Audacity is an easy-to-use, multi-track audio editor and recorder for Windows, macOS, GNU/Linux and other operating systems. Developed by a group of volunteers as open source. VideoProc is one-stop video editing software that makes it easy to edit, convert, resize, and adjust 4K ultra high-definition (UHD) videos, DVDs, and music to produce a polished video you'd be happy to share. If you shoot a lot of videos and want more flexibility in making them shine on any device, VideoProc is. Processing power for music production on a Mac High-end audio work can be extremely processor intensive, especially when using professional plug-ins and effects. Music Processing Suite (MPS) is a software system for advanced symbolic music processing with the following features: Music Modeling MPS is based on music models containing individual representations of musical aspects and contexts such as meter, tempo, rhythms, pitches, scales, hierarchical harmonic relations, loudness, lyrics and more. Depending on what features of MPS you intend to use, the following additional software might be required: Graphviz for model and graph visualization. LilyPond for.
By now, you probably know what a powerful creative tool your Mac is. It’s definitely hard to beat when it comes to retouching photos, editing videos, and — naturally — making music.
There are, in fact, so many music making apps for Mac that it’s hard to decide which one to get and what’s the difference between them, especially if you’re just starting out. But don’t worry — below is the ultimate guide to help you pick the best music production software currently on the market.
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The Best Free Music Software For Mac
It’s important to note that no single music creation software is best for everyone. Needs, experience levels, and preferences tent do differ a lot, so the final choice should be different as well. Having said that, there are a few options that have been winning in their respective categories over the years again and again. Here they are.
GarageBand: The easiest way to start
You don’t have to go far for an introductory experience to music making programs — the GarageBand app is already pre-installed on your system.
GarageBand for Mac is a versatile free music making software for beginners. You can use its tutorials to make your first steps into playing an instrument, record your own music (including your voice), add special effects, and produce complete tracks to upload to SoundCloud or beyond.
If you don’t have GarageBand in your Applications folder yet, download it from the App Store for free. When you open the app, it’ll prompt you to get all the available sounds and effects. In the latest GarageBand version for macOS Catalina, Apple has included a fantastic virtual drummer that you can customize to fit your patterns exactly, whether you’re playing rock or hip-hop. The layout of all the GarageBand options is quite intuitive, so you can definitely study the app on your own, learning more as you go.
Some downsides to the GarageBand app are essentially reasons why pros don’t use it: at some point you max out its capabilities and need features like advanced crossfades, for example. When you feel that instead of the music making software serving you, you start serving the music making software — it’s probably time to upgrade.
Ableton Live 10: The best music making software ever
At the other end of the music software spectrum is the industry-standard Ableton Live. First released in 2001, Ableton has been honing its music making software for nearly two decades. It’s not only able to record, arrange, mix, and master your music but also be used at live shows to play that music back, right from the same interface.
Bad news: it’s very difficult to learn Ableton on your own if you don’t have any background in music making. Luckily, there’s a large international community of users, so you’ll likely be able to find either a local or online group in your language, which could become instrumental to getting over various hurdles.
Even more bad news: Ableton is not a free music production software at all. While Ableton Live 9 used to have a Lite version that could be downloaded free, Ableton Live 10 starts with an Intro edition at $99 (then Standard at $449, then Suite at $749). The more expensive the version the more effects, instruments, and sounds it contains.
n-Track Studio: A top recording software for Mac
If the gap between GarageBand and Ableton Live is so wide, naturally there would be some music making apps that would try to fill it up. Enter n-Track Studio.
Make music with n-Track Studio
With this simple app, you can take a professional music recording studio to your Mac. No expensive equipment, no fuss.
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n-Track Studio is a music making software free of Ableton’s complexities but with nearly all of its power. You can record songs from live instruments or create complex EDM tracks using virtual tools as well, with the help of a massive library of sound effects. What’s more, n-Track Studio features a free MIDI software built right in and doesn’t require a too powerful of a processor on your machine, since its audio engine is optimized for minimum latency, even when dozens of tracks are played at once.
Starting with n-Track Studio is very easy:
Overall, exploring n-Track Studio is pure pleasure: more freedom than the standard GarageBand without the difficulty and cost of Ableton. Perfect choice!
Make all music sound better with Boom 3D
While selecting the best free music making software is important, it’s equally important to ensure that whatever tunes you create are going to be played appropriately. As most Macs are simply too quiet for all the intricacies of the music software, you need Boom 3D to make it all work.
Boom 3D is a system-wide volume booster and equalizer for your Mac. First, it features a variety of presets to make every genre sound as good as possible, by setting the right midtones, bass levels, and high-pitched notes. Second, it lets you surpass the default volume limit on your Mac to really get the maximum out of your speakers.
Finally, Boom 3D also acts as a nifty little music player that features over 20,000 radio stations from around the world and plays back tracks set in your specific preferences.
