.
In a saved session, tracks added since it was saved (a mixdown, a recording, a track from a selection, a file you opened) get an orange plus badge in the track list until the session is saved again.
Closing a saved session without saving (quitting, opening another, New Session, Revert) now asks whether to keep the audio files the app made for those tracks or move them to the Trash, instead of leaving them behind in the recordings folder.
While something plays, the bars of the icon in the About window become a level meter: they grow up and down from the middle with the sound, the left side to the left and the right side to the right, rippling outwards from the playhead, and settle back into the icon when it stops.
Markers and regions in the waveform view can be undone and redone, as the mix's already could: adding, renaming (typing a name is one step), deleting, Remove All Markers and regions made from transcript topics. They don't count as edits of the audio, so they don't ask to be exported.
Tracks used in the multitrack get a badge in the track list (hover it for how many clips, on which lanes). Removing one asks first, and what goes with it: its clips, the lanes left empty and the buses nothing plays into any more (one Undo in the multitrack brings them back), and for a recording, its file (to the Trash). An unsaved session can't keep clips without their track, so there they always go; a saved session can keep them. Tracks the multitrack doesn't use are still removed at once.
Selecting a clip in the multitrack highlights the track it came from in the track list, and the clip's right-click menu has Show Track in Sidebar. A lane that's the only one playing into a bus can be removed together with it (Remove Lane and Bus).
In the multitrack view, K splits the clips at the cursor (⌘K still works), and scrolling up and down over the ruler and the markers zooms, as it does in the waveform view; over the lanes it still scrolls them.
Changed
Remove All Markers in the waveform view no longer asks first, since Undo brings them back.
Saving a session moves the audio files the app made (recordings, mixdowns, tracks from a selection) into it, instead of leaving a second copy in the recordings folder. Files you opened are still copied and left where they are.
Fixed
Recording in the multitrack view starts at the playhead. A take could land many seconds after it, when the timeline had been played before (it was lined up with the end of that earlier play). Pressing Record while the timeline plays carries on from where it is rather than jumping back to where playback started, and the take's clip begins at that point instead of a little before it (the input that came in before playback got there is trimmed off, and dragging the clip's start brings it back).
4.4
Added
Mixer strips can be minimized to one row (the button at the strip's top right): the name, mute, bypass and a level light that flashes with the beat in the meter's colours and rings red after clipping. The same button opens it again, and which strips are minimized is saved with the session.
Fixed
The multitrack view's level meters, the Spectrum Analyzer and the reduction meter of the Compressor, Limiter and Noise Gate ran ahead of the sound, by as much as a quarter of a second on AirPods; they now move with what you hear.
Changed
The Spectrum Analyzer is drawn with Metal: with its panel open, playing uses about a sixth of the CPU it did on the interface.
4.3
Added
Spectrum Analyzer, a visual effect (Effects › Visual): add it anywhere in a chain, or to a bus or Master in the mixer, to watch the frequencies at that point as they play, bass to treble. Four styles (modern Bars, an oldschool LED ladder, a glowing Analogue trace, a studio Line), with presets Oldschool, Analogue, Studio and Club; Bands, Release, Floor, Tilt and peak marks are adjustable. It doesn't change the sound: Apply and Mixdown leave it out.
Changed
Playing in the multitrack view uses about a fifth of the CPU it did: the playhead lines (at up to 60 frames a second), the bar's time and the level meters change without redrawing the window.
4.2
Added
Media controls: play and pause from AirPods, the keyboard's play key or Control Center, as Space would (the selected track in the waveform view, the timeline in the multitrack view). Next and previous skip between markers, and Now Playing shows the track or session name with its position, which can be dragged to seek.
Six new effects, each with presets: Saturation (analog warmth: drive, warmth for even harmonics, tone), Distortion (Soft, Hard or Fuzz clipping, with tone), Phaser (4 to 12 stages, with feedback), Pitch Shifter (±12 semitones and fine cents; mixed with the original, a harmony), Limiter (gain up to a ceiling nothing gets past) and Noise Gate (threshold, range, attack, hold and release). The limiter and gate show how far they're turning the audio down, like the compressor. The Effects menus are now grouped into Tone, Dynamics, Modulation, Space and Pitch.
