On rare occasion where there's a massive pop, I might do some trickery with inverting the pop in one channel, or copying and mix-pasting the other channel's audio in, just to get the waveform closer to correct, and then auto-heal that. You can also draw a box in the spectrogram to confine your edits to just a certain frequency range, which is useful if the usual methods can't quite nail a low-frequency pop without killing the higher frequencies too. It helps a bit to have the data preferences set to crossfade all edits by 1 or 2 ms. Alternatively you can select the general area of the click and use the declick filter with moderate settings and it will only zap the click, as long as it's not crossing over a transient (beginning of a percussion hit) or is in the middle of horns or dense sawtooth harmonics. In Adobe Audition you can just select the affected samples and use the auto-heal function and it will usually draw the waveform exactly as it should be. The clicks and pops show up as vertical lines. You didn't mention if you were using it, but spectral / spectrogram view instead of looking at the waveform often makes this much easier. You know the drill, play a section over and over blowing up the view until you think you see the pop Let me know if this makes any sense and is helpful, or needs further clarification. I know that there are a lot of people here who are into remastering and cleaning up their vinyl (or CD's cuz they have pops and clicks as well) and we learn through trial and error. The trick is to find the right magnification ratio for the program that you use to help you "see" the glitch while playing the file within a reasonable amount of your viewing area. I think that Audacity has the pencil function and it should work there as well for those who don't have a professional music studio program. Maybe some of you are already doing this, but if not give it a try. Its quick and efficient and ends this trial and error approach. I now never lose my place now and find even the tiniest bit of crackle easily without the sound from the other channel interfering in the search. Once I have blown it up enough to find it and fix it, I reduce the magnification back to 1:128, move the start marker back to the left and play on to see if I got it and to continue on from there. So as I play, the mouse cursor is sitting all the way back at either the top or bottom of the track depending on which channel I'm working on and click the mouse as soon as I hear the pop and create a new line to restart from and begin narrowing it down. I found that the ratio of 1:128 was the perfect size (working in 16bit 48khz). With SF 8.0, its a little box in the lower right hand corner where the + / - buttons are. Any program that will let you do this has a box that shows the magnification ratio. There is also the problem of trying to figure out just how big you can make the image and still have enough space to back up and isolate the little bugger and consistently stop and start predictably. There is no interference from sound on the other channel making it immediately easier to hear. Play one side at a time, all the way through. As I was really getting mad with this track it just hit me like a ton of bricks. Many times you play one channel looking for it because you're not sure which side of the track its on, too. You know the drill, play a section over and over blowing up the view until you think you see the pop when the marker plays through it and then blow it up some more until you find it. But as soon as I found one, I found another and another. I kept getting them sooner or later by trial and error, like I have always done. Found the big stuff easily, but I kept playing it over and over again trying to find the little ones, the ones that sometimes you hear them and sometimes you don't. I imagine that this will work in any program that has a pencil function for wav editing. I use Sound Forge 8.0 for ripping and manually drawing out the pops and what not with the pencil function to avoid using blanket programs that may do global harm to an entire song. The underlying sound was great, but it had lots of pops and crackle, and I was determined to clean it up come hell or high water. This past weekend, I put in about 20 hours over 4 days trying to clean up a pretty beat up rip of The Underture from my 1969 copy of Tommy that I bought new as a kid in high school. I've been remastering music for nearly ten years now, starting with CD's and in the past year or so finally going through my vinyl, ripping it and cleaning it up as best as possible with a vengeance.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |