It has always been possible to copy, cut and paste chunks of a waveform within a Sound Forge session, but event‑based editing makes that whole process much more flexible.

Amongst the other new features, customisable window layouts and a number of new processing options also stand out. As part of the set of tools that allows this to happen, Sony have also introduced what they term 'event editing', allowing multiple waveform 'events' to be placed within a single data window.

Potentially, at least, this might now change, as the new release introduces Disc‑At‑Once CD burning: for me, at least, the clear highlight of version 10. At the time, Sound Forge 9 remained my weapon of choice for stereo editing, but when it came to CD compilation, I generally turned to Wavelab's Audio Montage options. In terms of core editing functionality and appearance, Sony have, thankfully, left well alone since version 9. If you are new to Sound Forge, the SOS web site review archive is the place to start, and I'll concentrate here upon the key new features introduced in this release. SOS has reviewed many previous incarnations of Sound Forge, most recently version 9 in the June 2007 issue (on‑line at /sos/jun07/articles/soundforge9.htm). What else has been added to tempt potential purchasers? Forging Ahead Sony have now released version 10 of Sound Forge, adding 'Pro' to the title. All provide excellent editing environments for mono, stereo or multi‑channel audio.

Sony's heavyweight audio production package celebrates reaching double figures with the addition of DAW‑style 'event editing' and CD compilation.įor a long time now, three packages have dominated the market for audio editing on the Windows platform: Adobe's Audition, Steinberg's Wavelab and Sony's Sound Forge.

Sound forge pro