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Using the default settings, getting SLP7 to exert its AI smarts on what is undoubtedly one of the most demanding audio processing tasks you might undertake, requires just a couple of mouse clicks. There may be situations where the extraction quality of one layer (for example, the vocal when trying to generate an a capella) might take priority over the absolute quality of the remaining layers. With Non‑destructive unticked, any adjustments to the Sensitivity sliders might not result in the sum of the layers equalling the original mix. This would obviously be desirable if your aim was simply to adjust the original mix balance (for example, making the drums a touch louder/quieter). When the Non‑destructive box is ticked, the unmixing process will always ensure that the layers sum perfectly to deliver the original mix without any data loss or phase issues.

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The Sensitivity sliders adjust how the AI performs during the unmixing process (although the PDF reference Manual could be more forthcoming on exactly how) and can be easily experimented with to find the optimum settings for the task at hand. The simple dialogue includes Sensitivity sliders for each layer and a Non‑destructive tickbox. The last of these is a catch‑all for anything else within the mix and, if you toggle off any of the other layer options, then that content simply gets included within the ‘Other’ category. In Pro, the process can generate up to five layers Vocals, Piano, Drums, Bass and Other. Unmix Stems is available from the Layers menu.

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If the current iteration of spectral editing software can essentially automate that process, it would be a big technical step forward (although it would not, of course, resolve any associated copyright issues).

Generation of karaoke tracks is perhaps a more mundane application, but isolating a capella vocals from well‑known songs for the purposes of creating remixes or mashups is very much in demand.

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While there are obvious corrective applications (for example, to boost a lead vocal in an older recording where the multitrack session has long since disappeared), there are also educational applications such as isolating a vocal or a bassline in order to learn how to sing/play it more accurately. While you get some control over the process, Unmix Stems makes a complex task very straightforward for the user.The ability to isolate, remove or adjust the relative level of elements within a mix - and in particular the vocals - is a highly sought‑after feature. This is undoubtedly the headline addition of this release and likely to bring SLP7 to the attention of a whole new audience. With a couple of clicks of the mouse, SLP7 will attempt to unmix your stereo mix, dividing it into up to five new layers that you can then rebalance, edit, process or export as you see fit.

There is no clearer example of this new AI‑powered automated processing than the new Unmix Stems function.

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If you need a refresher on SpectraLayer’s established feature set, then feel free to dip into the SOS archives. Since there is plenty of new ground to cover, I’ll focus on that here. AI‑based processes now sit alongside the well‑established manual editing tools.

The vast majority of the new developments are underpinned by one very significant introduction into SLP7’s code: artificial intelligence.

However, with this release, Steinberg are attempting to transform spectral editing into a tool everyone could utilise. The headline new features all point to v7 being something of a major breakthrough in terms of ease‑of‑use.Īs described in previous SOS reviews of SLP, for those that need to dig in, all those powerful manual editing options remain in SLP7 and have been further improved, in many cases. SOS reviewed SpectraLayers Pro 6 in the December 2019 issue but Steinberg are now back with SpectraLayers Pro 7 (SLP7). SpectaLayers has been a big part of this, from its inception under Sony in 2012, a transition to MAGIX and, eventually, into the well‑respected hands of Steinberg, who acquired the product in 2019. Over recent years, spectral editing has proven itself as a powerful, albeit somewhat specialised, tool for tasks such as audio restoration, creative sound design, vocal/instrument isolation and forensic audio analysis. Steinberg’s clever use of AI has made spectral editing and unmixing more accessible than ever.