Right-click (or Control-click) the waveform for a menu: Cut, Copy, Paste, Delete, Trim to Selection, Zoom to Selection, Select All, Add Marker/Region, and sending to the multitrack: the selection, the region you clicked in, all the regions (each a clip named after it) or the whole track, onto a new lane or one that's there. Each lands where it is in the track, so the parts stay in time with each other. Right-dragging in the ruler still zooms.
The track list's, marker lists' and effect chain's right-click menus show icons, like the clip menu.
Fixed
The multitrack view's bar was 2 points taller than the waveform view's, so switching views nudged everything below it.
4.1
Added
Markers for the mix (Intro, Drop, …): press M in the multitrack view, click the bookmark button in its bar, or double-click the row under the ruler for a marker there. They show as tags under the ruler with a line down through the lanes, and stay put when clips move. Click a tag to go there, drag it to move it (it snaps to clip edges and the cursor), double-click to rename; right-click to remove. The inspector has a Markers tab next to the mixer, and the Markers menu (Previous/Next ⌥⌘← ⌥⌘→, Remove All) works on them. Dragged clips snap to markers too. Markers are saved with the session, are undoable, and the mixdown's track gets them.
Right-drag across the multitrack ruler to zoom to that stretch, as in the waveform view.
Lanes can be renamed (double-click the name, or right-click › Rename Lane) and reordered (drag a lane's name onto another lane, or right-click › Move Lane Up/Down). Each lane keeps its colour when moved. Undoable, and saved with the session.
Cut, copy, paste and duplicate clips: ⌘X, ⌘C and ⌘V once the lanes have been clicked, and Edit › Duplicate Clip (⌘D in the multitrack view). Paste puts the clip at the cursor on the selected clip's lane (or the one it came from), and moves the cursor to its end, so pasting again lines copies up; Duplicate puts the copy right after the clip. Copies keep their trim and fades and share the audio. Right-clicking a clip selects it, with Cut, Copy, Duplicate, Split at Cursor, Remove and Paste Here (where you clicked) in its menu.
A time selection on the timeline: drag across empty space in the lanes (its edges snap like clips do); click or press Esc to clear it. Play then plays just the selection (looping it with Loop on), ⌘E zooms to it, and Mixdown renders only that stretch, with the markers in it; clips stop at its end, while reverb and echo tails ring out.
The Effects menu works in the multitrack view: it adds to the mixer channel last clicked (a bus's strip or one of its effects), or to Master, which the menu names at its top; the mixer opens with the new effect's knobs under the lanes. Click a strip to choose it.
An overview strip under the lanes, as in the waveform view: the whole timeline, each lane a thin row with its clips in the lane's colour, the markers, cursor and playhead, and a window around what's in view. Drag the window to scroll, drag its edges to zoom (also from the fitting view), or click elsewhere to go there.
Recording onto the timeline: in the multitrack view, Record (⌘R) plays the timeline from the cursor while you record, shows the take growing on a lane of its own, and on stopping places it there, lined up with what you heard (playback and input latencies are taken into account). The recording is also kept as a track, as before. Use headphones, or the playback is recorded too.
4.0
Added
Multitrack editing. A Waveform | Multitrack switch in the toolbar shows a timeline in the same window. Drag tracks from the sidebar onto a lane (or below the lanes for a new one), or right-click › Add to Multitrack for a lane per track. Each clip keeps the track's audio as it was when placed, so editing the track later doesn't change it.
Editing clips: drag a clip to move it (along, or up and down to another lane), drag its ends to trim it, split at the cursor (⌘K, or Split in the clip pane) and remove it with Delete. Dragged edges snap to other clips, the cursor and the start (the Snap button turns it off). Every timeline change can be undone (⌘Z).
