Comprehensive Review of Audio Testing Software
When reviewing audio gear, audio analysis software gives the ability to resolve differences in sound quality and consequently use objective language when conveying those differences. All recording engineers would benefit from learning how to use an analyzer and decipher the data that it presents. Even if we're not doing formal product evaluations, we're still constantly presented with a choice of recording tools.
Knowing how single pieces or whole signal-chains of gear react to certain sounds or techniques can steer us toward more efficient workflows - mic'ing, processing, and mixing. Of course, we should trust our ears over numbers, specifications, and charts. But can we absolutely trust what we're hearing across space, time, and memory?
And more specifically, can we trust the monitoring system that our ears are hearing, or the room that we're mixing in, without having some kind of baseline to accurately describe that system or room? At the very least, an audio analysis package can highlight the anomalies in how our rooms react to the sounds coming out of our speakers, and if we choose to go further, analysis is the first step in identifying what kinds of acoustic treatment we should consider to offset those anomalies.
Room EQ Wizard (REW)
Years ago, Ethan Winer of RealTraps recommended Room EQ Wizard to me. REW is a donation-ware Java application that was originally developed by John Mulcahy to measure room and speaker responses. Despite its confusing UI, it excels at those tasks.
In the years since its release, as REW itself has gained features, and the audio interfaces it supports have gotten better, REW running on my Windows tablet, coupled with a USB audio interface, has become my go-to system for testing recording gear and software too. My system may not have the accuracy of a $25,000 Audio Precision analyzer, and the numbers that I'm able to capture may not be absolute in calibration, but I can still make meaningful comparisons between pieces of gear.
For example, both the Shure SRH1840 and Audio-Technica ATH-R70x open-back headphones have exemplary time-domain response, with very little ringing or smearing, but REW confirmed that the ATH-R70x exhibits much less harmonic distortion (high-order especially) in the bass region. REW has also proven that small, closed-box, single-driver speakers, like the Auratone 5C and Avantone Mixcube are very accurate in the time-domain, even if they are band-limited in their frequency response.
The Avantone's waterfall plot shows no significant resonances or ringing, and the speaker has a flat phase response, which explains its revealing and transparent midrange. On the other hand, REW showed me that the phase response of Apogee AD/DA-16X converters is not linear above 1 kHz, so watch out for harsh cymbals and "phasey" reverb tails if you rely on these converters for multiple steps of conversion or for parallel processing.
I can also count on REW when I'm not sure that what I'm hearing is real. For example, although the virtually perfect frequency and phase responses of the Antelope Satori are what you would expect of a "mastering-grade" monitor controller, when you A/B its inputs, the output level of its summing bus changes, and clicking noises are imprinted on the bus.
Moreover, clicks appear on the summing bus when you operate the monitor volume control. At first, I thought bone-conductance was causing me to feel and "hear" the clicks of the attenuator and switching relays through my fingers, but REW quickly confirmed that the level changes and clicks are indeed making into the audio stream. If you're a Satori user, don't touch the monitoring volume or input controls when you're printing a mix through the Satori's summing bus.
Key Factors in Evaluating Audio Editing Software
When evaluating the best audio editing software, key factors like user-friendly interfaces, compatibility with different systems, and advanced features such as non-destructive editing, multi-track support, and real-time processing are considered. Tools that offer stability, handle large projects seamlessly, and support high-quality exports in various formats are prioritized. Access to tutorials, customer support, and active user communities is also essential for learning and troubleshooting.
It's ensured that each tool offers good value for its pricing, balancing functionality with affordability.
Let's consider the main factors in more detail:
- User experience and interface: Prioritize an intuitive interface with tools that are easy to find, clear icons, and well-organized menus. Audio editing software that supports customizable layouts is a big plus. A well-designed timeline for multi-track editing, drag-and-drop functionality, and shortcuts for frequently used tools can significantly speed up the process.
- Compatibility with operating systems and hardware: Ensure the audio editing software works seamlessly on the operating system, whether Windows, macOS, or Linux. Check if it supports hardware acceleration to optimize performance with the GPU or CPU.
