You don't get direct control over where each annotation ends up, but activating the Lock button on a Layer makes it 'immune' to the process, so by locking four Layers at most, you can combine specific pairs of Layers.

When you next click the Split button, all 'annotation' regions are moved to what the AI determines are the next closest-matching Layers, and replaced in their originating Layers with silence. When it's 'on', double-clicking a Layer creates a green overlay that can be freely resized to encompass the region within the Layer that you want to move. Moving sounds between Layers (to combine the aforementioned kick and hi-hats, perhaps, or thin out an overly hectic Layer) is done using the Annotation tool, which is activated by clicking the eraser button. The Activity and Layer sliders both require application via the Split button - calculating Layers is an offline process. The Activity slider is meant to help with this, tailoring the algorithm to three levels of busyness, but we didn't find it particularly effective.įor more complex samples, the number of Layers can be increased to five or six, giving the AI more separation room. This is mostly to the detriment of the kick drum, which more often than not ends up largely on its own Layer, but with the 'click' of the transient orphaned in the snare or hi-hat Layer. What actually ends up in each Layer depends to a great extent on the sample itself: ideally, each one will contain a single component of the drum kit, but with all but the most cleanly mixed loops, you invariably end up with a certain amount of crossover between them.

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