Fades and crossfades: drag the small squares at a clip's top corners inwards to fade it in or out. When a moved or trimmed clip overlaps the end of another on its lane, the two crossfade over the overlap. Fades are equal-power, so crossfades keep a steady level.
The timeline plays live: Space or the play button plays from the cursor, with Loop and the speed setting as for tracks; click or drag in the ruler (or click a lane) to move the cursor or scrub. Changes are heard straight away.
Zooming and scrolling: pinch or ⌘-scroll to zoom around the pointer, swipe sideways or ⇧-scroll to move along it, View › Zoom In/Out/to Fit (⌘=, ⌘−, ⌘0) and Zoom to Clip (⌘E). Plain scrolling scrolls the lanes. Zoomed in, playback pages along with the playhead.
Lane headers: an on button (⌥-click it to hear only that lane, and again for every lane), a gain fader with a mark at 0 dB, a balance knob (drag either, with ⌥ for fine steps; double-click for 0 dB or the centre) and a level meter.
A mixer, in the inspector while the multitrack view shows. Each lane plays into Master or into a bus, picked with the → menu next to its name (New Bus makes one and routes the lane to it); buses play into Master. Master is on top, then a strip per bus, each with its own effects (any of the built-in ones, in order), fader, meter and bypass, and for buses mute, rename, a new colour and remove. Every bus has a colour of its own, also shown on the → menu of its lanes. Click an effect for its knobs and presets in the Effect pane under the lanes. The effects are heard live as the timeline plays.
Mixdown to New Track (the button in the multitrack bar) renders the timeline, with the mixer's effects, into a stereo 32-bit float WAV in the recordings folder, running on until reverb and echo tails have died away, and opens it as a track to edit or export.
The timeline and the mixer are saved with the session. A clip shares its track's audio in the session file, and gets a copy of its own only when the track was edited after it was placed (or removed). The untitled session keeps the timeline too, but only clips whose audio a track still has; quitting with other clips offers to save them. Sessions with a timeline need this version to open.
The multitrack view follows the waveform theme: lane rows, the gaps between them, the waveforms (with their RMS), the selected clip, fades and meters are in the theme's colours, and the cursor and playhead look exactly as in the waveform view. Each lane's colour stays on its clips' title bars and its header.
Changed
The ruler is always in the system's colours, whatever the waveform theme, matching the bars around it.
In the multitrack view, track commands (trim, delete, effects, export) are off, so they can't change a track that isn't showing.
Fixed
Space plays and stops right away, without clicking a track or the editor first: after opening a session, after clicking the ruler or the timeline, or with the sidebar focused. It still types a space in text fields.
3.3
Added
Missing files can be located: a track whose file was moved, renamed or is on a disconnected drive shows “File missing”, with Locate… in the editor and in the track's right-click menu. Other missing tracks whose files are in the folder you pick are relinked along with it. A saved session keeps its missing tracks (and their settings) instead of dropping them, so they can be located after it's opened.
Quick Look for saved sessions: press Space on a .miniaudition file in Finder to see its tracks, each with a small waveform, length, format, gain, markers and regions, and the transcript's title and summary; missing files are marked.
3.2
Added
Saved sessions. File › Save Session (⌘S) bundles the whole session into one .miniaudition file, by default in a Sessions folder inside the recordings folder: every track's audio (copied, so the session can be moved, sent or backed up), gain, markers, regions, transcripts and zoom. Edited tracks are saved as they are now, as lossless 32-bit float WAV, so edits are no longer lost on quit (the undo history isn't kept). Double-click a session in Finder, or drop it on the window, to open it.
File › New Session (⇧⌘N), Save Session As… (⇧⌘S), Revert to Saved and Open Recent (also in the Dock icon's menu). The window shows the session's name, and "Edited" once it has changed; opening another session, starting a new one or quitting offers to save the changes. The session that was open at quit is reopened at launch.
The untitled session (before anything is saved) is still autosaved as before, and kept separate from saved sessions.