- Features and functionality: An audio editing tool's features often determine whether it’s worth using. Look for essentials like non-destructive editing, multi-track capabilities, and precise waveform editing. Advanced features such as spectral editing (removing noise or isolating frequencies) and time-stretching (altering tempo without affecting pitch) are must-haves for professional-level work.
- File format support and export options: Another key factor is flexibility in file handling. The audio editing software should support various audio file formats, such as WAV, MP3, FLAC, and AIFF, to ensure compatibility with projects.
- Support, tutorials, and community: Access to strong customer support and tutorials can make or break the user experience. An active user community is also invaluable.
- Budget and licensing: Budget is always a consideration, but look beyond the initial cost. Compare one-time purchases against subscription models and consider what each plan includes.
Top Audio Editing Software Solutions
Inspired by insights from a sound design class, here’s a breakdown of some top-rated audio editing software solutions:
1. GarageBand
Ranked as a Leader on the G2 Audio Editing Software Grid, GarageBand has been my go-to for intuitive music creation, especially when I want to lay down ideas quickly without getting bogged down in technical setup. The interface is intuitive and clean, and you can jump in without feeling overwhelmed. I could record audio, add MIDI instruments, or experiment with loops with just a few clicks. The Smart Controls let you tweak sounds with just a few sliders, which is perfect for creating polished tracks without diving into overly complex settings.
The MIDI instrument library is surprisingly rich for a free app. I’ve crafted everything from soothing piano melodies to punchy drum beats, and it’s all built right in. The virtual drummer feature makes you feel like having a real drummer on call, with options to adjust style and complexity. Plus, the sound library has loops and pre-recorded audio that can seamlessly fit into your project.
The multitrack editor makes it easy to fine-tune recordings, adjust timing, or clean up noise. It includes built-in plugins for EQ, compression, reverb, and even guitar amp modeling. The export options are straightforward, too. Whether exporting a high-quality .WAV file or just sharing a quick MP3 mix, it’s quick and hassle-free.
That said, after spending more time building out more complex projects, I started to sense where GarageBand draws the line. According to insights from G2 reviewers, many users, especially those transitioning from professional digital audio workstations, have noted the absence of features like advanced routing, sidechaining, or robust multi-channel recording. It’s a Mac-only experience. Based on G2 user review data, some Windows users have expressed disappointment about not being able to access the platform, which limits collaboration across devices.
GarageBand Interface
GarageBand's downsides include limited advanced editing capabilities, fewer virtual instruments compared to professional software, and some constraints for experienced users.
2. Riverside.fm
With a 4.8 out of 5 rating on G2, Riverside.fm has been one of the most dependable tools in my remote recording toolkit. The platform consistently delivers studio-quality audio and video, which is why so many creators trust it for professional content. From the moment I started using it, I noticed how intuitive everything felt. You don’t have to be an expert to figure it out, but if you are, there’s plenty of depth to explore.
What stands out is the local recording feature. I love how it offers uncompressed, high-quality audio from each participant’s device. This means you're starting with pristine sound when it’s time to edit, making the process much smoother.
It makes it easy to trim, split, and clean up recordings directly within the platform. It even syncs audio and video seamlessly, so you don’t have to waste time aligning things manually if you're working on multimedia projects. One thing I genuinely enjoy about Riverside.fm is how clean and reliable the recordings turn out. The platform captures uncompressed, locally recorded audio and video that feels podcast-ready right out of the gate, which is exactly what drew me in.
As I began fine-tuning my workflow, I noticed that Riverside.fm leans more toward capturing content than post-processing it. For example, there isn’t support for VST plugins, something that would be handy when layering in reverb or custom EQs. I’ve also found myself wishing for batch editing capabilities. G2 users have brought up similar points, especially when it comes to normalizing or applying noise reduction across multiple clips at once.
I love that Riverside records audio locally on each participant's device. The upload process could be faster. It can be a bit of a wait to get those files ready for editing, especially after longer recordings. The pricing is also higher, which might be a hurdle for smaller or new podcasters who don’t need all the advanced features.
