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Review of SpectraLayers Pro

Review of SpectraLayers Pro

Review of SpectraLayers Pro software reviews

Here I have for many years been reviewed and criticized television series that uses computers that magically can separate a spy’s voice from the crowd, but with SpectraLayers Pro in your hands, I closer than ever to take the words back into my mouth.

SpectraLayers Pro is an extraordinary audio editing program that provides unprecedented sound shaping capabilities combined with a unique workflow. You can explore audio data in a multidimensional spectral display. Skil mixed audio ad to layer with discrete components using a variety of clever editing tools. Create extracted layer individually on an unlimited number of ways. SpectraLayers Pro is an essential solution for engineers, sound designers, audio-for-video editors, archivists, and professionals who demand the deepest sound analysis tools. SpectraLayers Pro brings today’s most advanced editing tools to an eminent affordable and accessible platform available for both Mac and PC.

If you’re used to edit audio files in the traditional way with tracks and layers you need to get used to a completely different way of working with SpectraLayers Pro. The program looks more like a statistics program in 3d than an audio program at first glance. It is the frequency in Hertz which is shown graphically in several layers. Audio frequencies is typically used in audio editing programs like Sound Forge to add EQ on the audio files where you adjust the bass and treble, etc. We also know the frequencies when we use a tuner to tune the guitar after. The pitch is A has 440Hz oscillations.

On the whole magically can program separate frequencies and display them on a vertical line, but that’s not all you can, as you know it from photoshop, you can drag the selection over to a separate layer and edit further then. Hz indication appears on the display so you know what you are looking for in advance, you can quickly choose the display. Of course, you also have the option to listen to it you select and thus identify the unwanted sound. Once you’ve found it, you can extracte (extract) via the program’s editing tools.

The program uses so-called smart editing tools. The three extraction (extraction) tools in SpectraLayers Pro can predict or intuitively guess what your desired choice should be. They seek and highlight audio material for the extraction, the action that occurs when you select an area just by clicking the left mouse button and / or the drawing of the spectral display.

The program is also able to edit harmonics (harmonics) which will also be shown through graphic lines on the display, with the Extract tool Harmonics explores programemt all directions in a user-defined area, and highlights targeted sounds together with their associated overtones, a click will transfer a completely selection to a new layer. The pointer can hover over a guitar sound fundamental tone, the basic tone of both the main overtone series is highlighted and can be selected. This allows you to separate octaves at the program and flagolet tones etc.

Extract Area tool can be used to transfer a large part of the audio straight to the selected layer. Pictured is the tool programmed to 5000Hz range and a four-second period, with 100% Hardness for the sharpest possible edge.

I found that the program, not surprisingly is best to edit audio files with individual instruments and any mono sound. When I was playing with a recording with Chet Atkins and Jerry Reed was virtually impossible to separate Jerry’s guitar from Chet’s, as both recorded the same frequency range. I could separate overtones from lead guitar, but it was impossible to remove Chet’s guitar lying on the same field as Jerry’s guitar.

The program has the best of the good working conditions as possible, and that is such a recording with a soprano singer and a total tenor singer, here you can separate the soprano’s high frequency range from deep all area. You can also successfully be separated the deep bass tones from an audio recording of a bass guitar and an electric guitar, but it’s a little harder to separate frequency ranges from a nylon string guitar and a bass guitar since the Spanish guitar has some of the same harmonies of tone, but with a little ingenuity followed by hard concentrated work, it’s possible to get a decent result out of it. The best thing would always be to record the guitar again in a separate track and the bass just as in his own tracks in a pie shooting.

What can you use it for? The audiophiles who are used to working with Sound Forge, audacity or other programs with technical skill play their way to hilarious results and obscure frequencies that irritate the classic recordings, such as background noise of Blind Blake’s guitar recordings or Robert Johnson accordingly. In a modern scenario where you record your own guitar in his home studio, it is more rare to need SpectraLayers Pro when filming is so good and pure noise in advance. So it is most audiophile who can really benefit from a strong tool which program really is, make no mistake about it.

Conclusion

The program lives up to the promise on paper, but it can only approximate sense if you possess a good deal of technical skill and not least the patience to learn more about the program. Doing so, the program will no doubt be an important and professional tool in your daily audio editing.

By Fríðrikur Ellefsen  

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