Changed
Quitting with edits that weren't exported now offers to save them in a session, instead of only warning.
The inspector can be resized again: drag the line between it and the editor (240–440 pt, never squeezing the editor), double-click the line for the default width. The width is remembered.
3.1.1
Fixed
A crash while resizing the window, or opening or resizing the sidebar or the inspector (markers and transcript), at certain window widths. On small screens such as a 13" MacBook Air, opening an effect was enough.
Cause: SwiftUI's built-in inspector panel, inside the window's sidebar layout, could keep rebalancing the three columns at some widths: every layout pass changed the sizes the next pass started from, so it never settled. macOS gives up after more passes than the window has views, and ends the app. It happened even with an empty inspector, so it wasn't in the app's own views, and it was already there in 3.0.
Why effects made it worse: the editor area's minimum height was the sum of its parts. The Parametric EQ's tall panel pushed that sum past what a small screen's window can give, which set off the same loop at once, and narrowing the window made the EQ's band cards wrap into two rows, taller still.
Fix: the inspector is now a plain column at a fixed width (280 pt, no longer resizable), the editor area has a fixed minimum height, and on a short window the effect panel shrinks and scrolls instead of pushing the editor out.
The Parametric EQ's band cards fill the width of a wide editor instead of leaving an empty gap on the right.
3.1
Added
Parametric EQ in the Effects menu: four bands, each a low cut, low shelf, bell, notch, high shelf or high cut, plus an output gain. Its curve shows the result from 20 Hz to 20 kHz: drag a band's handle sideways for frequency and up or down for gain, ⌥-drag or scroll over the curve for its width, double-click it for 0 dB. Under the curve, a card per band has its type, on/off switch, and frequency, gain and width to drag or type ("1.2k"). Like the other effects it's heard live while playing, works in a chain and is applied as one undoable edit.
Presets for every effect, in a menu under the effect's name that shows which one the knobs are on (or Default, or Custom once one is turned): for example Slapback and Dub for Delay, Vocal and Podcast Leveler for Compressor, Vocal Plate and Hall for Reverb, Telephone and Air for the EQ. Reset to Default is in the same menu.
3.0
Added
Effects menu with a first built-in effect, Delay (echoes): time, feedback, tone (each repeat darker), level and ping-pong. It opens in a panel under the editor with knobs (drag up or down, ⌥ for fine steps, double-click to reset); play or loop the selection to hear it change live, and Bypass All to compare. Apply writes it into the selection, or the whole track, as one undoable edit; the echoes ring on into the audio after the selection. The settings are remembered for next time.
Flanger (rate, depth, delay, feedback down to negative for a hollower sweep, mix) and Chorus (three voices; rate, depth, delay, stereo width, mix) in the Effects menu.
Compressor: threshold, ratio, attack, release, knee and makeup gain, with a curve of what it does to each level and a meter of how far it's turning the audio down while playing. Both stereo channels are turned down together, so the image stays put.
Reverb: the sound of a room around the audio, from a small room to a hall: size, damping (how quickly the highs fade), pre-delay, stereo width and mix. Its tail rings on into the audio after the selection.
Effects stack into a chain: each one chosen from the Effects menu (or Add Effect in the panel) joins the end, shown as a chip; the sound goes through them left to right. Click a chip to show its knobs, ⏻ to bypass just that effect, drag a chip onto another to reorder, × (on hover) to remove it; the same effect can be added twice. Bypass All compares with the dry audio, and Apply writes the whole chain as one undoable edit.
2.6
Added
A Settings window (Mini Audition › Settings…, ⌘,):
General: open the last session or no tracks at launch.
Appearance: pick the waveform theme from swatches with a live preview of your current track (hover a swatch to try it). Optionally match the system appearance, with one theme for light windows and another for dark ones.
Spectrogram: FFT size, colour map and frequency axis, with a live preview.
Editing: snapping to zero crossings, and a custom Normalize Loudness target next to −14, −16 and −23 LUFS.
