Noise Reduction is the Studio Operators best friend when it comes to location sound and some of the “not so great” home studio recordings. And for the Voice Over artist on the road, it can save your butt when it comes to a noisy Hotel room that you just can’t save with even the most complex “Fortress”.
In this episode, we put the Waves arsenal of Noise Reduction up against the legendary RX 7 suite from Izotope, and the new player in the market Brusfri. The results are surprising, and at the end Robbo, Robert, George and AP give their thoughts on the best bang for your Noise Reduction dollar.
Don’t forget to like our facebook page and if you have a question of your own you’d like us to answer, post it there and we will answer it as best we can.
You’ll also find us on the web at theproaudiosuite.com
The Pro Audio Suite Podcast copyright George Whittam, Andrew Peters, Robert Marshall & Darren Robertson.
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this is a test of the emergency
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broadcast system of high tech for sound
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[Music]
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let’s go
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[Music]
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this is the pro audio suite a program
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all about audio and voiceover our panel
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consists of George the tech wisdom from
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LA Robert Marshall of someone audio post
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Chicago and source connects Darin rubber
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robertson of voodoo sound sydney and
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myself
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Andrew Peters voiceover talent based
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just out of Melbourne Australia don’t
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forget to check out all episodes on our
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website that’s the pro audio suite calm
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now let’s get on with the show
00:48
welcome to another Pro audio suite this
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is the long awaited noise reduction
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shoot-off or whatever we gonna call it
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I’ll tell you what I want to be good
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because we’ve been promising it for a
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while now
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sorry to disappoint absolutely yes
01:07
that’s right that should be the name of
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our show if you wish change the name of
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the show to that sorry to disappoint but
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you guys this is where I’m out really
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cuz I’ve done you just learn how to use
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mouth de click with rx-7 so I’m well and
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truly out of this equation but you guys
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have been fiddling around with files and
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using different noise reduction bits and
01:30
pieces and you can give us some samples
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of how they work and how they probably
01:34
don’t work as well as you would hope
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they will work yeah so I was gonna kick
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off first well let me throw the
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background up what I did was I recorded
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three audio files for us to use here in
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my studio for one of them I opened the
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window and I ran just a fan in the
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background just to you know Fanny turn
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on during summer not a computer fan or
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anything like that and and then I did
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another one where I just grabbed the
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room tone sound effect and sort of mixed
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that in at a level way you would sort of
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expect to find it sometimes if there’s
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been a sort of noisy room that someone’s
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been doing a location recording and then
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on the last one I did the same thing but
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instead of a room tome I grabbed a truck
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passing by and whacked a filter on it to
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make it sound like it was outside the
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room without mucking around too much
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fairly simple one and thought that would
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give us a wide variety of background
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noise in a voiceover to play with to
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send them off to to the lads and we’ve
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all been playing with them what have we
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got first well where shall we start
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Robert do you want to do you want to go
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first sure I can tell you what I did
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yeah yeah I didn’t really prepare this
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as like a presentation so okay well
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that’s cool well let’s have a look what
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have you got yeah there’s so the three I
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would say that like some things I guess
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were interesting to me first of all I
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being a waves user
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I used Z noise and I used also some
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other I use the c4 for some other things
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and I used their wns and I so I gave
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examples of all these things and also
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the like the 43 which is like a simpler
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noise reduction thing and I except for
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the truck which I didn’t bother with any
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of those things cuz like nothing applied
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well as far as like trying to track
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moving the changing sound as far as the
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tools that I had from waves so the fan I
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thought was pretty easy and actually
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probably if I was to go at that one in a
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situation I probably would just use my
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simple gait maybe I’m not sure let’s
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have a listen to the fan before
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processing so this was the original farm
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you’re listening to the pro audio suite
03:52
podcast
03:54
who is that voiceover Wow Wow amazing
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yeah alright so then so the expander
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would be just a really simple one the
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simple expander or not even the
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multiband and and that’s just the Pro
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Tools generic expander that I use there
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I found the expander to be really useful
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because it doesn’t mess like once it’s
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opened it’s not messing with the sound
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you know it doesn’t all the other ones
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are like too active sometimes so if the
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sound is really complex it’s good I’m
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not saying they’re not useful but
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sometimes that this sound is quite
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enough a gate can just get rid of it
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alright well here we go he’s George and
