Peak Pro will save you time, money and stress - it's a sure winner that just gets better with each incarnation.Crackle. So, is Peak Pro 6 good value for money? Without a doubt - particularly if your audio editing extends into commercial sound design or mastering. The program was perfectly stable and almost entirely glitch-free during the review process, with the only exceptions being a minor graphics bug in Vbox, and the authorisation app freezing a few times on our Leopard machine (though we hasten to add that it worked in the end). We've witnessed Bias staff seeking out feature suggestions on various online message boards, and that kind of dedication shows every time we use Peak Pro. It's chock-full of little details that demonstrate its creators' willingness to listen to their customers, and offers a great deal of long-term practical use. Peak has been around for years now, but it's showing its maturity rather than its age. It's not quite good enough to replace for the lamentably OS9-locked Infinity, but it does help reduce the tedium of finding good loop points in challenging material.

This works remarkably well on traditionally difficult sounds such as brass, though for some sources, you might have to play with the parameters a bit to ensure a natural sounding loop. Just give Peak the approximate pitch range of your material and it will attempt to create a seamless loop for you. Similarly, Perpetual Looper is designed to take the donkey work out of looking for suitable loop points in non-rhythmic, pitched samples. Plumbing a two-track drum sample through Loop Surfer yields a wealth of dead-on loops. In addition to this standard fare, there's the nifty Loop Surfer, which mines a length of audio for rhythmic loops of a pre-ordained BPM. This makes quick work of mapping notes in your favourite sampler. What's more, you can embed root note data, pitch range information and more into your file - an area in which some other audio editors fall short. There are functions designed to work out the BPM of an audio clip, zeroing in on loop points and crossfading between loop markers.

Peak's advanced sample editing and looping tools make it an essential purchase for OS X-based sample providers and sound designers. It almost goes without saying that CD-Text information, index points and PQ sheets are supported. Metadata tags can be written for many file types, and you can create and upload podcasts from within Peak itself. You can drag and drop between Peak and iTunes, and export playlists directly into the latter, too.

The DAW also provides loads of export options, and all the expected file types are supported (including WAV, AIFF, SDII, FLAC and MP3). Speaking of which, Peak offers a vast array of crossfading tools, along with custom default fades that can be saved and applied to other projects. Volume envelopes enable changes to be implemented across entire regions or crossfades. The most useful options are available from the toolbars in the customisable interface, and we were thrilled to see that, for example, our Frontier Design Tranzport controller is supported out of the box.Īs you'd expect, CD authoring and playlist editing tools abound. Peak has always had a reputation for being very easy on the eye and, more importantly, easy on the brain, and that approach is maintained here. If you're an experienced Peak user, you'll notice immediately that the interface has been given a bit of spit and polish for this version. Believe it or not, the XT version gives you even more, adding SoundSoap 2 and SoundSoap Pro, along with the Master Perfection Suite. As if that wasn't enough, AMG's ONE sample player is included, along with audio files from PowerFX, Hollywood Edge and Sound Ideas.

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