Recording: the folder for recordings and new tracks from selections, the format (WAV 16-bit, 24-bit or 32-bit float) and the audio input.
Transcription: the transcription language, and hiding the Apple Intelligence features.
Changed
View › Spectrogram Options is now Spectrogram Settings…, which opens Settings. Snap Selection to Zero Crossings moved from the Transport menu to Settings › Editing.
With Match System Appearance on, View › Waveform Theme changes the theme for the current appearance.
2.5.1
Added
Five more waveform themes (View › Waveform Theme): Gruvbox Dark, Tokyo Night and Catppuccin Mocha, and the light Gruvbox Light and Catppuccin Latte.
Fixed
Launching with a track open and the inspector showing took about 6 seconds; it's down to about one. Fitting the transport bar to the window measured all four of its layouts over and over while the window was placed.
2.5
Added
On-device transcription (macOS 26+): Transcript › Transcribe (⌃⌘T) turns a track's speech into text with timestamps; click a timestamp to jump there. Pick the language in the Transcript tab (Automatic follows the system language, else English); about 70 languages, including Ukrainian, and each one's speech model is downloaded once if needed. Languages the newer speech model doesn't cover go through the dictation model and are split into phrases at pauses. The transcript is saved with the session and flagged as out of date after an edit.
With Apple Intelligence turned on, the on-device model can suggest a title and summary, create named regions from the topics of the transcript, and rename the file to the suggested title (Transcript › Rename File…). Nothing leaves the Mac.
Changed
The marker list lives in an inspector with Markers and Transcript tabs; the toolbar button is now called Inspector.
2.1
Added
File › New Track from Selection (⌘N) copies the selection into a new track, with the same gain and the markers inside it. It's saved losslessly (32-bit float WAV) in Music › Mini Audition next to recordings; the original track is untouched.
An Incognito badge in the status bar when the session isn't being saved (launched with ⇧ held or --no-session); its tooltip explains what that means. It replaces the "Temporary session – not saved" window subtitle.
The status bar shows the memory used by audio (samples, waveform overview, spectrograms, clipboard); click it for a breakdown that also shows the whole app's memory.
Changed
The status bar spans the detail area and stays visible without a track selected.
Fixed
The playhead and cursor line no longer kinks where it passes from the time ruler into the waveform: the ruler's marker, its triangle and the line below now sit on the same pixels and have the same width.
2.0
Added
Recording: Transport › Record (⌘R) or the toolbar's record button records the audio input into a new track, saved as a 24-bit WAV in Music › Mini Audition. The recording appears in the list right away and its waveform draws live as you record, with the record head, time readout and level meter following along (the view shows 30 seconds, filling from the left, and doubles whenever the take reaches its end). Press M to drop a marker at the current moment. Editing, exporting and the spectrogram become available when you stop. macOS asks for microphone access the first time.
Fixed
The loudness targets in the Normalize button's menu stayed greyed out after the loudness was measured (the same options in Transport › Normalize Loudness worked).
1.7.1
Added
The About window credits the author, with links to varyform.info and GitHub.
Changed
Downloads are now a disk image (DMG) signed with a Developer ID and notarized by Apple, so the app opens without security warnings. Drag it onto the Applications shortcut to install.
1.7
Added
Markers and regions: press M in the waveform to add a marker at the playhead, or a region from the selection. They show as named tags along the bottom of the waveform (click to select a region or jump to a marker, double-click to rename) and in the overview. Jump between them with ⌥⌘← / ⌥⌘→, manage them in the marker list (Markers › Show Marker List, ⌃⌘M, or the toolbar), and export every region to its own file with Markers › Export Regions…. Markers move with cuts and pastes and are saved with the session.
Edit › Trim Silence (⌥⌘T) removes silence (below −60 dBFS) from the start and end of the track in one undoable step.
Spectrogram options (View › Spectrogram Options): FFT size from 512 (sharper timing) to 4096 (sharper pitch), Inferno, Magma, Viridis or Grayscale colours, and a linear frequency axis as an alternative to the logarithmic one.
