The vast majority of audio editing and processing is performed in the time domain: we specify a time range and then apply edits or processes to the audio that falls within it. There are tasks, though, that demand we work in the frequency domain too – that is, working with specific time and frequency ranges. This is where spectral editors come to the fore.
Spectral editors are especially adept at removing pops and clicks, filtering noise and eliminating hums. They also empower sound designers with the ability to sculpt and paint sound with a palette of transients, harmonics and noise. These abilities cemented spectral editing as an invaluable tool for TV and film post production. More recently, advancements in AI technology have seen growing spectral editor use amongst music producers too.
