This task can be performed within the standalone version of SLP8 but, for anyone working in a compatible DAW such as Nuendo or Cubase, it’s likely to be more efficient to use SLP8 as an ARA2 plug‑in. SLP8’s new Ambience Match feature makes this incredibly simple to do, allowing you to capture the background noise from one audio recording and then apply it evenly across any other audio, including the pristine, studio‑recorded dialogue replacement. Adding some of the background/ambient noise from the original on‑set audio is generally required. ADR is commonly used when the dialogue recorded on set is not of sufficient quality, but it can be problematic to make the studio‑based replacement dialogue sound like it was recorded in the same environment as the on‑screen action. The most obvious application for Ambience Match would be within the film/TV ADR process. The Big MatchĪmongst the new additions, perhaps two of the most eye‑catching are the new ‘second generation AI'‑fuelled Ambience Match and EQ Match features.

In this review, I’ll focus on the key additions and improvements that the latest release delivers. Existing users can be reassured that all the established functionality remains and, for those unfamiliar with the product (or spectral editing in general), you can dip into the SOS archives for a comprehensive catch‑up. However, less than 12 months on from the v7 release, Steinberg are back with SpectraLayers Pro 8. Steinberg acquired SpectraLayers in 2019, and SOS have covered both the Pro 6 (December 2019) and Pro 7 (February 2021) releases since then. Steinberg are on a mission with SpectraLayers.

Steinberg spectralayers pro 7