Wave Video Editor Free Download

[Evelyn Normington]

Wave Editor is a fast and easy digital audio editing software for Windows. It provides a powerful and user-friendly editing environment that suits beginners especially and performs basic editing capabilities like cut, copy, paste and delete parts of recording.

Unlike the other sound editors based on the same ActiveX engine, our editor developed from the ground up to be easy to use and fast. The user interface was designed with speed, accuracy, and ease of use in mind.

The key feature of Wave Editor is a simple selection of audio blocks during playback. Non-destructive editing allows you to make simulated changes to an audio track without overwriting the original file. If you want more features, try the advanced version of the editor.

Thank you for making such a wonderful sound editing program, I have been incredibly pleased with how small, efficient and simple it is. It is rare to find software that is as perfect as this. I am enjoying it immensly. ?

I use pro tools to edit all my SFX recordings and was wondering why some people use Pro Tools and a separate wave editor. I was looking at -engineering.com/waveeditor/ and can't seem to find anything special that it does that pro tools can not.

By using a wave editor you just dive into the sound and start hacking. apple+s when you're done and move on. this means if you just need to cut up chunks of a take, remove slates, do some EQ, or pull out a couple of annoying blips in the sound you can do so without any import or export steps.

I use BIAS Peak Pro (sometimes happily, sometimes not) for the same reasons that Rene outlined: Immediacy. It's simply a question of the right tool for the right context. If I'm editing a single sound for my own library, it's into the stereo wave editor I go. If I'm designing something complex enough to require multiple tracks, I dive into a DAW.

Don't make the assumption that a wave editor will have more functionality than a DAW; it's quite the opposite. These lines are sometimes blurred, too. For example, Pro Tools, iZotope RX, Soundminer v4 Pro, and Adobe Audition have significant functional overlaps, but each is really good at extremely different things (DAW, audio surgery, library/DB, and wave editing, respectively). An analogy would be how any digital painter will of course have Painter, but they'll also have Photoshop, and probably Alias Sketchbook. Different tools for different contexts, even though there's some overlap.

I use AE Waveeditor along with Ardour or Ableton Live depending on the project. Neither of those DAWs have any real wave editing capability, but I can vouch for Waveeditor's smooth workflow, and I'm sure that this is the reason that people use a dedicated wave editor when the task at hand is so specific. Waveeditor is interesting since it more closely resembles photoshop than other wave editors, and I find this allows more flexibility to be creative. In particular the layering workflow (of effects, and of multiple files) is well suited to the task of readying wave files to be dropped into your favourite DAW's sequencer. Although this can be achieved by other methods, including within pro tools. Wave editor's only real con is that it uses a fair amount of the cpu, and updates seem to be slow going, the next of which is said to dramatically reduce cpu usage, but seems to have been in beta forever. If you're at home using pro tools, then there's probably no reason to get a dedicated wave editor.

I use Soundtrack Pro for just about all destructive editing. It provides some features that I don't get elsewhere, can run scripts and batches and gives me access to all of my AU effects, plus the awesome Logic-only stuff like Space Designer, Delay Designer etc. Plus it's built specifically for the waveform editing, so it's efficient and "just works".

It is just speed and taste. Wave editors are brilliant for working on single files without having to import and bounce to disk. It can also be a bit like choosing between different mics or analog gear, the colouration is slightly different depending on the algorithms and I find that I often have to be more drastic with the EQ in Pro Tools compared to wave editors.

It is possible to integrate any program including free and commercial audio editors into CbB and send data between the program and CbB as long as the program accepts a wave file as a command line argument.

I created a free program to make the process of adding programs to the CbB Utility menu a little easier. It is called Tools Editor and is available on my Google page along with other CbB related software.

I've had Sound Forge since before SoFo sold it to SONY and never knew about this feature [pencil/draw]. I used it as a waveform/file clean-up/editing/processing tool. Just checked Soundblast version 7 and Audiostudio version 14 [i.e., non-pro versions] and it works!!!