So, again, while choosing the best music production software comes down to your level of experience and needs, if you go for a mid-market product like n-Track Studio, you definitely won’t be bored for a long time. Just don’t forget to couple it with Boom 3D for an absolute killer of a sound.
Best of all, n-Track Studio and Boom 3D are available to you absolutely free for seven days during the trial of Setapp, a platform with over 160 apps for your creative self, from music making programs to film editing and drawing. Try Setapp today and unleash you creator spirit. It’s free, so why not at least try?
Choosing the right audiophile playback software can be a daunting task. While audible differences can occur in going from an entry-level software like iTunes to one of the audiophile playback engines mentioned below, the transition between high-end software boils down to a preference between real cherry flavor and artificial cherry flavor. It should also be mentioned that with a properly designed and optimized music server or HTPC, the sonic benefits and differences between operating systems and playback software shrink and selection most often can be made based on form and function. However, the differences in supported file formats, file management systems, user experience vary greatly.
The Case for Specialty HiFi Software
One of the main concepts behind high-end playback software is to aid in the elimination of background processes and improve the ability of non-real-time operating systems to process real-time audio information. Simply put, you want the operating system to focus on audio and not useless services, and you want the audio signal to reach the computers output with as little handshaking as possible.
..some people will hear a tremendous difference while others will not.
Because many operating systems can be optimized outside of playback software, the benefits of these audio applications may diminish. This doesn’t mean they make no difference, it just explains why some people will hear a tremendous difference while others will not. There are lots of layers here, and I’ll talk about them more in-depth in our upcoming optimization guides.
Before diving into the software comparison, I need to address bit-perfect playback. There are three camps here. Conventional wisdom states that in order for a system to be bit perfect it must act as a pass-through device, not altering the digital data in any fashion through the use of matrixing, DSP, or other means. The idea behind this is to say the output is exactly the same as what was put in. This idea is supported by the camp's theory that bits are just bits and that digital is just ones and zeros, so if a one is a one and a zero a zero the data has passed un-fooled around with and is thus bit perfect. This means that all bit perfect signals should be created equal.
The second camp states that bit perfect means that the bits are exact, but jitter may still be introduced. When doing something in non-real-time (running an application) bit-perfect is applicable because the data are buffered and sent in packets that are just resent if there are any errors (otherwise you would have applications crashing constantly). Audio, on the other hand, is real time. Bit perfect implies that the data and sample rates match, it does not mean jitter isn't introduced within those same sample rates.
Author's Opinion on Bit Perfect Playback
Finally the third camp, my camp, gets two paragraphs because it's my camp and I'm writing this. Let's all start by agreeing that audio is areal-time process. Even if an application loads data into memory forprocessing, everything before and the whole operation after is a real timeoperation. Real time processes in a computer take the form of a square wave,specifically a pulse width modulation. This pulse width modulation is an analogrepresentation of what we conceptualize as a digital signal and is created byvoltage in the power supply. This PWM signal has both amplitude characteristicsand timing characteristics. The timing, or duty cycle, along with the amplitudedetermine the frequency response of that square wave. A computer is made up ofbillions of transistors, all switching very quickly to changes in logic(mathematical algorithms created by the operating system and software). Basedon the input voltages, logic switches create a new version, a duplicate, of thesquare wave (either theoretically identical or altered). That new version ofthe square wave is also created from power in the power supply. Because audiois real time, there is no error correction that can be done to this squarewave, any resulting wave form IS your music.
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Looking at the concept of bit-perfect, it's arguablyimpossible to have bit perfect playback in a real-time system because there areno bits. If the power supply introduces noise or there is jitter on the squarewave this results in a square wave that is not identical to the original.Because the square wave is an analog signal it is still susceptible to noiseand distortion. A square wave, however, reacts a little differently than itssine wave counterpart. Jitter is an alteration of the duty cycle, when thatjitter hits the digital interface chips, a DAC for instance, that jitter isseen as an amplitude error and creates an alteration of the frequency response.Amplitude distortion itself is created by noise voltages that either add orsubtract from the amplitude of the square wave. This introduces harmoniccontent into the square wave that shouldn't exist in the music. The square wavemay still resemble a one or a zero, but it contains additional frequencycontent. So as far that bits are concerned, it's bit perfect, but withadditional harmonic content that shouldn't be there.
So, high-end playback software works to buffer the audio signal and keep as much of the processing in the non-real-time zone (memory playback) as possible. The next step is to create as few duplications of the square wave as possible and get it to the computer's output as quickly as possible so as to avoid the introduction of jitter and amplitude errors. All of the software below is bit perfect, the camp you pitch your tent in shouldn't affect the software you wish to use, just how you choose to integrate it into your system
JRiver Media Center
OS: Mac and Windows
Price: $49
Audio Capabilities: Standard audio formats plus FLAC, WAV, DSD
Video Capabilities: Blu-ray (now on both mac and windows) streaming services like Netflix and Hulu, and multichannel A/V formats
File Management: Self contained database with significant automatic organization and custom tailoring. Custom Playlists. Music stored locally, on external HDD, or NAS.
First up is JRMC (as the cool kids call it). It sports a sleek, easy-to-use interface, various GUI adjustments, and a settings menu with more options than a Vegas buffet line. It can play anything and offers access to a very powerful DSP engine.The feature set and sound quality improvements in this software make it a significant leap up over its windows media center alternative. The addition of ASIO, Direct Sound, Wasapi, and Kernel streaming is a big bonus over entry-level playback software. They have also integrated a memory playback feature, which was a big selling point on higher-end software available. For barebones enthusiasts this software may pack too many options, too many settings, and too much freedom. The good news is if you don’t want to mess with settings you don’t have to, it pretty much plays right out of the box. A similar (and free) alternative is Foobar2000, which has several plugins and nearly identical sound quality. The interface isn’t as nice and it’s not quite as easy to use, but many folks dig it. For an audio-only alternative you can check out CPLAY, which is simpler, open source, and sounds a little better too.
Ratings:
User Interface: 10
Customer Support: 9
Subjective Sound Quality: 8
Video Quality: 10
Trial Offered: YES
JPLAY
OS: Windows
Price: $129
Audio Capabilities: Standard Audio Formats plus FLAC, WAV, DSD
File Management: Utilizes JRMC Database organization or standalone playlists.
JPLAY is a relatively new introduction to the audiophile playback software market. Piggy-backing off the Jriver or Foobar2000 interfaces, it allows for use of the excellent file management of JRMC, but with improvements to sound quality.
This is an enthusiast level software, is a bit of a process to set up and tedious to use, but represents the most technically intelligent software available. If any software makes a difference, it would be JPLAY, but many people have claimed that it does not offer improvement over JRMC. In my test system I run a very high-end PC-based music server and the differences between JRMC and JPLAY were subtle, but I felt that I could hear them. Many of the optimizations that JPLAY does to the system I had already done manually (giving both JPLAY and JRMC Standalone an edge to begin with). There is a balance between folks claiming it to be revolutionary and other folks claiming it makes no difference (as is so often the case in the high-end marketplace). My recommendation is that the software makes sense, but you might want to try the trial version and see if it meshes well with your system. Of course if you plan to use it with JRMC it will require a JRMC license as well. JPLAY’s strength comes from its ability to isolate itself from the operating system. Setting itself up as a windows service allows it high priority thread access and when running, JPLAY disables background services to eliminate IO operations so that the only thing being worked on during playback is your music.
They have a slew of standard features including memory playback and direct sound, but integrating the software as a system activity is something unique to JPLAY. For more advanced users, you may choose to go the dual PC route, which involves using a processing PC and a Music PC separately to play back audio. In this setup the processing PC does all the heavy lifting and the music PC is designed to be ultra low power, low noise, and simple to output a streamed audio signal. To me this seems counter-intuitive to want to add a second computer to the signal path, but it is evidently a critical improvement to be made when using the JPLAY system.
Ratings:
User Interface: 6
Customer Support: 8
Subjective Sound Quality: 10
Trial Offered: YES
XXHighEnd
OS: Windows
Price: $96
Audio Capabilities: Primary audio formats plus FLAC, WAV
File Management: Standalone database, managed and organized manually by file folder.
XXHighEnd is a good-sounding software if you can get it to work. It requires a fairly powerful computer to get the most out of it and requires a fairly lengthy setup that may extend past your trial period. If you have the muscle, there’s a lot of potential here.
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With that said, this is one of the more tweaky playback software programs. Being able to adjust page size, latency, and utilize memory playback make it a software that has a lot of potential. The software can also do some fairly sophisticated digital filtering algorithms. This is paramount when using the software with the Phasure DAC, which relies on the XXHighEnd software to operate.
The GUI is purposefully minimal and high-contrast. The volume is a lossless DSP-based volume, and there are some cool unknown features like phase alignment that claim to greatly improve the sound. The phase alignment is a unique feature to XXHighEnd and one that sets this apart, as long as your amps aren’t DC-coupled. To learn more, check out the Phasure website.
Personally it wasn’t my cup of tea, but I prefer a little more versatility in my playback software, like DSD support. But this software and JPLAY are top contenders for the best playback software and sound very similar. XXHE also plays standalone, which gives it a bonus point in my book. Simpler is better.
Ratings:
User Interface: 5
Customer Support: 8 (tons of resources on the forum)
Music Processing Software For Mac Pro
Subjective Sound Quality: 9
Best Music Editing Software For Mac
Trial Offered: YES
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