Still, the app's much more than a simple audio organizer since, as mentioned before, it can also help you split, merge and convert audio files just as easily. To conclude, if you're looking for a versatile, universal audio organizer for your computer and you're the type of person for which functions is more important than form, then SoundBunny might just fit the bill. A lightweight, "do-everything" audio tool for your computer Everything is made even simpler considering all of the app's main features are easily accessible from the contextual menu. What may seem like a drawback might actually turn out to be the app's main highlight since it allows you to manage your audio files within an Explorer-like environment, something with which all Windows users are accustomed to. Once you get it up and running (which is a very straightforward process since it doesn't have any special requirements), it instantly becomes evident that this is not exactly the most stylish or modern-looking app of this sort out there. More than makes up for its outdated looks with an intuitive workflow and a familiar environment It's capable of working with run-of-the-mill audio formats such as MP3, FLAC, WAV, AAC, MOV, 3GP, MP4, WMV, FLV and AVI, as well as with less popular ones like OGG, RAW, M4A, M4R, AIFF, AMR, AWB, VOC, RA, AC3, TTA, MPC, and many others. In terms of things that need to be mentioned, we should point out that one of the highlights of this app is without a doubt the support for a plethora of audio files. Works with almost every audio format you can think of What's more, it can also help you associate tags to your audio files, change the sampling rates, the bitrates, and toggle between stereo and mono channels. Despite this mini-revival, she decided to retire from music in 1974 to raise her family.SoundBunny is a featherweight and nifty Windows application that offers you the possibility to sort, organize and manage audio files, as well as play, split, merge, convert them with the least amount of hassle. ![]() Though a re-issue, Wells promoted the single heavily and appeared on the British TV show Top of the Pops for the first time. In 1972, Wells scored a UK hit with a re-issue of "My Guy", which was released on the Tamla-Motown label and climbed to number 14. (Meanwhile, she had attempted a film career, but only managed a guest starring role in 1967's "Catalina Caper".) In 1970, Wells left Jubilee for a short-lived deal with Warner Music subsidiary Reprise Records and released two Bobby Womack-produced singles. However, much like her tenure with 20th Century Fox, the singer struggled to come up with a follow-up hit, and in 1968, she left the label for Jubilee Records, where she scored her final pop hit, "The Doctor", a song she co-wrote with then-husband Cecil Womack. Working with producer Carl Davis, she scored her final Top 10 R&B hit with "Dear Lover", which also became a modestly successful pop hit, peaking at number 51. In 1966, Wells signed with Atlantic Records' subsidiary Atco. Nevertheless, Wells' early hits as one of the label's few female solo acts did make her the label's first female star and its first fully successful solo artist. Though she was hailed as "the first lady of Motown", Wells was technically Motown's third female signed act: Claudette Rogers, of Motown's first star group the Miracles, has been referred to by Berry Gordy as "the first lady of Motown Records" due to her being signed as a member of the group, and in late 1959 Detroit blues-gospel singer Mable John had signed to the then-fledgling label a year prior to Wells' arrival. When that record bombed, Gordy set Wells up with the Miracles' lead singer Smokey Robinson. in an attempt to commercialise the Wailers sound. SoundBunny 1.80: SoundBunny is a light and handy software program that handles tons of audio files and enables you to organize, play, convert, merge and split them easily and quickly. ![]() In the fall of that year, Motown issued her first album and released a third single, the bluesy ballad "Strange Love". He then experienced a sudden growth spurt from 5 ft 11 in (1.80 m) to 6 ft. Wells became the first Motown female artist to have a Top 40 pop single after the Mickey Stevenson-penned doo-wop song "I Don't Want to Take a Chance" hit number 33 in June 1961. Wells' early Motown recordings reflected a rougher R&B sound than the smoother style of her biggest hits.
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