I have Sound Forge and use the pencil drawing to remove clicks from other studios. (especially prior to R x 7) My Roland S-50 from 1987 actually has a digitizer tablet with pen that I used for drawing either the waveform or the envelopes. Once I created a feedback loop dialed into a sub frequency, sampled it, then drew a squigly attack onto the front of it and it became one of my favorite rap drum samples.. Also the 3.5 floppy disks would occaisionally glitch (due to getting close to a magnetic source perhaps) and I would redraw the glitch out just following what the curve should've looked like.

Another fun trick was to have girls over, get them to write their name into digitizer tablet in an effort to hear what their hand writing sounded like. Anything to impress a chick right? (sampling curse words, playing them in reverse, mimicking the reverse curse word, sampling that, reverse that and hear the difference in the original curse word.... somewhat alien or foreign) Ah the good ole days! ?

I have been using Sound Forge since the mid 90's (94?). I can't imagine my professional life without it. I use it to acidize wavs, used to use it for tuning before Melodyne, pitch shifting, time shifting, checking stats, master check and so many other things. Used Scooks tool years ago to get it inside the Utility folder of Cakewalk.

Create and edit Zone Envelopes: Just like you can use envelope generators as a source for parameter modulation on the Group level, Kontakt also provides envelopes that operate on separate Zones. The most striking aspect of Zone Envelopes, apart from the added flexibility, is that you can edit them right on top of the Sample waveform; this makes it possible to create precise automation curves in perfect sync to your audio material.

Perform destructive Sample editing: Kontakt offers a range of operations that modify your Samples permanently on the hard disk; this is useful for editing tasks that prepare your Samples for smooth operation within Kontakt, such as clean editing of start and end positions, normalizing, fades, or removal of DC bias.

At the bottom of the editor, four tabs provide access to function sets, which relate to the various tasks you can perform in the Wave Editor: creating and editing loops, synchronizing sliced Zones to your song tempo, creating and editing Zone Envelopes, and editing your Sample destructively.

The topmost row of buttons in the Wave Editor pane provides various navigation functions that affect which part of the Sample is currently being displayed, a set of playback controls, and menus that contain selection options and utility commands.

Size (only visible in external window): If you have opened the Wave Editor within an external window by clicking the arrow next to the Wave Editor button at the top of the Rack, this drop-down menu lets you choose between three predefined window sizes.

Jump to Zone Start: When you click this button, the waveform view will jump to the start marker of your Zone (which may or may not coincide with the actual beginning of the Sample data).

Loop: When this toggle button is activated, the Play button next to it will play your currently selected loop in repetition. Note that only the section between the start and end points of your loop is played, not the initial portion of the Zone before the loop; therefore, the playback result will be different from what you will hear when you trigger the Zone with a note.

Auto Pre-Listen: When this button is activated, Kontakt will play any region as soon as you select or change it; depending on which tab is selected, this works with loop regions, Slices, or edit selections.

Ext. Editor: When you click this button, the current Sample will be opened within your favorite external Sample editor. This requires that you have set the External Wave Editor option on the Handling tab of the Options dialog beforehand. Note that while your external editor is running, Kontakt will freeze and not respond to any input; as soon as you quit your external editor, Kontakt will examine the Sample on your hard disk for changes and reload it if required.

This drop-down menu appears when you click the menu with the cog icon in the tool bar. It contains various functions that operate on the loops of either your current Zone, or all loops of the currently selected Zones. Note that some options are only visible when you have selected an active loop on the Sample Loop tab.

Find loop end (short) (only visible when a loop region is selected): Attempts to find a well-working end point for the selected loop region automatically, but will only look for it in the vicinity of your current end point, thereby keeping your loop at roughly the same length.

Find loop end (long) (only visible when a loop is selected): Attempts to determine an optimal end point for the selected loop region. In contrast to the previous entry, this function can increase the length of your loop by a significant amount if the detection algorithm deems a more distant position an optimal candidate for a new end point.

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