Issue link: https://digital.copcomm.com/i/1536017
or 'k,' at the ends of words. The Frequency Repair tool can accurately repair a damaged frequency between a start point and an end point by using the frequency data of these two points to reconstruct what's missing. The Frequency Pencil tool can be used to manually draw a continuous frequency. The Transient Pencil is used for drawing in a transient. There's even a Noise Spray tool for "spraying" in noise. Redding said, "I am a visual person. I grew up doing photography and using Pho- toshop. SpectraLayers gives you that extra tool set that you wouldn't think of using for sound, like an eraser and a pencil." PLAYING NICE WITH OTHERS With SpectraLayers Pro 11, the editor can import multiple audio files and have them layered in the same project. If the tim- ing of each layer doesn't perfectly line up in the project, the editor can note the start of one layer and use that as reference. Then, in the next layer, they can figure out how much time needs to be added to make it line up with the reference layer. In the Edit tab, they can choose "Insert Time," set the Start point (where they want to add in time) and Length (how much time they want to add). This will shift the audio in that layer so it lines up with the reference layer. For instance, let's say an interview between two people was recorded on sepa- rate devices. When importing both of those files into the same SpectraLayers project, the editor discovers that both voices start at 00:00:10.000. So when the two layers are played together, they overlap. The editor can "Insert Time" into the second layer, shifting the start of the voice so it begins af- ter the first voice is done talking. Importing multiple layers is useful for editing music stems and effects layers, as well. E d i t o r s c a n u s e t h i r d - p a r t y V S T 3 plugins inside SpectraLayers. For instance, if an editor prefers using a DeClick plugin from another company, and it's available as a VST3, the editor can use that processing in SpectraLayers instead of the built-in DeClick processing. If an editor prefers to work only within their DAW environment (and not deal with the import/export issue of using standalone software), they can use SpectraLayers as an ARA (Audio Random Access) plugin. This isn't a watered-down version of the application with limited features. Instead, it looks (and sounds) exactly the same as the standalone application, with all the same tools, modules, and features. ARA 2 technology (designed to build bridges between audio editing applications) allows SpectraLayers to be launched inside a host DAW and acts as an editing feature. Redding said, "It's great that you have this ability to do all these adjustments in the DAW like you would in the standalone SpectraLayers application." Currently, the ARA SpectraLayers plugin is supported by: Steinberg Cubase 10.0.30 and higher, Stein- berg Nuendo 10.0.30 and higher, Avid Pro Tools 2024.10 and higher, Cockos Reaper 5.98 and higher, Presonus Studio One 4.6 and higher, and more. In Redding's Pro Tools session template, he has a SpectraLayers worktrack, which has the ARA plugin already set up. He can simply drag the audio clip he wants to pro- cess onto the worktrack, edit it as needed, and then drag the edited clip back onto its session track. This will automatically apply the processing and generate a processed clip. "This is helpful if you're sharing a session with an editor who doesn't have SpectraLayers. This way, the processing is baked in. But if I want to keep the processing 'live' because I'm still tweaking it, I can simply make a track with the SpectraLayers ARA plugin, and as long as I'm staying on my system, I can keep it live in my session," he said. NO RISK, ALL REWARD A full license for SpectraLayers Pro 11 is just $299, yet this lower price point doesn't mean lower quality results compared to its competitors. SpectraLayers Pro 11 offers a massive selection of highly adjustable tools, uses new AI algorithms for improved speech and music repair, gives editors the ability to create processing chains, do batch processing, add in third-party VST3 effects, and it can be embedded into standard DAWs for a seamless workflow, making it an invaluable addition to a sound editor's toolbox. This article just scratched the sur- face of what SpectraLayers Pro 11 can do. Want to put it to the test against your go-to but don't want to shell out hundreds of dollars? For owners of certain competing spectral audio restoration sof tware, Steinberg's Competitive Crossgrade discount drops the price to $199 for a full license. Still on the fence? Steinberg offers a free 30-day trial of the full version with no restrictions. The video tutorials on Steinberg's YouTube channel are easy to follow, as is the user manual (for those who like to get into the weeds), so the learning curve isn't steep. Redding concluded, "SpectraLayers is so powerful. It really shines in those Unmix modules. Having this level of control is incredible. I'm constantly telling people about this software." ■ Jennifer Walden, who specializes in postproduction technology, is a regular CineMontage contributor. 39 S U M M E R Q 2 I S S U E T E C H