Are you referring to unmaking audio? I use Steinberg’s SpectrraLayers Pro as I am a Cubase user and whatever the last installation of it becomes resident as an extension but it does run standalone. I use it for things like audio repair and manipulation.

I think the other ‘big name’ in the field would be the RX10

None of them are perfect and it can be quite tricky to isolate to a forensic depth but I also know that SpectraLayers has better tool customisation and thresholds and also better layer management.

I suppose, like most audio things, people will tell you that the one they use os best so I wouldn’t;t just take my word for it.

I rarely use a de-esser on vocals. Rather I actually manage the types of noises they reduce manually on the waveform. It’s easy to recognise things like ‘sss’ and ‘fff’ by their noise look and then they can be dropped by as much as 4db using a trim function.

Sure, it can be slow and it means sectioning but it’s just a better option for me as a de-esser can treat some of the noise well and make others sound like a lisp. They’re a. bit all or nothing.

If I do apply a de-essing it’s the Cubase stock one and it’s always a gentle application and always after the first compression.

Yeah, I guess that’s a useful ,thing to have. It seems that not many people even use a reference track these days for their mix. I do still use them and when I’m mixing for other people ask them if they have one… just to get an idea of what they’re looking for. If Ozone works, it has to be a good thing. I just don’t trust it, to be honest.

AI can definitely ‘see’ things I can’t in a spectral layer. It’s not perfect, none of them are but mopping up after them is getting easier as they improve. I just know theres going to be a day that I can’t distinguish between a human tune and an AI one and find that terrifying.

Thankfully, neither you nor I are making that kind of modern ‘homogemastered’ mainstream stuff.

The faucet (tap… I’m English) analogy is perfect and yeah… there are so many of us making music now that the arena is literally stuffed… maybe AI generated has a place…? I dunno. Not for me… yet.

I don’t work in a typical or mainstream genre either. My own mixing methods are unorthodox and I generally master ‘un-loud’ so things like Ozone wouldn’t help me anyway. Guides to me are still reference tracks but yes, I see them as helping a great deal in some production for some people.

I think that’s probably the best use of it… as some kind of guide.