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With advanced audio correction and the ability to stack different processors, RX8 is a very popular spectral editor. iZotope RX8 Standard (opens in new tab).

When played back, all unmuted layers are combined into the final audible output you can also solo individual layers and adjust their volume level. Layering in SpectraLayers works much as it would in an image editor too: use the selection tools to define areas of the spectrogram you’re interested in, and then cut these to a new layer where they can be edited in isolation. For example, the Frequency selection tool automatically follows a varying frequency band as you drag the mouse across it, with the Harmonics selection tool working similarly but also selecting the harmonics of the main frequency you are selecting. There are a number of intelligent tools that hugely speed up the spectral editing processĪlongside tools for creating simple rectangular, oval, point-to-point and freehand selections, there are a number of intelligent tools that hugely speed up the spectral editing process. Here the hum will be clearly visible as a bright, solid horizontal band running near the bottom of the spectrogram, and to remove it all you need do is draw a selection marquee around that band and hit delete, leaving all other frequencies unaffected. You could use a high-pass filter to remove it, along with all other frequencies below the filter’s cutoff, or you could open it in SpectraLayers. You can then work with these selections independently, without impacting on the rest of the sound.įor example, let’s say you had a recording that was marred by a nasty earth hum. These tools work very similarly to how they would in an image editor too, only instead of being used to select specific areas of a picture, SpectraLayers’ tools allow you to select specific time ranges of frequencies on a spectrogram. Usually 2-3 days, in urgent cases contact us so we can check est.Steinberg SpectraLayers Pro 8: Performance and verdictĭespite being an audio editor, SpectraLayers borrows many concepts from the world of digital image editing, such as marquee selection tools, non-continuous selections and, of course, layers.
#Spectralayers pro 4 download license#
SpectraLayers Pro 3 may be used only after you agree to the terms of the license contained in the software.
#Spectralayers pro 4 download free#
#Spectralayers pro 4 download windows 10#
Microsoft® Windows 7 SP1, Windows 8, Windows 8.1, or Windows 10 (64 bit).The latest edition features parallel developments in program design and core engine performance that work together in harmony to deliver the most highly-evolved spectral editing platform available. If you work with digital audio, you need SpectraLayers Pro 3. Professionals who demand the deepest audio analysis Make old recordings sound their best, with technology that transforms historical audio documents into detailed visual documents that can be edited directly in the spectral graph. Pull target sounds for analysis, replacement, or rights management purposes. Apply bandwidth-limited noiseprints across entire files, or perform surgical cuts to remove isolated sonic events.įorensics specialists / music and dialog extractionĪudio extraction is a SpectraLayers Pro 3 specialty. Isolate individual sounds in an audio file, select material by frequency, and construct new music directly on the spectral graph.Įliminate unwanted noise with extreme precision. Who needs SpectraLayers Pro 3?įrom small fixes to radical, project-wide transformations, use SpectraLayers Pro 3 to repair, filter, and remix audio in ways you never thought possible. Transcend the waveform display and refine your vision with SpectraLayers Pro 3. The spectral editing experience is, literally, sound as vision. Move sounds around, reduce noise and clutter, increase clarity, or get totally creative and transform a sound picture into something new and different. Make detailed repairs with precise tools. In SpectraLayers Pro 3, you can work with the individual sounds in an audio file just as if they were objects in a photograph. Transcending the limitations of waveform editing
