Because the editor views these elements as discrete entities rather than merged data, the user can simply reach into the sound space, select the "squeak" particles, and delete them. The surrounding audio data—the piano—remains untouched, mathematically calculating the spectral hole and filling it with the logic of the surrounding harmonics. It is no longer editing; it is audio excision.
Early adopters report a steep learning curve. "It requires you to think in probabilities, not certainties," says mixing engineer Linda Ross. "For a jazz record, I don't need quantum entanglement. I just need a fader." sound space quantum editor