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his expander Robert Nizza expander sorry
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you’re listening to the pro audio suite
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podcast
04:38
alright so that’s that one so then I so
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then I did a multiband expander which
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this one didn’t really warrant but I did
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it anyways just because sometimes I find
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that very useful for getting rid of
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certain sounds and certain the frequency
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bands but we have to worry about what
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the multiband approaches that you’re
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starting to shift the whole thing as far
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as the EQ goes it’s changing but go
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ahead and hit that one now the multiband
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expander
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you’re listening to the pro audio suite
05:05
podcast first one so far okay cool so so
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funny enough that one was like like
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there’s a lot of like rebuilding of the
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low end for example or things like that
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and trying to make sure that high end
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didn’t start getting too se with the
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expansion of it then the last one is the
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Z noise did I do any others besides
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you’ve got W and s and z noise yeah okay
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so so do the W NS and the w NS is just
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sort of a four or six slider
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it just went badly similar to what I do
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with the c4 you’re listening to the pro
05:40
audio suite podcast and then the forty
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or the 43 doesn’t exist so oh and then
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the last one is the Z noise so this is
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the classic take a fingerprint of the
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noise it works best with something
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that’s very static and then you know
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take a just remove the fingerprint you
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get your threshold and your amount to
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reduce by so there it is that’s Z noise
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you’re listening to the pro audio suite
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podcast oh yeah that sounds like a
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denoise err you hear that you hear that
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mp3 thing going in there right yeah yeah
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it doesn’t that sounds like Adobe it
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sounds like audacity absolutely yeah and
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like even though maybe it got rid of
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some noise that’s in between the words
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made a little bit better but it just it
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puts that grainy thing in there god
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cyborg II mmm robotics hmm so George you
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were on Bruce fries that all right
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yeah I think they call it Bruce free
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nursery exactly but being Swedish or
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whatever but yeah I tried out they’re
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new to me noise reduction plugin it’s so
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think it’s maybe you’ve been around a
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little bit but it’s the only one I know
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of that exists for iOS on the iPad and
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the iPhone which can be pretty cool
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obviously to use you know for remote
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recordings when you’re out in the field
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having a bang out a job but this one’s
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kind of interesting one where it
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combines a multiband gating and multiple
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gates but it does it all very much
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behind the scenes so it takes a
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fingerprint of the sound kind of like Z
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noise and then you then so basically it
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learns the noise
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and then you let it filter the noise
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afterward and then you can fine-tune
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certain aspects of it like a high-pass
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filter a high-end boost the attack the
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ratio of the noise to the you know it
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has like seven or eight controls that
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you can fine-tune so this is my best
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shot at using Bruce free with the room
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tone you’re listening to the pro audio
07:41
suite podcast not bad result no not bad
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at all
07:44
it’s pretty transparent I thought like
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it doesn’t make those it doesn’t make
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the artifacts that you get with the Z
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noise and the D noise or audacity
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iZotope type tools where it can get a
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little bit metallic or artificial
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sounding if you use a little bit too
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much you can get pretty heavy-handed
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booth Bruce free and it may change the
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EQ balance a little bit maybe it’ll thin
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it out or but it never seems to really
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destroy it too much okay it just hits it
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like like on the frequency range but it
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doesn’t hit it on that sort of like cold
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kilter II way that that the other ones
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that the you know the ones that take
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such an exact fingerprint of the noise
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right mmm this is what fascinating that
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it’s that it uses the de noise approach
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where you listen to the noise but it’s
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not a denoiser in the sense that it’s
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doing that that subtractive algorithm
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it’s unique well I went with rx-7 and I
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used the D noise plug-in on Pro Tools
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not them not them you Volk old D noise I
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sorry the voice D noise sorry yes boys
08:57
noises got you okay you’re listening to
09:01
the pro audio suite podcast similar saw
09:04
the results of Bruce Pro pretty
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transparent sounding that’s yeah not bad
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at all just hear the noise at the very
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beginning of it on the on the your you
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kind of hear it come down and then but
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the end of it cuts off without you
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hearing the you know the the process
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come down on the silence at the end
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ouch yeah interesting all right so the
09:27
other the next noise we recall or the
09:29
