I’m sure this is simple but I can’t work out how it’s done or if possible.
Say I have a well-defined snare isolated in its own layer. I’ve then got a second layer which has percussion elements such as high hats, toms etc, but contains some spectral high frequency material belonging to the snare layer. How do simply use the snare layer audio to make an intersect cut from the percussion layer in order than I can quickly and easily move that percussion audio to the snare. At the moment I go thoughmanually selecting the snare hits to cut from the percussion which works, but very slow. I already have the full frequency range displaying in the snare layer using the spectral viewing tools.
Two way to achieve to achieve this:
-Select the second layer, click Process > De-Bleed and choose the snare layer as a source
-Select the second layer, click Process > Imprint > Cast and choose the snare layer as a source
In both scenarios, try different settings to see what works best.
Brilliant, I will try this, I wasn’t aware the de-bleed could use a source in that way. Cheers!
Both these methods don’t seem to retain audio integrity. De-Bleed simply removes audio that matches the source you select rather than adding what intersected from the source to the destination. Cast similarly removes what matches the source.
It feels like I’m missing an option to say “append audio to destination layer” but maybe my description above is not precise.
Lets say I have a kick layer and I have a percussion layer. The percussion layer contains some audio that I want intersected, but I want to retain all of the kick audio, I simply want the kick layer to include the part of the percussion layer that spectrally intersected with it. ie when viewing two layers in orange and green, the intersect is the yellow. That’s what I want moved from Percussion to Kick.
I find De-bleed is very destructive to the audio and it interferes with the phase (because it reconstructs material that wasnt originally there). Casting (if done right) allows you to carve out audio using other layers (without interfering with phase).
Also you can denoise the section with the unwanted audio and use “shift X” (on windows) and cut and reapply the unwanted part from one layer to another. That way you’re working in a non-destructive environment without interfering with phase.
The problem I have is all solutions leave a hole in the audio, I actually want the hole. Not too big a deal, I can duplicate before the whole and then phase invert and null to get it out of the duplicate, I just thought intersection-based workflow would be built into a function.
You can actually fill in the holes (using other layers) and have it be authentic and natural sounding without it sounding too thin and interfering with the phase or reconstruction or interpolation by moulding, however there is no way to select just the “VISUAL” (not audio) amplitude signal which makes that process much more TEDIOUS and time consuming.
I’ve talked about this many times but there is no way to do an “overall selection” based off of "VISUAL amplitude. If you were able to do an “overall selections” (or if Spectralayers added an “overall broad selections” feature) you could potentially select all the areas of amplitude or vice versa all the areas around the amplitude signal then invert the selections and then apply that selections to the other layers and cut the selections out of it and reapply it to the layer with the missing holes and manually adjust amplitude.
I would love to see an “overal selections” feature in a minor update for Spectralayers
It definitely feels like (to me) the software misses a direct way to work with intersecting spectral information of two layers. The workflow of multiple duplicate layers having to be created t keep track of the intersected and cut audio is not too bad for a simply couple of tracks. When you’re at 10-20 layers and 50% of them have intersecting audio you want merged into one layer, it’s a full days work keeping track of all these duplicates you have to create along the way. I ended up writing it all in a spreadsheet to keep track.
Basically I would love to see the following diagram put into the Cut menu, that’s would be awsome.
Right! Also speaking of “intersecting” and “de-bleeding”, contrary to what is already standard for “restoration”, I dont believe “de-bleeding” is the correct approach to cleaning a audio source. I’ve mentioned this before but I believe Izotope (and all the other spectral editing programs) approached the process of “restoration” the wrong way by introducing de-bleeding because it interpolates the audio (reconstruction) and adds content that wasn’t originally there and therefore interfering with the phase. I believe the right approach to working with two layers is a process called “Morphing” or “Spectral Morphing”. So far only Steve Duda has been able to achieve this and he’s able to do it in real-time. I believe morphing between two layers is the right approach to working between two layers. That way you can manually adjust the volume of the intersecting layers in real-time.