3. Descript
Ranked as the 3rd easiest to use audio editing software on G2, Descript has completely transformed how I edit content. Being able to work directly from a transcript makes polishing up interviews and podcasts feel far more intuitive than traditional methods.
The first thing that blew me away was the text-based editing. Imagine uploading your audio or video, and you have an editable transcript within minutes. Need to cut out a stutter or an "um"? Delete the word from the text, and Descript syncs it with the audio or video. Then there’s Studio Sound, which is a technical marvel. I love how it uses AI to clean up background noise and enhance voice clarity. I’ve turned scratchy recordings into something that sounds like it was done in a professional studio. This feature saved me hours I would’ve spent tweaking EQ settings in other tools.
I also loved the multitrack editing. Whether I was layering background music or adjusting podcast guest tracks, the interface made it seamless. I also appreciated the overdub tool. I could train it on my voice, which let me insert new words or fix mistakes without re-recording.
I also liked how the screen recording feature lets you record your screen, webcam, and microphone simultaneously, making it a go-to for tutorials or presentations. Descript has genuinely redefined how I approach audio and video editing. Being able to cut out filler words, generate transcripts, and even clone my voice through Overdub has saved me hours.
That said, once I moved past the basics, the interface began to feel a bit dense. Tasks like refining multitrack sessions or adjusting fade curves took more effort than expected. Pricing is another area that requires some thought. Features like Overdub, while incredibly useful, sit behind a paywall unless you're on a higher plan. And while Studio Sound was once my go-to for polishing up noisy recordings, recent updates have made it a bit too aggressive, occasionally leaving voices with an unnatural texture. I also appreciate the AI-driven noise reduction and voice enhancement features.
I didn’t like how the interface felt cluttered and unintuitive when using advanced features like multitrack editing or detailed audio adjustments. The subscription cost quickly escalates if you must collaborate with multiple team members. As a Windows user, I found what I guess is a MAC-based interface confusing.
4. Logic Pro X
Logic Pro X, Apple’s powerhouse for music production. The range of tools and features absolutely blew me away. Logic Pro X is packed with everything from Alchemy, the powerful sample-based synthesizer, to a collection of space designer reverb presets that add incredible depth to any track. I also liked the Smart Controls feature, which makes fine-tuning instruments and effects ridiculously efficient.
When working with audio, the Flex Time and Flex Pitch tools are my heroes. Flex Time lets you adjust the timing of your recordings without needing to re-record, while Flex Pitch gives you total control over vocal tuning. It’s perfect for fixing those little imperfections (or adding creative tweaks) in real time.
Logic Pro X’s multitrack recording capabilities are hard to beat for live recording. I love how it can record and edit up to 256 audio tracks simultaneously at 24-bit/192kHz, which is insane. Pair that with the smart tempo feature, and you can sync live performances to your project without manually adjusting anything.
What initially drew me to Logic Pro X was how easy it was to get started, especially for someone who didn’t want to be overwhelmed by a learning curve right away. That said, once I began exploring its more complex capabilities - like MIDI environment customization or advanced automation, it became clear that there’s a steep learning curve under the hood.
| Software | Pros | Cons | G2 Rating (out of 5) |
|---|---|---|---|
| GarageBand | Intuitive interface, rich MIDI instrument library, multitrack editor | Limited advanced editing capabilities, fewer virtual instruments, Mac-only | Leader on G2 Grid |
| Riverside.fm | Studio-quality audio/video, local recording feature, easy to trim and split recordings | Leans more towards recording than post-processing, lacks VST plugin support, slower upload process | 4.8 |
| Descript | Text-based editing, AI-driven noise reduction, multitrack editing | Interface can feel dense, pricing can be high, Studio Sound can be aggressive | 3rd easiest to use on G2 |
| Logic Pro X | Wide range of tools and features, Flex Time and Flex Pitch tools, multitrack recording capabilities | Steep learning curve for advanced features | N/A |