⌥-drag inside the selection to drop it into Finder or another app as a 24-bit WAV file, with the gain applied.
1.6
Added
Waveform themes (View › Waveform Theme) for the ruler, waveform, overview and meter: Native Dark and Native Light (built from macOS system colours, including your accent colour), Classic (the original look, still the default), Nord, Dracula, Twilight, Solarized Dark and Solarized Light. The rest of the window keeps following the system appearance.
1.5
Added
Loudness readout (integrated LUFS per ITU-R BS.1770, after gain) next to the peak, and loudness normalization to −14 LUFS (streaming), −16 LUFS (podcasts) or −23 LUFS (EBU R128) from the Normalize button's menu or Transport › Normalize Loudness. Clicking Normalize still normalizes the peak.
Playback speed from 0.5× to 2× with pitch preserved (speed menu in the transport bar, ⌘[ / ⌘], or Transport › Speed). Resets to 1× on launch.
A/B comparison: switching tracks while playing continues at the same time position in the new track (↑/↓ in the waveform, ⌥⌘↑/↓, or the sidebar).
Changed
Smoother and lighter display: the ruler, waveform, overview and level meter are drawn together in a single frame, so the ruler's playhead and the meter never lag behind the waveform, and CPU use while playing dropped from about 11% to 6%.
The time readout gains precision as you zoom in (down to microseconds) and shows the sample number once individual samples are visible.
Fixed
Undo and Redo work right after selecting a track in the sidebar; they no longer need a click in the waveform first.
Playback keeps going when the audio output changes (headphones unplugged, output device switched, sample rate changed).
1.0
Files and session
Open or drop multiple MP3 (or other audio) files and folders, also via Finder "Open With" or the Dock icon.
Select multiple tracks in the sidebar (⇧/⌘-click) and remove them from the list with Delete, ⌘⌫ or the context menu. Files on disk are left untouched.
The session is restored on launch: open tracks with their gain, selection, cursor and zoom, the selected tracks and the loop setting. Files moved or renamed in the meantime are still found.
Start with a blank session by holding ⇧ at launch (or passing --no-session); the saved session is left untouched. Quit Without Saving Session (app menu) discards the current run's changes.
Waveform and navigation
Metal-rendered waveform with practically unlimited zoom, from the whole track down to individual samples, with average loudness (RMS) shaded inside the peaks.
Spectrogram view (⌘2, or the toolbar switch; ⌘1 back to the waveform): computed on the GPU, log frequency axis with labels, follows zoom, selection, playback and live gain.
Time ruler that switches to sample numbers at the deepest zoom, with a playhead you can click or drag to scrub. Right-drag on the ruler selects a range and zooms to it.
Resizable overview strip for navigation: drag inside it to pan, drag the edges of its visible-range window to zoom.
Selection and playback
Select by dragging, resize with the edges, ⇧-click to extend, double-click for the visible range, ⌘A for everything. Edges snap to zero crossings so loops and exports don't click (hold ⌘ to place them freely, or turn it off in the Transport menu).
Play the selection or from the cursor, with looping (⌘L) and a playhead the view follows.
Editing
Cut, copy, paste, delete and trim to selection, with per-track undo and redo. Edits stay in memory and are saved by exporting; original files are never modified. Edited tracks are marked in the sidebar, and quitting with unexported edits asks for confirmation.
Level and export
Live gain (±30 dB) applied to both playback and the waveform, with clipping shown in red, output peak readout and Normalize.
Level meter column on the right: RMS and peak per channel, peak hold and a clip indicator (click to reset). Resizable up to 4× its default width.
Export (⇧⌘E) the selection or the whole track with gain applied, as WAV 16/24-bit, AIFF 16-bit or AAC (.m4a).
App
Adaptive transport bar that switches to icons, then menus, in narrow windows.
App icon built with Icon Composer, adapting to light, dark and tinted appearances.
Mini Audition