next door is we will talk about then is
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the room noise so basically just a a
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room tone constant rune tome which I
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guess ap would be the enemy of any
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voice-over artist on the road I would
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say definitely the enemy yeah alright
09:42
this could be handy alright so this this
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might be an interesting one then so let
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me just play that as a as it was you’re
09:52
listening to the pro audio suite podcast
09:55
so not completely unreasonable that you
09:57
would get a file like that fairly
09:59
regularly Robert and George I would
10:00
think yeah I can see that happening
10:03
alright so definitely for my shoot you
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know yeah definitely
10:07
alright so he’s uh Robert which one
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would you like to start with night let’s
10:14
just go say it same order so the simple
10:16
the simple gate yep it’s simple expander
10:20
you’re listening to the pro audio suite
10:23
podcast so you can just hear it
10:25
underneath the words even while they’re
10:27
going you know I think it basically gets
10:30
rid of the front in the back completely
10:32
most people aren’t going to notice it
10:34
and I don’t that yeah obviously it
10:36
didn’t touch it spectrally or in any
10:37
other way so but you can’t hear the
10:40
noise underneath those words like I
10:41
assume you guys can too and the because
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if you know about it then you’re hearing
10:46
it but if you don’t know about it your
10:47
brain is like whatever doesn’t doesn’t
10:49
think about it it’s not there and and
10:51
and the rest of it is pristine and it
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doesn’t sound like it doesn’t call
10:55
attention to itself as being like you
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know sometimes the denoise process is a
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noise on you it’s absolutely and also if
11:00
you playing music under it you’ll bury
11:02
it anyway so that’s the other thing
11:03
anyways right so the the multiband was
11:07
the same thing now it’s just sort of
11:09
it’s it’s my expander but just trying to
11:12
hit up each each frequency range
11:14
individually which basically should make
11:16
it wrap around the voice a little bit
11:17
tighter you’re listening to the pro
11:21
audio suite podcast so you can hear I’m
11:24
working a little more Connie I actually
11:25
wasn’t as happy with the multiband
11:27
because it’s because the multi this was
11:29
a fairly broad band
11:32
any kind of the lower range but it was
11:34
fairly broadband so usually the
11:35
multiband approach works for yeah more
11:37
frequency specific stuff so then the
11:41
next one to look at was the the 43 which
11:45
is like basically a simple 4/4 fader
11:48
noise reducer with an overall threshold
11:51
so you set your individual thresholds
11:52
and unlike a global threshold the kind
11:54
of thing you’re listening to the pro
11:57
audio suite podcast very much cleaner
12:01
yeah it’s smoother but there’s
12:03
definitely that noise there you can hear
12:04
it so then the the wns I think was a
12:07
little bit better it has basically more
12:09
bands
12:10
it’s um this is probably like a 6 pan
12:13
multi band you’re listening to the pro
12:17
audio suite podcast so I thought that
12:20
one was pretty good yeah
12:22
yeah I like wns I’ve actually got that
12:25
in there in the arsenal it’s very fast
12:28
that’s why that’s like throw it on there
12:30
you just I I mean the way I do it I
12:32
don’t know how you use it but basically
12:33
I’ll play the noise and it’s almost like
12:36
taking a finger because it shows you a
12:38
spectrum with the noise and then you
12:39
just slide the phasers to meet the same
12:42
shape and then maybe you like put it a
12:44
little bit below it so that it’s not
12:45
like too active but easy your I
12:48
absolutely especially if you’re
12:49
especially if you’re tired and you use a
12:52
tired it’s make you life a bit easier
12:54
yeah it seems to be if anything it’s
12:56
gonna be less harm than some of the
12:59
other approaches like a like the Z noise
13:01
which is the next one I think is it’s
13:03
definitely more intrusive but probably
13:05
the most reduction in noise you’re
13:08
listening to the pro audio suite podcast
13:11
– so that was a little bit better it
13:14
doesn’t get to mp3 sounding there is
13:16
still some oddness I’d yeah I’d
13:18
signature and there in the room tone
13:20
itself it sounds in some colored or
13:23
messed yeah sounds messed yeah that’s a
13:25
good way to put it so George you are on
13:27
the Bruce fry again yep you know the
13:29
drill
13:30
this it’s the beauty of it is the
13:32
simplicity of it I mean this is a door D
13:34
noise or that just about anybody can use
13:37
and not make too much of a mess out of
13:38
it
13:40
you’re listening to the pro audio suite
13:42
podcast it’s pretty impressive pretty
13:45
impressive right I mean dance job or
13:47
what it is George how do you see Bruce
13:50
free working its say for instance you on
13:53
the road doing the voice-over and you’re
13:54
in a hotel do you reckon that would work
13:56
as opposed to building some mega fort or
13:59
using a sort of portable is it is it
14:02
real-time or is it only a file-based
14:03
it’s not real-time you have to you know
14:05
learn and then apply right but but but
14:08
you apply it to a real-time strain like
14:10
a new record to learn and then say do it
14:13
to the bike I don’t believe it’s capable
14:17
of doing that okay I tell you guys so
14:20
the case that Andrew is asking it
14:22
wouldn’t apply as well as long as our
14:24
assuming you’re not on a live connection
14:26
then because you’d you’d need something
14:27
that can do this in real time for your
14:29
it’s not a replacement for a cedar yeah
14:34
DNS or whatever they call it WMS well
14:38
they make a cedar mic preamp that does
14:40
the noise reduction really one little
14:43
box yeah I don’t know it’s like a little
14:45
magic box
14:45
yeah so you know that truly is real time
14:49
it’s like a couple millisecond latency
14:51
right you don’t even know it’s like two
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grand it’s not you know it’s like the
14:58
preamp in it alone is probably like five
15:00
hundred bucks and sure it’s a stereo
15:02
preamp and as you know basically a knob
15:05
that controls the noise you literally
15:07
want more noise turn it right left so
15:09
it’s it’s that’s a pretty cool tool I
15:11
have tried it at trade shows just
15:13
playing around with it but to answer
15:15
your question Andrew it’s not a real
15:17
time streaming plugin it says it’s an
15:20
analyze and then apply type tool so it
15:23
won’t work for that streaming whereas
15:25
something like a cedar ns1 I think is
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what it’s called don’t quote me on that
15:30
but they make a magic little mic preamp
15:31
box you can plug in and actually your
15:34
preamp actually has a denoise are
15:37
built-in and if that’s something you
15:39
find yourself needing well you can go
15:42
buy one I think they’re in the 2000 US
15:45
Dollars ballpark but they are pretty
15:48
amazing Wow that lose it in your luggage
15:51
yeah that’s right
15:53
can you carry on us absolutely kept
15:55
putting a carry on yeah totally Robo
15:58
what’s next okay well I used the rx-7
16:00
again although interestingly this time I
16:03
had the best results using their
16:05
spectral note spectral denoise as
16:07
opposed to the voice d noise so that was
16:10
a kind of interesting result from that
16:12
one that I didn’t record the first one
16:14
and I probably should have but the voice
16:16
d noise just left left some behind for
16:19
some reason it didn’t really didn’t
16:21
really cope too well with maybe the
16:24
harmonics that are in there or something
16:25
on an ogre tongue I’ll play you the
16:27
result that I got using the spectral
16:29
denoise you’re listening to the pro
16:33
audio suite podcast so that was the best
16:36
result I got out rx-7 in that one it’s
16:38
got a little bit of that like mechanical
16:40
thing not nothing I don’t think as much
16:43
as not nearly as much as the waves one
16:45
but it does have that like strident kind
16:47
of teeny bit but it’s clean it’s like
16:49
there’s definitely no noise in it so
16:52
then the final one I thought we’d put us
16:54
all to the test
16:55
I’d put us also the tests and it seems
16:57
that I did because I don’t think anyone
16:58
got a perfect result was the old truck
17:01
going by this studio so um let me just
17:05
grab this is like audio Mythbusters
17:11
you’re listening to the pro audio suite
17:14
podcast
17:15
[Music]
17:16
probably a little louder than you would
17:18
normally get normally get but I thought
17:19
it would put everything to the test
17:21
quite nicely we asked my there’s my high
17:23
school band teachers used to say I’m
17:25
exaggerating but that’s what’s happening
17:26
yeah perfect so George I say Robert
17:32
sorry I’ve got a file here from you
17:34
saying truck bunch of stuff I presume
17:38
you played with a few bits and pieces
17:40
yeah what did I do I’m trying to
17:42
remember now
17:44
I used a gate maybe an expander an EQ
17:50
that I generally kind of swept as it
17:54
moved up but I also went what I found
17:57
worked well is I also just as a cheat
17:59
just sort of widen the bandwidth as well
18:01
as it moved up because I was able to
18:04
lock onto it pretty well at the
18:05
beginning but trying to track it as it
18:07
moved up just was really time-consuming
18:11
everything I did I think so there’s
18:14
