SpectraLayers Pro can also generate noise or a discrete frequency (which you can modulate over time by mouse-dragging up and down in the spectrogram) and add it to existing audio at a level you set in decibels such mayhem is most useful for sound design. The resulting phase cancellation will mute the extracted elements at SLP’s output.
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After extracting a frequency band, single frequency, series of harmonics or noise to a discrete layer, you can invert the layer’s phase and combine it with the layer for the original (in-phase) audio clip. To extract noise, paint with your mouse where only noise occurs and then apply the Extract/Noise tool across the entire time and frequency ranges of the clip.
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You can also extract a single frequency and, optionally, all of its harmonics to a discrete layer this is how you’d extract a single bass-guitar note from a full mix. The original clip remains intact in its layer.
You can create another (empty) layer, make it active and use editing tools to transfer (extract, in SLP parlance) a band- and time-limited snippet of content from the full clip to it. When you import an audio clip into SLP, it appears in a new layer. The stand-alone program (not available as a plug-in) shows your imported audio in an auto-scrolling spectrogram having time (horizontal) and frequency (vertical) axes (see figure). Using an 8-core Mac Pro running OS X 10.8.2, I tested SpectraLayers Pro Version 1.0.21 in restoration, sound design and remastering applications. SpectraLayers Pro lets you extract in turn the various embedded elements of a mono or stereo audio file, transfer each component to a discrete layer (a track synced to the original audio) and process the layers independently to create an entirely new mix of the material.
This zoomed view shows a 65Hz tone (red blotches) added to kick-drum hits in a previously archived master. SpectraLayers Pro displays and edits audio in a spectrogram.
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