Spectral Layers 10 Pro Blowing My Mind

[Dave Labrecque]

Room tone, anyone?

[Todd R]

Room tone, anyone?

Listen, Dave,
obviously I have hours of "room tone" and record it on every project
I call it ambience or ambiance because there are as many field recordings as there are inside recordings.

but you are utterly missing the point
as have others

In my current film; the scene which I described earlier was a one-off,
un-rehearsed, un-scripted moment which turns out to be really funny in context.
you couldn't re-capture it if you tried
and there is crew chatter which the director wanted removed
I tried covering it using typical editing
it was not possible
with Spectral Layers editing, I've successfully fully removed the crew chatter

I'm not sure where this negativity is coming from? Steinberg hate? Sony disdain? I don't know.

Try a free trial and see what you are missing out on for yourself

There is a big learning curve tho; so you might try it for a few hours and decide it doesn't suit your philosophy or whatever
it's working great for me like Pro-Q3, or Acon Restoration Suite or other VSTs; but it isn't a VST

but, heck yeah, I have hours of room tone

and further, this film I'm working on was originally a 12 min short which has grown into a 90min feature (as I have said before).
Well, there were a lot of pretty pictures, but then we had to dip into audio which have crew chatter and other unwanted elements
covering all of that with "room tone" is old school thinking...we are using modern tools...alongside SAW

[Dave Labrecque]

Sorry. Not meant as hate or anything negative. I just was curious why room tone wasn't working for you. I guess I missed some stuff.

[jmh]

This has got me curious. On another thread, I described having room trouble with a few frequencies around the 100hz area on acoustic tracks where low G# or A on a guitar or bass might set off the nearby room mode (deploying a solution is still on the to-do list). Anyway, on tracks that I have already recorded could this software be utilized to strip the problem frequencies?

John

[Todd R]

This has got me curious. On another thread, I described having room trouble with a few frequencies around the 100hz area on acoustic tracks where low G# or A on a guitar or bass might set off the nearby room mode (deploying a solution is still on the to-do list). Anyway, on tracks that I have already recorded could this software be utilized to strip the problem frequencies?

John

John,
I was messing around with frequency draw and repair tools a bit yesterday and I didn't find them very useful...any frequencies or harmonics I drew or repaired sounded like a pure sine source. That doesn't mean I know how to use the tools, tho! I should think you could reduce the ringing freqs in a more forensic manner

I'm currently looking into correcting/ masking RF dropout when a radio mic travels to the maximum range and beyond. I'm not sure how to create a noiseprint, either, which I'd like to figure out...a workaround could be to comp the noise print onto the soundfile one is working on, I suppose. I'm sure there are other methodologies

[jmh]

John,
I was messing around with frequency draw and repair tools a bit yesterday and I didn't find them very useful...any frequencies or harmonics I drew or repaired sounded like a pure sine source.

That might not be a bad thing if it is able to zero in on a particular frequency because when the nodes ring, they are probably not in tune with the song - but the room. I've actually become fairly adept at taming these sounds once I realized how, why and where they were occurring (not necessarily on the track where you would expect them). I've overcome the problem well enough in the current batch of songs I'm working on, but I've got a few on the to-mix pile that I may investigate SL.

Most of the basic tracks recorded in the problematic room have not actually had the problem, as they have generally been line or DI and live drums. I'm not sure what makes the miced drum tracks okay, I suppose some combo of the kit is just in a better spot, the percussiveness is too chaotic to engage any particular room node, or the because drums are so loud, the corresponding low mic trim makes the room mostly inaudible. If there was a vocal at the same time, it would have been done in another room. Prior to figuring this out miced overdubs would be were the problems would show up where either the headphones bleed or the instrument itself would set things in motion.

[Carl G.]

there is crew chatter which the director wanted removed
I tried covering it using typical editing
it was not possible
with Spectral Layers editing, I've successfully fully removed the crew chatter

I use Spectral Layers 10 Pro - it's a great 'fixer' in many areas for Forensics, remixing, freq editing, etc. It is amazing.

But I always say.... "No DAW like SAW"!

[Todd R]

I use Spectral Layers 10 Pro - it's a great 'fixer' in many areas for Forensics, remixing, freq editing, etc. It is amazing.

But I always say.... "No DAW like SAW"!

Agreed!