Mini Audition

Список змін

Зміни описано англійською.

6.2

Змінено

  • Volume automation is now the volume itself, as in other DAWs: the top of a lane's, bus's or Master's volume line is +12 dB and the bottom is silence, whatever the fader is set to. The fader follows the line and can't be dragged while it has one; a new line starts at the fader's level. Sessions from earlier versions sound as they did: their lines become the levels they were heard at. A session saved with volume automation now needs this version or later to open.
  • Lane automation lines stay over the clips' waveforms, clear of their names.

6.1.5

Змінено

  • Faders and knobs move with their automation, during playback and at the cursor when stopped. A lane's, bus's or Master's fader shows the level heard (its setting plus the volume line) and can still be dragged to move the level the line rides on. Automated balance and effect knobs, the EQ's bands and the compressor's curve follow their lines and can't be turned while they have one (their settings aren't heard then). Audio Units' own windows keep showing their settings.

6.1

Додано

  • The About window links to mini-audition.com, in the app's language.
  • Mini Audition checks mini-audition.com once a day for a newer version and says so in the status bar, with links to download it and to what's new (or skip it). App menu › Check for Updates… asks at once; Settings › General turns the daily check off. Nothing about you or your audio is sent.
  • Stretch a clip in the multitrack to a new length without changing its pitch: from its Stretch menu (in the clip's details, or its right-click menu), by 50 to 200%, to a length in seconds, or to fill the selected stretch of time (Fit to Selection), from a quarter to four times as long. The clip gets audio of its own (the track isn't changed), its fades stretch with it, and it can be undone.
  • Automation for buses and Master too, and for their effects' settings, built-in and Audio Unit alike: the curve button on a mixer strip lists its volume and each effect's parameters, and shows a line for each below the lanes, edited like a lane's. A reverb can open up for a chorus, a filter sweep across a build. Saved with the session, undoable, heard live and in the mixdown.

6.0

Додано

  • Sends: a lane can play into its bus (or Master) and also send a copy to other buses, each at its own level (−24 to 0 dB, after the lane's gain and balance), so several lanes can share one reverb or delay. Set them in the Sends section of a lane's → menu, which then shows how many there are. A bus's strip lists the lanes sending to it; sends are saved with the session, undoable, and go into the mixdown.
  • Automation: a lane's volume and balance can change over time. The curve button in a lane's header (or Automation in its right-click menu) shows a line over its clips: click to add a point, drag one up, down or along, ⌥-click to remove it. Volume rides on top of the fader; balance takes the knob's place while it has points. It's heard live and in the mixdown, saved with the session, and every change can be undone.
  • Exports carry tags: a title (the track's name, or the region's), artist, album, year and cover art, as podcast hosts and music apps read them, in every format: ID3 in MP3 (and in WAV and AIFF), Vorbis comments in FLAC, iTunes tags in AAC. The artist, album, year and cover are remembered for the next export, so a series keeps them; Batch Process titles each file after itself.

Змінено

  • Broadcast WAV's description and originator are now the export's title and artist, instead of fields of their own.

5.7.1

Додано

  • MP3 export, at 128 to 320 kbps, on a Mac with LAME or ffmpeg installed (for example with brew install lame): macOS has no MP3 encoder of its own, so the app uses the one it finds. Without one, MP3 shows in the Format menu as needing it. Batch Process exports MP3 too.

5.7

Додано

  • Export has FLAC, 24-bit AIFF and 32-bit float WAV, a sample rate to convert to (with the mastering-quality converter), and AAC at 128 to 320 kbps. Exports to 16 or 24 bits are dithered, so quiet passages and fades don't turn grainy (it can be turned off). The choices are remembered for the next export.
  • Broadcast WAV: a WAV export can carry the description, originator, date, its position in the source and its loudness (EBU Tech 3285), as broadcasters and archives expect.
  • Loudness Report (Transport menu, ⌥⌘L, or the gain menu) measures the selection or the track after gain as delivery specs do: integrated loudness, loudness range, true peak, sample peak, and the loudest moment and stretch. It checks them against streaming, Apple Music and podcasts, EBU R128 and ATSC A/85, with the gain each needs, or a warning when the peaks would then need a limiter. Normalize to any of them from there, or copy the report for a delivery note.
  • Batch Process (File menu, ⌥⌘B) runs a list of files (dropped in, folders too) through the same steps without opening them: the effect panel's chain, Audio Units included, with its tails ringing out; leveling to a loudness target or the true peak to a ceiling; and export in any format. A file whose peaks would go over the ceiling at the target is kept lower and marked, so nothing clips. Each file shows its loudness and true peak as it's done; one that fails doesn't stop the rest.
  • Noise Reduction (Effects › Repair) takes steady hiss, hum, fans and room tone out of a recording, under the voice too, rather than only between phrases as the Noise Gate does. Select a stretch of the noise alone and choose Effects › Capture Noise Print (⇧⌘P) so it knows exactly what to take; without a print it learns the noise from the quietest moments as it plays. Reduction, Sensitivity and Smoothing set how much and how carefully, and Output › Noise only lets you hear what it removes. It works on tracks and in the mixer, where a session keeps its noise print.
  • Spectral editing: on the spectrogram, drag up or down as well as across to select a band of frequencies over a stretch of time (a straight drag still selects all of them). Edit › Selected Frequencies lowers it by 6, 12 or 24 dB, removes it (Delete), or fills it in from the sound around it (⌥⌘F), so a cough, a phone, a squeak or a chair creak goes while the voice or music under it stays. Each is one undoable edit, and the band stays selected to go again.

