We have a graphic, spectral display of the waveform
Please use the spectral mapping of amplitude to implement a dynamic range view eg allow luminance values to be mapped to min/max db values, then you could use the HDR like tools to immediately render shadow/highlights etc to obtain not only range manipulation but would also be devoid of artifacts and frequency phasing issues…as is currently the case when you use SL to create HP clean up on tracks prior to starting a mix instead of stuffing around with linear phase eq
It also removes the need for envelope follower in the circuit so its the ideal tool as I understand it.
The output luminance range could also have options for intended output eg -14lufs etc so the black/white points would easily indicate the correct constraint of dynamics to a chosen target
Please see
Go to preferences and go to the display tab and look for the “layers view” tab and select “inferno”. You can adjust the brightness curve and adjusr the min Amplitude and max Amplitude of the display (which does not change the actual audio, it only changes the visual).
Other than that, that is the closest experience you can get to HDR because in composite view it is X over Y over Z(Zed being dynamics).
Hi @Joey_Kapish
I dont think anyone is getting it…I understand there is a display…but joining the dots of the display to an actual tool that can do spectral compression in that display and use the purity of spectral compression as a new tool in SL that can apply dynamic compression in the way that HDR can without artifacts and with immediate visual cues. It would be revolutionary for mastering output levels
HTH
Thats why I made it a feature request.
If you understand the compression characteristics and what they can do for graphics, then you would understand what Im saying
HDR takes a range of values that cannot be seen on an 8bit display and compresses them so they can be. This is the same for eg even 24bit audio (144db) fitting into the expected output listening space of -14lufs (or -6db for the madness of loudness wars). Makes more sense to me reference K system as its more meter based ie K-12 as a min dyn range and translates well just about anywhere but still sounds decent on a good system. Audiophiles that have high res systems vomit when they play that (-6) back because its fatiguing and just awful…but commercial output deems that it must play back on even a tv speaker or earbuds on a train, hence what all the fuss is about
First of all, that is something I agree with and I believed should of been the overall vision for Spectralayers to be heading towards. Unfortunately, the developer decided to follow the way of Izotope (and I cant entirely blame the developer because many users here requested Izotope-like features which prompted the developer to follow suit) and started implementing modules (just like Izotope) and really derailed what Spectralayers could’ve been. Spectralayers is a visual application and I felt the features should’ve been built around the visual aspect gui of Spectralayers. Spectralayers is really in a lane of it’s own (IMO surpasses any pro audio workstation) and it isn’t necessary for it to follow Izotope, however features like manipulation of the visual gui to achieve compression gets put on the backburner for less helpful features.
I agree with you 100% but it all depends on the developer and which direction Spectralayers should go. Features like real-time transformation could literally solve hundreds of problems at once because you could literally implement a compression value box within any of the selections tools subset menu and make any selection (without implementing a whole new algorithm for compression or implementing a new compression module).