CAM13: Retouch 7™

Eliminating unwanted sounds and much, much more

CEDAR Retouch 7

The Problem

Until the appearance of CEDAR's patented Retouch™ process (which introduced spectral editing to the world) audio restoration systems were limited as to the types of noises that they could remove: clicks and scratches, crackle and buzz, pops and thumps. There was nothing that allowed you to identify and manipulate individual sounds.

The solution

When it was introduced, Retouch was a huge leap forward in sound processing technology. Unlike conventional restoration tools, it provided a wide range of time/frequency editing (TFE™) capabilities, and allowed you to define the temporal and spectral content of the sound you wanted to remove. Nowadays, of course, you're not limited to rectangular definitions of complex sounds, and Retouch allows you to mark complex areas in its spectrogram using the types of tools commonly found in powerful photographic and image manipulation software. This makes it possible to identify all manner of sounds and noises which can then be manipulated using any of the seven processing modes at your disposal:

In Retouch 7, these have now been joined by two new, powerful modes...

Cleanse

In the past, it was difficult to isolate sounds such as wanted speech in the presence of strong, but relatively short-lived background noises such as gusts of wind blowing across a microphone. Today, Cleanse will separate the wanted signal from the unwanted and allow you to suppress the noise at the touch of a button. This is a powerful new process (patent applied for) that achieves results never before obtained.

Revert

Revert allows you to define any part of the spectrogram and return it to its original, unprocessed form. Much more powerful than stepping backward and forward through a list of actions, this allows you to reinitialise any part of the audio no matter where it came in the process history, thus leaving later work untouched. You don't even have to Revert whole Retouch operations. If you like the result of a single process at, say, the end of a note, but feel that you could do better at the start of the note, you can reinitialise and reprocess this section of the audio no matter how many Retouches you have performed elsewhere since then. It's so quick and so powerful that you'll wonder how you ever worked without it.

With its enhanced capabilities, Retouch 7 stands alone as the spectral editor of choice for mastering studios, mix suites, post houses, forensic laboratories, and anyone else who needs to be able to identify, isolate and manipulate individual sounds within an audio file..

When all else fails... Retouch 7 gives you complete control.

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