there’s no like spectral this or that or
18:16
grab a fingerprint and it was a stall
18:18
like you know tools from the 70s
18:21
basically you’re listening to the pro
18:24
audio suite podcast so you know but AM
18:29
radio but the noise is mostly gone right
18:32
yeah yeah I did
18:34
and I did have a multiband attacking
18:36
that low-end noise that resident noise
18:38
of it and and the EQ kind of sucked the
18:41
like the bass out of the voice I tried
18:44
to shelve it up but it did just put a
18:48
hole in it it’s true yeah I thought I
18:50
did get some reduction out of the truck
18:52
itself if it was like you know like you
18:55
know something for it’s it’s not an
18:56
announcer voice over but feels sync
18:57
audio you know I think people I think
19:00
people have been like I got rid of some
19:01
of it that’s gonna be a really good
19:03
thing to compare to Bruce free yeah I
19:05
think you’ll be surprised so the truck
19:07
by George you’re listening to the pro
19:11
audio suite podcast very similar Wow
19:15
yeah curious what did it what did you
19:20
teach it because it’s moving so like it
19:22
adapts its filter or something or that’s
19:25
a good point mean all I did was I just
19:28
sampled as much of the noise
19:30
up to his dialogue that I could I just
19:34
let it learn everything all of that
19:36
learn you know and so maybe it would
19:39
have been better if I did the piece
19:41
after he finished but I just learned I
19:45
could have maybe copied and pasted the
19:47
front and back and learned the entire
19:49
thing without his voice I didn’t think
19:52
to do that but I was just simply
19:54
learning the very all of the room tone
19:57
leaning up right to the beginning of the
19:59
voice and then letting it try to deal
20:02
with it and then me going back in and
20:04
tweaking the controls okay I played
20:07
around a lot with the range of noise
20:10
reduction the high-pass filter i mucked
20:14
around with all the controls in Bruce
20:15
free I could and that’s what I came up
20:17
with and I just thought it was that
20:19
interesting that it would it sounded
20:20
kind of similar to what Robert ended up
20:23
with yeah it’s very close absolutely
20:26
well I went the other way I went with I
20:29
went with back with rx-7 again this time
20:33
I found interestingly I got the best
20:35
results with one of their plugins called
20:38
dialog isolate which sort of promises to
20:42
do exactly what the name says but
20:44
interestingly got this result you’re
20:48
listening to the pro audio suite podcast
20:51
so when I say interestingly I don’t
20:54
think the result is too dissimilar to
20:56
what you guys got me neither it’s freaky
21:01
isn’t it who used totally different
21:03
tools yeah but in the end they all got a
21:08
similar issue resolved is there a clear
21:11
winner here well I do you know what
21:13
interestingly after hearing this and and
21:15
this is the first time I’ve listened to
21:17
all the files together the same as you
21:19
guys I I suspect that George Bruce Frey
21:23
might actually be the winner specially
21:25
considering price point yeah and and
21:28
just overall like generally good results
21:31
across the whole spectrum of yes yeah
21:34
absolutely and one plug-in where as you
21:36
consider like for me RX I had to use
21:39
three different plugins to get the same
21:42
result is
21:43
plugging got for all three files yeah
21:45
I’m gonna use like three or four plugins
21:48
like you know EQ expander yeah so I know
21:53
yeah and I think that’s what’s
21:54
interesting about brewery is that is
21:56
baking a lot of those different tools in
21:58
under the hood mmm so it’s transparently
22:02
doing multiple things the one thing it
22:04
is not doing for sure is that sort of
22:06
subtractive you know isotope D noise
22:11
type process or the Z noise type process
22:15
it’s not doing that so but it’s doing a
22:17
little bit of everything else so I think
22:19
that’s why it came out with such good
22:21
results compared to what you guys were
22:23
doing yeah and the other thing George
22:25
and cuz you’re dealing with talent all
22:26
the time
22:27
Bruce free would have to be the winner
22:30
because it’s so simple definitely I mean
22:32
if we’re if we’re talking about an
22:33
audience of talent who need something
22:36
that they can replicate and use in the
22:38
field very quickly and Gary’s acceptable
22:41
results this is this one is pretty
22:44
universally it seems to be pretty
22:48
universally great you know I posted a
22:50
bat on our first came out I got a little
22:52
blowback from some of the iZotope users
22:54
out there that were like no way can’t be
22:56
better than eyes at taupe that’s what I
22:57
use and it sounds better and I was like
23:00
well you know yeah maybe you’re right
23:01
maybe in your hands if you know exactly
23:03
how to tune it it’s a lot better but
23:06
again the only one I really mucked
23:08
around with the controls was the one
23:09
with the dip passing truck you know cuz
23:13
that was a nightmare and I was just
23:15
doing everything I could but with the
23:16
other ones where the room tone is more
23:18
or less consistent you don’t have to do
23:20
any of it just listen and apply it and
23:24
you got the results so uh Bravo – Bruce
23:26
free and this does the clever and guy
23:29
from Sweden that developed it prettier
23:32
absolutely I think I guess the only
23:34
thing you could probably say in our
23:36
access defense was that I didn’t use the
23:38
the audio editing tool and to which
23:42
Roberts point as we were talking off air
23:44
you know he’s managed to pull out the
23:46
sounds of keys jiggling in someone’s
23:48
pocket as they’re walking down the
23:49
street and stuff like that which is a
23:52
little more scientific but you’ve also
23:54
got to spend thirteen hundred bucks to
23:56
get that
23:56
you know yeah it’s maybe a lot of time
23:59
yeah in the production actually actually
24:03
when you when you go through the process
24:04
it’s not that bad because it’s
24:06
especially if you’re sort of familiar
24:08
with Photoshop or some of those concepts
24:10
because basically what you have is you
24:12
have this spectral waveform so it’s no
24:15
longer like you’re shaped wave form but
24:17
the colors as they’re deeper red or
24:19
they’re louder and then it’s spread out
24:20
over frequency and time and so you can
24:24
see at the very top of it where your
24:26
high high frequencies are you can see
24:27
the energy in red of the keychain and
24:30
you get these tools like the magic wand
24:32
that when you selected it kind of clicks
24:35
on that particular continuous area of
24:38
energy and a certain frequency band it
24:41
kind of knows the the hotspot that
24:43
you’re clicking on and you get a sort of
24:45
circle around it and you can delete or
24:49
you can paste in something else so
24:51
usually what works is it’s like pasting
24:52
and a little bit of the high frequencies
24:54
from before or after or there’s like a
24:57
Dodge tool similar to photoshop where
24:59
you can sort of tell it to replace it
25:01
with things that are similar to its
25:03
surroundings essentially so it it works
25:06
pretty quick I think probably once
25:08
you’re familiar with just the sort of
25:10
graphic nature of it instead of turning
25:12
knobs so you have to know what you’re
25:13
going after
25:14
then um it’s probably faster actually
25:18
mm-hmm yeah it’s certainly very
25:21
effective it’s a very very precision you
25:24
know yep but I think for what our show
25:26
is about in terms of talking to well
25:29
this show in particular is about talking
25:31
to voiceover artists who are looking for
25:32
some noise reduction I reckon the guys
25:35
in Germany might take the the cake this
25:37
time Sweden so I think they’re all
25:41
different in the sense because like that
25:42
one’s file-based the other ones are like
25:44
surgical tools and then you have some
25:46
that are like very quick cedar style set
25:49
and very low latency real time and each
25:52
one applies to a different sort of need
25:54
if you’re working live and you want to
25:57
try to hide your situation you need
25:59
something that works well real time if
26:01
you if you want to be like super precise
26:03
about it and you break out the spectral
26:05
tools you can probably get some
26:07
astounding results or if you need
26:09
something that’s just like
26:10
you just basically press GO and it takes
26:13
care of it really well then that there’s
26:15
there’s your file based systems and yeah
26:17
each one has its own particular use yeah
26:20
the cedar one I have by the way I looked
26:21
it up it’s called the DNS two and you
26:25
know if you really really have to do
26:27
stuff on the fly on the go in the field
26:29
and you’re doing live streaming at the
26:31
same time that’s probably the only magic
26:35
box I’m aware of out there that can do
26:38
do all that and literally a single small
26:40
appliance so it does exist if you got
26:44
the deep pockets and you really need it
26:45
well Andrea days your next challenge
26:47
might you need we need a review of that
26:48
and they just sell something keep me I
26:53
would like to do that review yeah
27:01
alright I guess the the the million
27:04
dollar question is if say for instance I
27:06
sent you a file using Bruce free what
27:09
would your reaction be I don’t think I
27:10
would a questioned it no I don’t think
27:12
so either
27:13
there you go there you go Bruce free it
27:15
is good on your Sweden sixty us the
27:18
price points astounding it
27:20
that was the pro audio suite if you have
27:23
any questions or ideas for a show let us
27:26
know via our Facebook the pro audio
27:28
suite podcast
27:34
you
Products or companies we discuss are not paid endorsements. They are not sponsored by, nor do we have any professional or affiliate relationship of any kind with any of the companies or products highlighted in the show…. sadly! It’s just stuff we like, think is cool and may be of interest to you our listeners.
:02
this is a test of the emergency
00:03
broadcast system of high tech for sound
00:07
[Music]
00:08
let’s go
00:10
[Music]
00:15
this is the pro audio suite a program
00:17
all about audio and voiceover our panel
00:20
consists of George the tech wisdom from
00:23
LA Robert Marshall of someone audio post
00:26
Chicago and source connects Darin rubber
00:29
robertson of voodoo sound sydney and
00:32
myself
00:33
Andrew Peters voiceover talent based
00:35
just out of Melbourne Australia don’t
00:38
forget to check out all episodes on our
00:39
website that’s the pro audio suite calm
00:42
now let’s get on with the show
00:48
welcome to another Pro audio suite this
00:51
is the long awaited noise reduction
00:54
shoot-off or whatever we gonna call it
00:57
I’ll tell you what I want to be good
00:58
because we’ve been promising it for a
00:59
while now
01:01
sorry to disappoint absolutely yes
01:07
that’s right that should be the name of
01:09
our show if you wish change the name of
01:12
the show to that sorry to disappoint but
01:15
you guys this is where I’m out really
01:18
cuz I’ve done you just learn how to use
01:20
mouth de click with rx-7 so I’m well and
01:23
truly out of this equation but you guys
01:25
have been fiddling around with files and
01:27
using different noise reduction bits and
01:30
pieces and you can give us some samples
01:33
of how they work and how they probably
01:34
don’t work as well as you would hope
01:36
they will work yeah so I was gonna kick
01:38
off first well let me throw the
01:39
background up what I did was I recorded
01:42
three audio files for us to use here in
01:46
my studio for one of them I opened the
01:50
window and I ran just a fan in the
01:54
background just to you know Fanny turn
01:57
on during summer not a computer fan or
01:59
anything like that and and then I did
02:02
another one where I just grabbed the
02:06
room tone sound effect and sort of mixed
02:10
that in at a level way you would sort of
02:12
expect to find it sometimes if there’s
02:13
been a sort of noisy room that someone’s
02:15
been doing a location recording and then
02:18
on the last one I did the same thing but
02:20
instead of a room tome I grabbed a truck
02:22
passing by and whacked a filter on it to
02:27
make it sound like it was outside the
02:28
room without mucking around too much
02:30
fairly simple one and thought that would
02:33
give us a wide variety of background
02:35
noise in a voiceover to play with to
02:38
send them off to to the lads and we’ve
02:40
all been playing with them what have we
02:41
got first well where shall we start
02:43
Robert do you want to do you want to go
02:45
first sure I can tell you what I did
02:48
yeah yeah I didn’t really prepare this
02:50
as like a presentation so okay well
02:52
that’s cool well let’s have a look what
02:54
have you got yeah there’s so the three I
02:56
would say that like some things I guess
02:58
were interesting to me first of all I
03:00
being a waves user
03:02
I used Z noise and I used also some
03:07
other I use the c4 for some other things
03:10
and I used their wns and I so I gave
03:13
examples of all these things and also
03:15
the like the 43 which is like a simpler
03:18
noise reduction thing and I except for
03:22
the truck which I didn’t bother with any
03:23
of those things cuz like nothing applied
03:25
well as far as like trying to track
03:27
moving the changing sound as far as the
03:30
tools that I had from waves so the fan I
03:34
thought was pretty easy and actually
03:36
probably if I was to go at that one in a
03:40
situation I probably would just use my
03:42
simple gait maybe I’m not sure let’s
03:46
have a listen to the fan before
03:47
processing so this was the original farm
03:50
you’re listening to the pro audio suite
03:52
podcast
03:54
who is that voiceover Wow Wow amazing
03:57
yeah alright so then so the expander
04:02
would be just a really simple one the
04:04
simple expander or not even the
04:05
multiband and and that’s just the Pro
04:07
Tools generic expander that I use there
04:10
I found the expander to be really useful
04:12
because it doesn’t mess like once it’s
04:15
opened it’s not messing with the sound
04:17
you know it doesn’t all the other ones
04:20
are like too active sometimes so if the
04:22
sound is really complex it’s good I’m
04:24
not saying they’re not useful but
04:25
sometimes that this sound is quite
04:26
enough a gate can just get rid of it
04:29
alright well here we go he’s George and
04:32
his expander Robert Nizza expander sorry
04:34
you’re listening to the pro audio suite
04:37
podcast
04:38
alright so that’s that one so then I so
04:41
then I did a multiband expander which
04:43
this one didn’t really warrant but I did
04:45
it anyways just because sometimes I find
04:47
that very useful for getting rid of
04:49
certain sounds and certain the frequency
04:51
bands but we have to worry about what
04:53
the multiband approaches that you’re
04:55
starting to shift the whole thing as far
04:58
as the EQ goes it’s changing but go
05:00
ahead and hit that one now the multiband
05:01
expander
05:02
you’re listening to the pro audio suite
05:05
podcast first one so far okay cool so so
05:09
funny enough that one was like like
05:11
there’s a lot of like rebuilding of the
05:13
low end for example or things like that
05:15
and trying to make sure that high end
05:16
didn’t start getting too se with the
05:18
expansion of it then the last one is the
05:21
Z noise did I do any others besides
05:24
you’ve got W and s and z noise yeah okay
05:26
so so do the W NS and the w NS is just
05:29
sort of a four or six slider
05:32
it just went badly similar to what I do
05:37
with the c4 you’re listening to the pro
05:40
audio suite podcast and then the forty
05:43
or the 43 doesn’t exist so oh and then
05:46
the last one is the Z noise so this is
05:48
the classic take a fingerprint of the
05:51
noise it works best with something
05:53
that’s very static and then you know
05:56
take a just remove the fingerprint you
05:58
get your threshold and your amount to
06:00
reduce by so there it is that’s Z noise
06:04
you’re listening to the pro audio suite
06:07
podcast oh yeah that sounds like a
06:09
denoise err you hear that you hear that
06:11
mp3 thing going in there right yeah yeah
06:14
it doesn’t that sounds like Adobe it
06:15
sounds like audacity absolutely yeah and
06:18
like even though maybe it got rid of
06:19
some noise that’s in between the words
06:22
made a little bit better but it just it
06:24
puts that grainy thing in there god
06:27
cyborg II mmm robotics hmm so George you
06:31
were on Bruce fries that all right
06:33
yeah I think they call it Bruce free
06:35
nursery exactly but being Swedish or
06:38
whatever but yeah I tried out they’re
06:41
new to me noise reduction plugin it’s so
06:44
think it’s maybe you’ve been around a
06:45
little bit but it’s the only one I know
06:47
of that exists for iOS on the iPad and
06:51
the iPhone which can be pretty cool
06:53
obviously to use you know for remote
06:55
recordings when you’re out in the field
06:56
having a bang out a job but this one’s
07:00
kind of interesting one where it
07:02
combines a multiband gating and multiple
