How to remove backgrounds in a microphone. Where does the noise in the recording come from? Adjust Skype settings.

The more often the comment sounds, the easier it will be. According to Problen, he helps against slogans. Perhaps you've already prepared text or keywords, or you want to accompany your photos with free audio commentary. It's nice to hear audio commentary at least once. If micro is already included with the sample, you can also listen to the test recording. The sample gives you more security, you know where the stumbling blocks are and pay attention better.

If you touch the microphone or cables while recording, it may also cause noise. Make sure your microphone is snug enough on your lips without touching it while recording. A microphone holder or even a stack of books can help. There's a pop car in front of the mic.

In flat sounds, air is pressed faster through our lips. The microphone acts like a violent storm, and very loud noise is generated. For example, a foam cover that protects the microphone from strong air currents. For some microphones this case is included.

You can also create or buy a separate pop protection. Avoid noise while recording. When it is fairly quiet, we record the sound in a room where there are no disturbing sounds - with the window closed and without putting in technical devices. Good location - closet. In the car, you can also easily record sound. Admittedly, you may prefer to sit at your computer. But what if he's racing through a loud fan? As mentioned above, it is important to find the right level. However, there are many other factors that can lead to noise or hum.

Based on the recorder itself, cables, connectors, and audio input may be causing problems. sound card... Here one should act systematically and consider one factor after another. Purchased expensive microphone, interface to the installed software, and he already underway - the recording can be so simple, but the joy is often quickly blurred by unpleasant noise in the recording of the origin, it is often a mystery. We will give you some tips on how to get rid of noise.

Tip 1: eliminate the causes

To get a proper audio recording, you must first consider what equipment and budget are appropriate. Expensive microphones are often bought, the signal of which is sent to the audio interface with moderate quality. The result is usually disappointing and disappointing. There is no clear response to eliminate noise as various factors are involved.

However, this is the wrong way to deal with noise along the way. Invest your energy in researching the causes to figure out where the noise in the signal path comes from. This also applies to devices that are often not viewed as the cause of external hard drives. To mute the speaker volume, you will hear sound from the headphone output.

Do not underestimate the role of the cables used, even here you cannot save on the wrong end! Make sure cables are shielded and only when necessary. All devices must be connected to the same outlet. The best results are achieved with a high quality condenser microphone and a sensible audio interface that are of a quality standard. The best mic sounds as good as the connected interface.

We recommend a condenser microphone due to its very low noise level of only 5 dB and its very good quality a sound that is unmatched in this price class. The microphone comes complete with pop shielding and a spider mic, which we highly recommend for high quality recording.

Tip 3: sum makes music

Recording is only as low-noise as the fastest element in the signal path. Don't focus on the component, the amount makes up the music. If the hardware setup has been verified, the volume must be set correctly. Since the time of analog recording, this principle is still known as loudly as possible to record, which in short is synonymous with similar media. This is no longer suitable in the digital age.

Tip 4: as quietly and louder as possible when needed

A very good value for vocal recordings is to record it at a maximum level of -10 dB. High levels input signal unnecessarily amplify the microphone's own noise. Take advantage of 24-bit quality and use your hardware that gives you plenty of space.

Tip 5: create a compact recording location

Do not emphasize the difference in sound between an environment that is optimized for recording and any that is not suitable. Of course, the chosen room should be as quiet as possible, with very few surfaces that reflect sound well. For example useful or hanging windows. Create a compact recording space without sources of interference such as power supplies, pipe monitors, and ambient noise.

It offers you an uncomplicated solution that can be installed and removed quickly. Just sit with a microphone under your vocal recording mat and compare this recording to one in your regular recording environment to make a difference. If you use these instruments, you should be aware that the audible parts of the sound mix disappear or deteriorate, and the natural character can be tampered with.

Use noise reduction software very carefully and with the help of know-how, adjustments without specific knowledge often make more disturbances than you help. If you are struggling with noise, you can start the problem step by step, starting with the components, connecting to the recording environment, controlling the level before controlling the noise with plugins. Developed root control is definitely worth the more noise with plugins and filters to combat and achieve better quality results.

Choose your equipment wisely — the sound quality of your recording sounds as good as the worst component in the signal path. The maximum level is -10 dB at 24-bit quality. Put in the effort and optimize your recording environment if possible. Learn how you can use plugins like squelch.

All of these factors are added together in the recording, according to which no one wanted to be neglected if professional recording was required for them. Virtually every mixing and mastering engineer had to work on audio material in their career that was garnished with unsightly crackers or other nasty noises. The main task is to carefully study the supplied audio material for errors and, if necessary, correct them.

Most interference has the unpleasant property of constantly pulling through individual tracks or entire songs and thereby constantly changing the ear to negative. This applies, for example, to low-frequency mains rumbling, high-frequency hiss of lamps, or relatively loud noise in unsuccessful recordings.

Their amplitude is often so high that they superimpose the wanted signal for several milliseconds. Both phenomena can be clearly seen in the waveform representation of the affected track. Since each processing of audio material can lead to further errors, it is important to weigh the troubleshooting carefully. Generally, short-term impulses are less noticeable than permanent noise mats. Many sounds can be clearly heard in solo mode, but they are completely lost in interaction with other tracks in the project.

In such a case, processing can lead to unnecessary and time consuming use. In other words, if they are of no use to the song or instrument. In this case, the compressor or limiter used will react much more strongly during the pulses than before or after.

The possible triggers for temporary interference pulses are manifold. Natural disturbances include, for example, the scythe and tongues of a singer, or scraps recorded too loudly in wind instruments. It is often recommended to reduce this noise level. Even during firing and synchronization processes or during mixing, sources of errors can be recorded in the audio material that was still played through the computer's hanger. Progressive technologies are becoming more stable - mistakes of this kind are rare.

However, you should always listen critically at different stages of your production and check if everything sounds the way it should. Even in the analogue environment, sources of error penetrate: for example, through oxidized device connections, defective cable connections or damaged or dirty analogue data carriers.

Chronic human noises. Inattentive editing work can also lead to unsightly noise. These errors are manual and cannot be read from the original form of the edited track if it is not recalculated. To minimize the risk of errors in the digital and analog domain, please note the following.

They all have advantages and disadvantages - their suitability mainly depends on whether you are dealing with a language, an instrument, or a whole mix. It is also important where exactly the noise occurs. You can then access the EQ and automate it so that it can temporarily remove a narrow range of problematic frequencies. Also, the use of a compressor or limiter can help regulate the appearance of a peak in perception.

After noise reduction, plugins should be disabled again by automation. Each manufacturer uses its own method, which is usually based on physical principles. Often the steep return signals from the plug-ins are routed to the virtual one, and the original signal is phase-inverted again so that the antiphase noise pulses cancel each other out.

The dangers of using plugins like this are also to draw in a useful signal of compassion. These types of plugins give good results when glitches significantly overload the signal. Typically, plugins cannot replace manual intervention.

Rather, they are an urgent solution for quick results. The scissor tool is especially suitable for solving problematic interference. When working with scissors, it is important that it is cut with the zero strokes of the waveform. If desired, after that, you can set the attenuation on the useful signal so that no new cracks appear.