This gets rid of all of the 'static and pops' at the fade in. I will start the track with a high setting (like 60) and start processing. I change the threshold setting as I go through the track so that I don't get a huge number of 'false' detections, but still eliminate all of the clicks and pops that are audible. Then you can accept the repair it suggests, or if you think it is a music transient, you can ignore it (not apply the change). I set it to run in a semi-automatic mode where it stops on each place it identifies a click or pop. I generally run from a setting of 10 - 15 for passages with a lot of music transients to as high as 50 or 60. Louder, more dynamic passages require a different setting than quiet passages. In fact, I change mine throughout the song to get the best setting. But the setting will be different from one album to the next and even one song to the next. Set it to listen to just the noise, and if you can hear anything that sounds like the beat of the music, then you are affecting the music transients, and you need to lower the threshold. The best method is (like pointed out above), to run it in a manual or semi-automatic mode, where click repair suggests a repair, but you decide on a case by case basis if the repair is actually a click or pop or if it is a music transient.īut if you prefer a more automatic (set it and go) method, then you need to do a bit of experimentation. I can't see that leaving it sounding 'bright'. The danger is that it might misidentify some music transients (such as percussion) as noise clicks or pops and affect them. I don't see how click repair can affect the bass.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |