Thus instructional videos are your best friend here, if you find them. Therefore SL benefits greatly from actually receiving the instruction from its user of where to act and what you want to accomplish in precise terms, and this is where SL excels. extraction/separation magic, but when your work-to-do actually demands an equivalence of a screen display that goes from 0Hz to 25.000 Hz minute detail, plus requires 44.1000 versions of it (samples) in a second (just compare the time relevance with the 60 or 120 versions used at the highest video standars), then is easy to realize that the canvas is ultra detailed and complex. Yes SL does AI, harmonic, shape assisted, etc. if you follow the approach steps required to tune the algorythms to the specific files and to what you aim to do. It took me a while after acquiring it, to actually acknowledge that SL could IN FACT already achive what I was needing. I may testify that -despite I have been looking earth and sky for a tool that allow me alter the sound in such way. I am aware that Spectralayers version 2 and 3, specifically updated and greatly upgraded these critical extraction tools, however Gary Rebholz made such excellent step-by-step videos, that the training series had been essential for my learning and I suspect is the same for most of SL user base, since apart from this source of information, alternative ones like forum posts, comprehensive reviews or else have been almost non-existent!! However I did not check them all, and now I find that one of the most important ones is corrupted. ARA transfer times are also now 20 times faster, Generate Silence/Tone/Noise processes have been improved, and there is a playback output gain control for level setting specifically for spectral editing operations.I was searching thru the new MAGIX page for specttralayers and could not find the -very useful- Spectralayers (SL) videos.Ī while ago, I had the sense of downloading all of them from the Sony Creative Software site. Steinberg have optimised SpectraLayers 9 for use with Apple silicon processors (M1, M2). This comes with an option to display time and frequency coordinates next to the cursor, helping users to keep their eyes fixed on the target audio whilst working. The new Cursor Crosshair view implements crosshair lines that span the entire spectral graph. This AI-assisted process makes it easy to reduce the amount of spill across tracks, with multiple bleed source layers that can be applied to the target layers each time for faster, higher quality de-bleeding. The De-Bleed process first introduced in SpectraLayers 8 has been improved to now work across multiple layers. Users can now divide one layer into two from a user-selected amplitude split point, and preview changes made to the two layers independently. The Tool preset allows for more configuration and a wide range of default options, meaning users can find and create the ideal settings more quickly.Ĭomplementing the Unmix Stems and Unmix Components processes is the much-requested Unmix Level process. Load in a default or custom Process preset as a starting point, make changes and monitor in real time, and save further presets or reference points for the future. These dialogue boxes also stay open, allowing for multiple changes without having to reopen the process each time.More workflow enhancements come courtesy of the n ew Process and Tool presets. The dialogue boxes are now non-modal, meaning users can work freely anywhere in the interface, even when a process dialog is open. Finally users can hear changes in real time while updating parameters, instead of the antiquated two-step process of its predecessor Steinberg’s spectral audio processor receives an update with a more user-friendly UI, improvements to workflow and processing tools, and *key* feature: real-time auditioning. Sounds are displayed as visual objects and layers, enabling ultra-precise editing that will suit a variety of applications from music and post-production, sound design and audio restoration.
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