8

To reflect on your first question, Randy is referring to a psychoacoustic principle that falls under something called "scene analysis." I don't know that he's necessarily read a ton on psychoacoustics...but whether or not he has, the different effects are something that you begin to pick up on after a certain amount of experience. Basically, what's going on ...


7

It really depends. Sometimes you need a global volume boost because the audio is too low anyway to correctly listen to the noise reduction you're applying. Sometimes there's a 50 or 60Hz rumble or any other fixed unwanted frequency that you could remove before denoising... But generally speaking "the sooner the better". And before any processing other than ...


6

The first is that he said that one of his huge trade secrets in sound design are sounds that continually change in pitch just slightly. This way, they clash less with music and dialog and can be heard better through the mix because they're constantly changing. This makes a tone of sense and is genious. The question is...what would you use to do that? I ...


5

The ReaFir plugin that comes with Reaper is pretty excellent. And you don't HAVE to have Reaper to use it, because you can download all of their VST plugins free. ReaPlugs Download Insert the plugin Change to "Subtract" mode Select a range of audio that you can profile the noise to be removed and enable "Repeat" (so that it loops over the noise over and ...


5

Are you mixing the project as well? If not, you should consult the mixer first before you denoise anything, as that is traditionally the mixer's responsibility, and chances are they have their own specific ways they go about it. The lines are getting blurry, though. My personal workflow is as follows: 1) Do all dialogue editing without any denoising. 2) ...


5

I can see two reasons why you'd use a gate while recording instead of in editing : 1. You're broadcasting live. 2. You're using outboard equipment. A gate should, generally, be first in your audio chain but in your case you might want to put it after your noise reduction. You never want to put it after the compressor! If you do it in editing you have ...


4

I usually have my Dial editors only do very basic level adjustments. Basically lower any really loud pfx or a line that is dramatically out of sorts with the rest of the scene. With noise reduction, I never want my editor to do any broadband NR or notch filtering. You can get into a lot of unnecessary processing that might not be needed once everything ...


4

It depends on the agreements made between the dialogue editor/supervisor and the sound supervisor. Mixers could prefer to not have volume automation, but this differs. Why do you ask? Are you editing dialogue? Or are you mixing the movie? Recommended reading: Dialogue-Editing-Motion-Pictures


4

In addition these spectral characteristics for clicks/pops, in your audio, localize some of your pop/crackle sounds by ear and scrub over them in the timeline, while looking at the spectrogram. You'll soon be able to pick out the anomalies visually. You may also need to tweak your "spectrogram" view settings to show these artifacts more clearly.


3

Try a parametric EQ, or a band-reject filter (essentially the same thing). Setup your audio so that you can loop the section with the problem sound. In your EQ or filter, adjust the controls so that your band is narrow and deep. That is, a small range of frequency is impacted, but that band is almost entirely attenuated. slowly sweep the filter from low ...


3

Yes I made an lv2 plugin to be used with linux daws it's called noise-repellent https://github.com/lucianodato/noise-repellent


3

What is your use case scenario? Field recordings or vocals? You can if you have the advanced version of 2 or 3. You could also use the 'envelope' function to create a frequency curve that allows you to attenuate noise in a specific frequency range. Highly useful function especially with complex material (with loud low or midrange sounds), because it makes '...


3

Adobe Audition has this feature: http://help.adobe.com/en_US/audition/cs/using/WS58a04a822e3e5010548241038980c2c5-7f30.html Excerpt: The Noise Reduction/Restoration > Noise Reduction effect dramatically reduces background and broadband noise with a minimal reduction in signal quality. This effect can remove a combination of noise, including tape hiss, ...


3

It does depend but most will apply it early in the chain especially if it's an offline process like Izotope Denoiser. It's much easier for the software to work if the noise floor isn't moving around and being compressed, expanded, clip gained, volume automation etc.


3

Welcome to SD. I think you might be placing too much importance on what this can do for you. Looking at what you have there, a lot of the noise floor is just broadband noise, I assume that came from the transfer medium. Clicks will show up as vertical lines when zoomed in, but pops and crackles are less easy to spot - especially amongst all that noise. I ...


3

Use RX 5 Audio Editor. You will probably get better results than with Audacity. RX 5 allows you to recover certain parts that are missing. Many quality presets are provided and you'll also find exhaustive documentation on the net.


3

'Sensitivity' is a measure of 'how much electric it puts out for a given level of sonic input' It has nothing whatsoever to do with its ability to separate wanted from unwanted sound. Microphones cannot do that, they have no brain, only ears. Some are designed to pick up everything around them, known as an omni pickup pattern - i.e. it hears equally ...


3

There are automated algorithms like those you tried in iMovie, the ones in Audacity might be worth a try but if you want better results you should individually edit phrases. Software like izotope RX can help in the restoration process.


3

It really depends on the material; are these sounds that you want to remove truly peaking at a lower level than every bit of the speech? How about in loudness or 'energy'? You need to look into the kind of sounds you want to remove and see how they differ from the ones you want to keep. This is key to being able to separate them. Are they of a shorter ...


3

Firstly, do any and all processing in WAV files. If your source material is on CD, then rip to 44.1kHz/16bit WAV and process at 24-bit in your software. Do not transcode via mp3. Tracks like 104b should be discarded. There is nothing you can do with files like this. The studio has not done their job properly. They have recorded the transfer with input ...


2

-> Wait till winter haha! As a sound recordist, you need to plan your records over the year. You can't expect to go out in summer to make some snow records (here in switzerland you can, you have to go up to 4000 meter) or also you can't expect to got to a air show, record some great air-plane loopings without having all the stupid crowd and PA's on it. I ...


2

If you're the one doing the predubs/mix, check this out: http://www.stavrosound.com/blog/wordpress/2011/07/dialogue-clean-out-the-noise/ THis is effectively what a dub stage will do (with either C4, Dolby CAT 43, CEDAR, etc), only using something like RX or X-Noise on isolated individual basis Routing is a must in my opinion, all DX edit tracks (EQ, trims,...


2

Several things a dialog editor can and should do with level automation... smooth out transitions between handles on different takes keep dialog levels roughly consistent between takes reduce loud momentary sounds gently reduce annoyingly loud constant background sounds around dialog, but not during it I don't discourage editors from using something like ...


2

I realize this comes a bit late, but what the heck.... I've run into this same phenomenon. What's happening is a natural result of using the Denoiser audio plug-in in Adobe Premiere. Unfortunately, it takes about 4 seconds for Premiere to "learn" the noise print of a clip. That is why you're hearing about 4 seconds of static and unwanted background noise ...


2

Have you considered investing in a power conditioner? They are used in most studios and also live venues. It's basically like a rack mounted power bar, but it does so much more than just basic surge protection. Looking at the Furman PL-8C, it offers noise filtration for delivering cleaner power, and also isolated banks which reduces inter-component ...


2

Some things to consider: Try some audio dynamic range compression - typically just called a 'compressor' plugin, but this is different from data compression. Since the voice is much louder than the hammering (I had to play it a few times to hear it), you might be able to set the knee somewhere between the level of the hammer and the voice and amp up the ...


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