07:05
gates but it does it all very much
07:07
behind the scenes so it takes a
07:09
fingerprint of the sound kind of like Z
07:11
noise and then you then so basically it
07:14
learns the noise
07:16
and then you let it filter the noise
07:19
afterward and then you can fine-tune
07:21
certain aspects of it like a high-pass
07:24
filter a high-end boost the attack the
07:28
ratio of the noise to the you know it
07:30
has like seven or eight controls that
07:32
you can fine-tune so this is my best
07:34
shot at using Bruce free with the room
07:37
tone you’re listening to the pro audio
07:41
suite podcast not bad result no not bad
07:44
at all
07:44
it’s pretty transparent I thought like
07:46
it doesn’t make those it doesn’t make
07:49
the artifacts that you get with the Z
07:53
noise and the D noise or audacity
07:57
iZotope type tools where it can get a
08:00
little bit metallic or artificial
08:04
sounding if you use a little bit too
08:06
much you can get pretty heavy-handed
08:08
booth Bruce free and it may change the
08:11
EQ balance a little bit maybe it’ll thin
08:13
it out or but it never seems to really
08:16
destroy it too much okay it just hits it
08:18
like like on the frequency range but it
08:21
doesn’t hit it on that sort of like cold
08:23
kilter II way that that the other ones
08:26
that the you know the ones that take
08:28
such an exact fingerprint of the noise
08:30
right mmm this is what fascinating that
08:33
it’s that it uses the de noise approach
08:35
where you listen to the noise but it’s
08:38
not a denoiser in the sense that it’s
08:40
doing that that subtractive algorithm
08:43
it’s unique well I went with rx-7 and I
08:48
used the D noise plug-in on Pro Tools
08:52
not them not them you Volk old D noise I
08:55
sorry the voice D noise sorry yes boys
08:57
noises got you okay you’re listening to
09:01
the pro audio suite podcast similar saw
09:04
the results of Bruce Pro pretty
09:07
transparent sounding that’s yeah not bad
09:10
at all just hear the noise at the very
09:11
beginning of it on the on the your you
09:13
kind of hear it come down and then but
09:16
the end of it cuts off without you
09:18
hearing the you know the the process
09:21
come down on the silence at the end
09:23
ouch yeah interesting all right so the
09:27
other the next noise we recall or the
09:29
next door is we will talk about then is
09:30
the room noise so basically just a a
09:33
room tone constant rune tome which I
09:35
guess ap would be the enemy of any
09:38
voice-over artist on the road I would
09:39
say definitely the enemy yeah alright
09:42
this could be handy alright so this this
09:45
might be an interesting one then so let
09:46
me just play that as a as it was you’re
09:52
listening to the pro audio suite podcast
09:55
so not completely unreasonable that you
09:57
would get a file like that fairly
09:59
regularly Robert and George I would
10:00
think yeah I can see that happening
10:03
alright so definitely for my shoot you
10:06
know yeah definitely
10:07
alright so he’s uh Robert which one
10:11
would you like to start with night let’s
10:14
just go say it same order so the simple
10:16
the simple gate yep it’s simple expander
10:20
you’re listening to the pro audio suite
10:23
podcast so you can just hear it
10:25
underneath the words even while they’re
10:27
going you know I think it basically gets
10:30
rid of the front in the back completely
10:32
most people aren’t going to notice it
10:34
and I don’t that yeah obviously it
10:36
didn’t touch it spectrally or in any
10:37
other way so but you can’t hear the
10:40
noise underneath those words like I
10:41
assume you guys can too and the because
10:44
if you know about it then you’re hearing
10:46
it but if you don’t know about it your
10:47
brain is like whatever doesn’t doesn’t
10:49
think about it it’s not there and and
10:51
and the rest of it is pristine and it
10:53
doesn’t sound like it doesn’t call
10:55
attention to itself as being like you
10:56
know sometimes the denoise process is a
10:58
noise on you it’s absolutely and also if
11:00
you playing music under it you’ll bury
11:02
it anyway so that’s the other thing
11:03
anyways right so the the multiband was
11:07
the same thing now it’s just sort of
11:09
it’s it’s my expander but just trying to
11:12
hit up each each frequency range
11:14
individually which basically should make
11:16
it wrap around the voice a little bit
11:17
tighter you’re listening to the pro
11:21
audio suite podcast so you can hear I’m
11:24
working a little more Connie I actually
11:25
wasn’t as happy with the multiband
11:27
because it’s because the multi this was
11:29
a fairly broad band
11:32
any kind of the lower range but it was
11:34
fairly broadband so usually the
11:35
multiband approach works for yeah more
11:37
frequency specific stuff so then the
11:41
next one to look at was the the 43 which
11:45
is like basically a simple 4/4 fader
11:48
noise reducer with an overall threshold
11:51
so you set your individual thresholds
11:52
and unlike a global threshold the kind
11:54
of thing you’re listening to the pro
11:57
audio suite podcast very much cleaner
12:01
yeah it’s smoother but there’s
12:03
definitely that noise there you can hear
12:04
it so then the the wns I think was a
12:07
little bit better it has basically more
12:09
bands
12:10
it’s um this is probably like a 6 pan
12:13
multi band you’re listening to the pro
12:17
audio suite podcast so I thought that
12:20
one was pretty good yeah
12:22
yeah I like wns I’ve actually got that
12:25
in there in the arsenal it’s very fast
12:28
that’s why that’s like throw it on there
12:30
you just I I mean the way I do it I
12:32
don’t know how you use it but basically
12:33
I’ll play the noise and it’s almost like
12:36
taking a finger because it shows you a
12:38
spectrum with the noise and then you
12:39
just slide the phasers to meet the same
12:42
shape and then maybe you like put it a
12:44
little bit below it so that it’s not
12:45
like too active but easy your I
12:48
absolutely especially if you’re
12:49
especially if you’re tired and you use a
12:52
tired it’s make you life a bit easier
12:54
yeah it seems to be if anything it’s
12:56
gonna be less harm than some of the
12:59
other approaches like a like the Z noise
13:01
which is the next one I think is it’s
13:03
definitely more intrusive but probably
13:05
the most reduction in noise you’re
13:08
listening to the pro audio suite podcast
13:11
– so that was a little bit better it
13:14
doesn’t get to mp3 sounding there is
13:16
still some oddness I’d yeah I’d
13:18
signature and there in the room tone
13:20
itself it sounds in some colored or
13:23
messed yeah sounds messed yeah that’s a
13:25
good way to put it so George you are on
13:27
the Bruce fry again yep you know the
13:29
drill
13:30
this it’s the beauty of it is the
13:32
simplicity of it I mean this is a door D
13:34
noise or that just about anybody can use
13:37
and not make too much of a mess out of
13:38
it
13:40
you’re listening to the pro audio suite
13:42
podcast it’s pretty impressive pretty
13:45
impressive right I mean dance job or
13:47
what it is George how do you see Bruce
13:50