5.6

Додано

  • Audio Unit effects: the Effects menu and the chain's Add menu list the effect plugins installed on this Mac (Apple's and others'), by maker, for the effect panel and for the multitrack mixer's buses and Master. The plugin's own controls open in a window when it's added and whenever its effect is clicked in the chain (or with Show Interface). Plugins run in a separate process, so one that crashes doesn't take the app down. A session saves each plugin's settings; one that isn't installed on the Mac opening it keeps its place and settings, left out of the sound. On a track, a plugin opens with the settings it was last applied with.

5.5

Додано

  • The Pitch Shifter has a Clean mode, now the default: like a "stretch and pitch" process, it moves every partial of the sound to the new pitch in the frequency domain, so a voice or an instrument comes out as just itself, higher or lower, with the length unchanged. The earlier way stays as Grainy, for its rough, doubled character. Clean's result lines up exactly with the original when applied, and the playhead allows for its short delay while previewing.
  • Extract Stems (Edit menu, or right-click a track or its waveform) splits a track into Vocals, Drums, Bass and Instruments with the free Demucs model, running on the Mac's GPU (Apple silicon). The stems are saved as new tracks right after it; Extract Stems to Multitrack also puts each one on its own lane, lined up. The status bar shows the progress, with a Cancel button.
  • The multitrack mixer makes up for effects that play late (the Pitch Shifter's Clean mode): every other bus and the lanes going straight to Master are delayed to match, so the mix stays in time, and mixdown lines up with the timeline exactly. The playhead, the level meters and recording onto a lane allow for it.
  • Stem separation is a separate download of about 100 MB (the engine from mini-audition.com, the model from Hugging Face, both checked before they're used), made the first time you extract stems or from Settings › Stems, where it can be removed again. The app itself stays small and keeps running on Intel Macs, which don't show Extract Stems.

Змінено

  • The Pitch Shifter starts at a full mix (just the shifted sound) instead of half and half; Third Above and Octave Doubling still mix in the original for a harmony.

5.1.2

Виправлено

  • In File › Snapshots…, clicking a snapshot selects it at once instead of half a second later. Double-clicking still restores it.

5.1.1

Змінено

  • A session keeps every snapshot, not just the last 20. They're small: a snapshot is the session's description and a picture of the window, and audio that several of them share is stored once.

Виправлено

  • Snapshot pictures show the window as it looks: the track names in the sidebar came out dark grey on dark, and the selected track as a black box. They're now taken from the screen (no permission needed, since it's the app's own window), and drawn as before only while the window isn't on screen.

5.1

Додано

  • Ukrainian localization: menus, windows, settings, effects and their parameters, alerts, undo names, new markers and regions ("Маркер 1", "Регіон 1"), the microphone prompt and the Quick Look preview of a session. Settings › General › Language picks the app's language, or follows the system's; the change shows after a relaunch, which Relaunch Now does right away (asking about unsaved changes first).

Змінено

  • Numbers with decimals (dB, Hz, seconds, LUFS…) follow the region's decimal separator, e.g. "-3,0 dB" where the region uses a comma.

5.0

Додано

  • 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.

Змінено

  • 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.

Виправлено

  • 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

Додано

  • 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.

Виправлено

  • 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.

Змінено

  • 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

Додано

  • 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.

Змінено

  • 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

Додано

  • 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.

Виправлено

  • The multitrack view's bar was 2 points taller than the waveform view's, so switching views nudged everything below it.

4.1

Додано

  • 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

Додано

  • 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.

Змінено

  • 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.

Виправлено

  • 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

Додано

  • 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

Додано

  • 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.

Змінено

  • 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

Виправлено

  • 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

Додано

  • 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

Додано

  • 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

Додано

  • 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.

Змінено

  • 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

Додано

  • Five more waveform themes (View › Waveform Theme): Gruvbox Dark, Tokyo Night and Catppuccin Mocha, and the light Gruvbox Light and Catppuccin Latte.

Виправлено

  • 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

Додано

  • 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.

Змінено

  • The marker list lives in an inspector with Markers and Transcript tabs; the toolbar button is now called Inspector.

2.1

Додано

  • 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.

Змінено

  • The status bar spans the detail area and stays visible without a track selected.

Виправлено

  • 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

Додано

  • 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.

Виправлено

  • 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

Додано

  • The About window credits the author, with links to varyform.info and GitHub.

Змінено

  • 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

Додано

  • 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

Додано

  • 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

Додано

  • 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).

Змінено

  • 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.

Виправлено

  • 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.