It helps to take a little of the quality out of the studio microphone recording by dropping off the low end below 60 Hz and reducing the high end above 3.5 kHz. When you have one side of an interview recorded through the phone and the other side on a clean studio microphone, the result can be jarring to the ear. Use less EQ in the closer frequencies and be more aggressive in the higher frequencies. Use an EQ to remove frequencies above 7 kHz. Thankfully, this also moves it away from the voice spectrum so that you can remove it without too much distortion to the original signal. The high frequency gives it the annoying high pitch. Some of these filters, such as BIAS's SoundSoap, have filtering code to handle these power leakage problems specifically. ![]() To eliminate the noise from signals you already have, try a parametric EQ with a notch filter at 50 or 60 Hz.Īnother option is a tunable noise filter. It's worth finding and removing the source of this signal. Low-frequency hum at around 50 Hz or 60 Hz is caused by ground loops coming from your power source. In addition, you can add some reverb to make him sound as if he is in the corner of the room. He won't be close enough to a mic to get the proximity effect, so you should cut the low end of the frequency range that would be there if he were up close. Make Someone Sound Far AwayĪ person who is far away will sound faint, so reduce his levels. ![]() Then use a gain envelope to boost the signal to the level of the rest of the podcast. Try boosting the signal in ranges between 5 kHz and 7 kHz with an EQ to boost up the clarity of the voice. If a person moves his mouth away from the central axis of the microphone, his voice will drop and become muffled. So, use a Change Tempo filter to speed up or slow down the pacing, and then take some of the clear recording at the beginning of the file or in between the words and randomly add or remove small segments from the spaces between the words. His cadence was so peculiar that imitators don't even go after the voicethey just tweak their cadence. That will take her out of her normal pitch range. I recommend first doing a pitch change to drop the person's voice by several whole notes. If you want to preserve someone's anonymity, you can layer a series of effects on their voice to give them a completely different sound without it becoming too distracting. This will make use of the proximity effect, and the microphone will pick up more of the natural depth of the voice. If you have the chance to do a retake on the sound, have the person move much closer to the microphone. You don't want to hear the delayed signal, you just want to double the existing sound to phatten it out a little. Set the reverb to a small room and set the wet/dry mix very low. A slight reverb helps, though you will want to dial this in to make sure you aren't adding so much that the sound feels over-processed. Starting with a good clean signal, you can add some depth by using an EQ to boost the mid and low ranges from about 1.5 kHz down. The ideal solution is to resample the sound with a windscreen and a filter on the microphone to take out wind noise. You should aim to reduce it to an unobtrusive background level and go from calling it noise to calling it ambience instead. However, it's unlikely you will be able to remove the noise entirely. You can use a low-pass filter or EQ to attenuate this effect. ![]() Wind noise creates a loud rumbling that is below the 100 Hz level in recordings. You can use these as a starting point on the way to finding your own solution. In audio you always have many ways to do a single thing. I've rounded up some solutions to common audio problems. Advice from the experts on how to fix common problems in recorded sounds.
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