free working its say for instance you on
13:53
the road doing the voice-over and you’re
13:54
in a hotel do you reckon that would work
13:56
as opposed to building some mega fort or
13:59
using a sort of portable is it is it
14:02
real-time or is it only a file-based
14:03
it’s not real-time you have to you know
14:05
learn and then apply right but but but
14:08
you apply it to a real-time strain like
14:10
a new record to learn and then say do it
14:13
to the bike I don’t believe it’s capable
14:17
of doing that okay I tell you guys so
14:20
the case that Andrew is asking it
14:22
wouldn’t apply as well as long as our
14:24
assuming you’re not on a live connection
14:26
then because you’d you’d need something
14:27
that can do this in real time for your
14:29
it’s not a replacement for a cedar yeah
14:34
DNS or whatever they call it WMS well
14:38
they make a cedar mic preamp that does
14:40
the noise reduction really one little
14:43
box yeah I don’t know it’s like a little
14:45
magic box
14:45
yeah so you know that truly is real time
14:49
it’s like a couple millisecond latency
14:51
right you don’t even know it’s like two
14:54
grand it’s not you know it’s like the
14:58
preamp in it alone is probably like five
15:00
hundred bucks and sure it’s a stereo
15:02
preamp and as you know basically a knob
15:05
that controls the noise you literally
15:07
want more noise turn it right left so
15:09
it’s it’s that’s a pretty cool tool I
15:11
have tried it at trade shows just
15:13
playing around with it but to answer
15:15
your question Andrew it’s not a real
15:17
time streaming plugin it says it’s an
15:20
analyze and then apply type tool so it
15:23
won’t work for that streaming whereas
15:25
something like a cedar ns1 I think is
15:28
what it’s called don’t quote me on that
15:30
but they make a magic little mic preamp
15:31
box you can plug in and actually your
15:34
preamp actually has a denoise are
15:37
built-in and if that’s something you
15:39
find yourself needing well you can go
15:42
buy one I think they’re in the 2000 US
15:45
Dollars ballpark but they are pretty
15:48
amazing Wow that lose it in your luggage
15:51
yeah that’s right
15:53
can you carry on us absolutely kept
15:55
putting a carry on yeah totally Robo
15:58
what’s next okay well I used the rx-7
16:00
again although interestingly this time I
16:03
had the best results using their
16:05
spectral note spectral denoise as
16:07
opposed to the voice d noise so that was
16:10
a kind of interesting result from that
16:12
one that I didn’t record the first one
16:14
and I probably should have but the voice
16:16
d noise just left left some behind for
16:19
some reason it didn’t really didn’t
16:21
really cope too well with maybe the
16:24
harmonics that are in there or something
16:25
on an ogre tongue I’ll play you the
16:27
result that I got using the spectral
16:29
denoise you’re listening to the pro
16:33
audio suite podcast so that was the best
16:36
result I got out rx-7 in that one it’s
16:38
got a little bit of that like mechanical
16:40
thing not nothing I don’t think as much
16:43
as not nearly as much as the waves one
16:45
but it does have that like strident kind
16:47
of teeny bit but it’s clean it’s like
16:49
there’s definitely no noise in it so
16:52
then the final one I thought we’d put us
16:54
all to the test
16:55
I’d put us also the tests and it seems
16:57
that I did because I don’t think anyone
16:58
got a perfect result was the old truck
17:01
going by this studio so um let me just
17:05
grab this is like audio Mythbusters
17:11
you’re listening to the pro audio suite
17:14
podcast
17:15
[Music]
17:16
probably a little louder than you would
17:18
normally get normally get but I thought
17:19
it would put everything to the test
17:21
quite nicely we asked my there’s my high
17:23
school band teachers used to say I’m
17:25
exaggerating but that’s what’s happening
17:26
yeah perfect so George I say Robert
17:32
sorry I’ve got a file here from you
17:34
saying truck bunch of stuff I presume
17:38
you played with a few bits and pieces
17:40
yeah what did I do I’m trying to
17:42
remember now
17:44
I used a gate maybe an expander an EQ
17:50
that I generally kind of swept as it
17:54
moved up but I also went what I found
17:57
worked well is I also just as a cheat
17:59
just sort of widen the bandwidth as well
18:01
as it moved up because I was able to
18:04
lock onto it pretty well at the
18:05
beginning but trying to track it as it
18:07
moved up just was really time-consuming
18:11
everything I did I think so there’s
18:14
there’s no like spectral this or that or
18:16
grab a fingerprint and it was a stall
18:18
like you know tools from the 70s
18:21
basically you’re listening to the pro
18:24
audio suite podcast so you know but AM
18:29
radio but the noise is mostly gone right
18:32
yeah yeah I did
18:34
and I did have a multiband attacking
18:36
that low-end noise that resident noise
18:38
of it and and the EQ kind of sucked the
18:41
like the bass out of the voice I tried
18:44
to shelve it up but it did just put a
18:48
hole in it it’s true yeah I thought I
18:50
did get some reduction out of the truck
18:52
itself if it was like you know like you
18:55
know something for it’s it’s not an
18:56
announcer voice over but feels sync
18:57
audio you know I think people I think
19:00
people have been like I got rid of some
19:01
of it that’s gonna be a really good
19:03
thing to compare to Bruce free yeah I
19:05
think you’ll be surprised so the truck
19:07
by George you’re listening to the pro
19:11
audio suite podcast very similar Wow
19:15
yeah curious what did it what did you
19:20
teach it because it’s moving so like it
19:22
adapts its filter or something or that’s
19:25
a good point mean all I did was I just
19:28
sampled as much of the noise
19:30
up to his dialogue that I could I just
19:34
let it learn everything all of that
19:36
learn you know and so maybe it would
19:39
have been better if I did the piece
19:41
after he finished but I just learned I
19:45
could have maybe copied and pasted the
19:47
front and back and learned the entire
19:49
thing without his voice I didn’t think
19:52
to do that but I was just simply
19:54
learning the very all of the room tone
19:57
leaning up right to the beginning of the
19:59
voice and then letting it try to deal
20:02
with it and then me going back in and
20:04
tweaking the controls okay I played
20:07
around a lot with the range of noise
20:10
reduction the high-pass filter i mucked
20:14
around with all the controls in Bruce
20:15
free I could and that’s what I came up
20:17
with and I just thought it was that
20:19
interesting that it would it sounded
20:20
kind of similar to what Robert ended up
20:23
with yeah it’s very close absolutely
20:26
well I went the other way I went with I
20:29
went with back with rx-7 again this time
20:33
I found interestingly I got the best
20:35
results with one of their plugins called
20:38
dialog isolate which sort of promises to
20:42
do exactly what the name says but
20:44
interestingly got this result you’re
20:48
listening to the pro audio suite podcast
20:51
so when I say interestingly I don’t
20:54
think the result is too dissimilar to
20:56
