Features - Audio

WaveConvert Pro 2.3 and BarbaBatch 2.1

Picking A Winner
By Mark Steven Miller
Game Developer Magazine
August 14, 1998
Vol. 2: Issue 32

WaveConvert Pro 2.3 and BarbaBatch 2.1
Introduction

Audio File Input and Processing

Sample Rate Conversion and Compression

Dynamics, Bit-Rate Conversion, and Extensibility

File Output

Performance -- How Does It Sound?

Picking A Winner

Both applications should serve the needs of most game developers very well. In fact, I think that they both represent large steps in terms of sound quality for real-world applications. Allow me to couch my recommendation in practical terms. If you work mostly with well-produced source material to be delivered at reasonably high resolutions (22KHz 16-bit files, for example) for high-end PC CD-ROM titles, then I would say BarbaBatch is for you. On the other hand, if you work in space-limited or unusual environments (such as cartridge games or the Internet), you have a specialized delivery platform (such as a kiosk), or you often need to perform substantial clean-up on files, then WaveConvert Pro is the program for you.

In terms of value for the dollar, my recommendation is slightly different. When I began writing this piece, both programs were priced at around $500. Recent price drops, however, have placed WaveConvert Pro at $300 and BarbaBatch at $399. Given this, WaveConvert Pro is now clearly the better buy of the two products. Right out of the box, WaveConvert Pro is the more feature-rich program, and once you consider the fact that it comes with WaveConvert for the PC, as well as the Audiotrack plug-in, there's really no comparison. BarbaBatch's feature set, while modest in comparison, is nevertheless well designed and covers almost all of the basic needs. BarbaBatch does come with some utilities, but they're mostly for file moving and renaming and don't compare in value to Audiotrack.

Despite some grammatical errors, the documentation of both programs is excellent. Both show how to use the products and explain the underlying technical and aesthetic issues involved. I recommend a thorough reading of both of these manuals to anyone who creates audio for interactive media just for the background information included.

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