![]() 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. 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. 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. 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. 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. 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. ![]() When played back, all unmuted layers are combined into the final audible output you can also solo individual layers and adjust their volume level. ![]()
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