what you guys got me neither it’s freaky
21:01
isn’t it who used totally different
21:03
tools yeah but in the end they all got a
21:08
similar issue resolved is there a clear
21:11
winner here well I do you know what
21:13
interestingly after hearing this and and
21:15
this is the first time I’ve listened to
21:17
all the files together the same as you
21:19
guys I I suspect that George Bruce Frey
21:23
might actually be the winner specially
21:25
considering price point yeah and and
21:28
just overall like generally good results
21:31
across the whole spectrum of yes yeah
21:34
absolutely and one plug-in where as you
21:36
consider like for me RX I had to use
21:39
three different plugins to get the same
21:42
result is
21:43
plugging got for all three files yeah
21:45
I’m gonna use like three or four plugins
21:48
like you know EQ expander yeah so I know
21:53
yeah and I think that’s what’s
21:54
interesting about brewery is that is
21:56
baking a lot of those different tools in
21:58
under the hood mmm so it’s transparently
22:02
doing multiple things the one thing it
22:04
is not doing for sure is that sort of
22:06
subtractive you know isotope D noise
22:11
type process or the Z noise type process
22:15
it’s not doing that so but it’s doing a
22:17
little bit of everything else so I think
22:19
that’s why it came out with such good
22:21
results compared to what you guys were
22:23
doing yeah and the other thing George
22:25
and cuz you’re dealing with talent all
22:26
the time
22:27
Bruce free would have to be the winner
22:30
because it’s so simple definitely I mean
22:32
if we’re if we’re talking about an
22:33
audience of talent who need something
22:36
that they can replicate and use in the
22:38
field very quickly and Gary’s acceptable
22:41
results this is this one is pretty
22:44
universally it seems to be pretty
22:48
universally great you know I posted a
22:50
bat on our first came out I got a little
22:52
blowback from some of the iZotope users
22:54
out there that were like no way can’t be
22:56
better than eyes at taupe that’s what I
22:57
use and it sounds better and I was like
23:00
well you know yeah maybe you’re right
23:01
maybe in your hands if you know exactly
23:03
how to tune it it’s a lot better but
23:06
again the only one I really mucked
23:08
around with the controls was the one
23:09
with the dip passing truck you know cuz
23:13
that was a nightmare and I was just
23:15
doing everything I could but with the
23:16
other ones where the room tone is more
23:18
or less consistent you don’t have to do
23:20
any of it just listen and apply it and
23:24
you got the results so uh Bravo – Bruce
23:26
free and this does the clever and guy
23:29
from Sweden that developed it prettier
23:32
absolutely I think I guess the only
23:34
thing you could probably say in our
23:36
access defense was that I didn’t use the
23:38
the audio editing tool and to which
23:42
Roberts point as we were talking off air
23:44
you know he’s managed to pull out the
23:46
sounds of keys jiggling in someone’s
23:48
pocket as they’re walking down the
23:49
street and stuff like that which is a
23:52
little more scientific but you’ve also
23:54
got to spend thirteen hundred bucks to
23:56
get that
23:56
you know yeah it’s maybe a lot of time
23:59
yeah in the production actually actually
24:03
when you when you go through the process
24:04
it’s not that bad because it’s
24:06
especially if you’re sort of familiar
24:08
with Photoshop or some of those concepts
24:10
because basically what you have is you
24:12
have this spectral waveform so it’s no
24:15
longer like you’re shaped wave form but
24:17
the colors as they’re deeper red or
24:19
they’re louder and then it’s spread out
24:20
over frequency and time and so you can
24:24
see at the very top of it where your
24:26
high high frequencies are you can see
24:27
the energy in red of the keychain and
24:30
you get these tools like the magic wand
24:32
that when you selected it kind of clicks
24:35
on that particular continuous area of
24:38
energy and a certain frequency band it
24:41
kind of knows the the hotspot that
24:43
you’re clicking on and you get a sort of
24:45
circle around it and you can delete or
24:49
you can paste in something else so
24:51
usually what works is it’s like pasting
24:52
and a little bit of the high frequencies
24:54
from before or after or there’s like a
24:57
Dodge tool similar to photoshop where
24:59
you can sort of tell it to replace it
25:01
with things that are similar to its
25:03
surroundings essentially so it it works
25:06
pretty quick I think probably once
25:08
you’re familiar with just the sort of
25:10
graphic nature of it instead of turning
25:12
knobs so you have to know what you’re
25:13
going after
25:14
then um it’s probably faster actually
25:18
mm-hmm yeah it’s certainly very
25:21
effective it’s a very very precision you
25:24
know yep but I think for what our show
25:26
is about in terms of talking to well
25:29
this show in particular is about talking
25:31
to voiceover artists who are looking for
25:32
some noise reduction I reckon the guys
25:35
in Germany might take the the cake this
25:37
time Sweden so I think they’re all
25:41
different in the sense because like that
25:42
one’s file-based the other ones are like
25:44
surgical tools and then you have some
25:46
that are like very quick cedar style set
25:49
and very low latency real time and each
25:52
one applies to a different sort of need
25:54
if you’re working live and you want to
25:57
try to hide your situation you need
25:59
something that works well real time if
26:01
you if you want to be like super precise
26:03
about it and you break out the spectral
26:05
tools you can probably get some
26:07
astounding results or if you need
26:09
something that’s just like
26:10
you just basically press GO and it takes
26:13
care of it really well then that there’s
26:15
there’s your file based systems and yeah
26:17
each one has its own particular use yeah
26:20
the cedar one I have by the way I looked
26:21
it up it’s called the DNS two and you
26:25
know if you really really have to do
26:27
stuff on the fly on the go in the field
26:29
and you’re doing live streaming at the
26:31
same time that’s probably the only magic
26:35
box I’m aware of out there that can do
26:38
do all that and literally a single small
26:40
appliance so it does exist if you got
26:44
the deep pockets and you really need it
26:45
well Andrea days your next challenge
26:47
might you need we need a review of that
26:48
and they just sell something keep me I
26:53
would like to do that review yeah
27:01
alright I guess the the the million
27:04
dollar question is if say for instance I
27:06
sent you a file using Bruce free what
27:09
would your reaction be I don’t think I
27:10
would a questioned it no I don’t think
27:12
so either
27:13
there you go there you go Bruce free it
27:15
is good on your Sweden sixty us the
27:18
price points astounding it
27:20
that was the pro audio suite if you have
27:23
any questions or ideas for a show let us
27:26
know via our Facebook the pro audio
27:28
suite podcast
27:34
you
“When the going gets weird, the weird turn professional.”
― Hunter S Thompson