So they say when you apply things such as


that helps further remove HUM BUZZ after NOISE REDUCTION ,

How is that possible ?

Did you try it?

It’s not.

Do you know where your noise is coming from? There are some noises like the Yeti Curse that take a custom filter and not Effect > Noise Reduction.

This is the noise write-up hanging from the bottom of the AudioBook Mastering paper. Those are the main sources of noise—and they’re not all fixable.


Who are “they”?

It’s not.
If there is hum / buzz on the recording and you apply reverb, that gives you hum / buzz with reverb.

Post a sample of the work without processing. Is this a voice performance? If it is, announce a 20 second sample and post it here on the forum. Freeze and hold your breath for that two seconds. The rest can be anything. Read the side of the cereal box, but do it in your normal announcing style.


OK , Actually I think was half dead asleep while posting this 1 :laughing:

I can pretty much live with the slight buzz sometimes heard but

I been doing my research and it seems like their is plenty of steps I NEVER been doing which is why I prob. hate my recorded voice.

I use a AKG Dynamic Live , so this way it’s just my voice the mic records.

Now I always been leaving it AS IS , Now I am reading apparently ,

Their should be steps taken such as DYNAMIC COMPRESSION added and along with things such as REVERB ,

So in what order should I apply things to my RAW Voice ? Things that obivously perhaps make the raw track sounds more like my TRUE SELF ?

Things that obivously perhaps make the raw track sounds more like my TRUE SELF ?

Most people hate their recorded voice. So unless you’ve been recording yourself for a long time, what you hear maybe normal.

What are you doing? Recording for an AudioBook? Singing? Theatrical Overdubbing? Give us a push. Some of the jobs have different filters and tools.

AKG Dynamic Live

That’s not a real microphone. Do you have a model number? If it’s a dynamic (moving coil) microphone, how are you getting it into your computer?


Very true normally everyone hates their voice which is one fact about myself . It’s music recordings.

It’s MALE XRL into a FEMALE OUTPUT that ends like a Guitar Plug So it goes into my INTERFACE.

According to this article , their 8 Steps supposely I should do , I never do any of them LOL.

Reverb and Delay
Creative Effects

and oh yeah here is my MIC ,


Says Amatuer Recordings , as far as I am concern that’s fine for my DIY/LO-FI Rock Ideas ? :mrgreen:^221957295803-device^c-plaid^323968818703-sku^H77123000000000@ADL4MF-adType^PLA

as far as I am concern that’s fine for my DIY

Oddly, we don’t only care about the quality. Each different type of microphone can have connection problems and that may be where your noise is coming from.

So it goes into my INTERFACE.

Which is…?

Is this the same cable that you plug into the Mic-In of your amp? Two black rings or one?
Screen Shot 2017-10-07 at 5.11.22 PM.png
This is the place you can pick up buzz and hum. This microphone is a three wire system (three silver or gold pins on the bottom). The other systems are all two wire and how you get between them can cause serious hum.

Is this a louder version of what you have?

I’m not just making all this up. If you have a connection problem, it can change your voice quality. Get the microphone working and then dig into the filters, corrections and effects.


OK , My AKG is using theses

The MALE XRL is from Musician’s Friends ,

and then that FEMALE End was a cheap china one.

Which I had to RESOLDER the wires , It worked great afterwards and now it’s back to crap ,

So I think my real issue is

time to BUY a real FEMALE END PLUG ,

Perhaps male too. As I think me pulling out is what ruined the inside wires.

Actually I should find a TIP like this , this should handle my pull and jerk habits better.
s-l500 (1) K.jpg

Perhaps male too. As I think me pulling out is what ruined the inside wires.

I became BFFs with rock bands when they found out I could fix these. Disconnect by pulling the plug, not by the cable.

This is the formula if you want to mess with it more.

The 1/8" adapter is wired the same as the 1/4" adapter. Yes XLR 1 and 3 are twisted together and become the 1/4" shield. Pin 2 becomes the 1/4" tip.

DO NOT buy a cable where the 1/4" plug has two black rings as in that pix.


Actually I should find a TIP like this , this should handle my pull and jerk habits better.

Depending on how they wired it, yes. Male XLR has the music on it. The Female XLR is where you put the music. So that one is backwards.


If you’re an animal, putting too many adapters together isn’t a good idea, either. One tug in the wrong direction and somebody will be taking the adapter (or amp) apart to fix the cracked internal contacts.

That pix up the thread with female XLR and one-ring 1/4" male looks to be perfect.


Yup , I’ll get that ONE RING 1/4"

Tells alot after my own resolder job only lasted 4 months :laughing:

and then like you said 2 Rings isn’t too good either.

Tells alot after my own resolder job only lasted 4 months

That means either a poor soldering job, or you’re an animal.


He yeah , Plus I think the wires were quite abused the 1st time around so this was going to happen anyway. Very Cheap China Solder Job and then Me trying to prolong it :laughing:

That’s when it gets messy. You cut off about an inch of destroyed and fatigued cable and rebuild it—if there’s enough connector left.

That’s when normal people replace it.


So I was digging in my box ,

If I was to put the BIG 2 RING into the Small 2 RING and end it with the BIG MONO ,

Would that help cancel out that GROUND Line you talked about ?

I can’t tell. There’s too many connectors and adapters.

As if it wasn’t bad enough, if you throw enough connectors and adapters in there, the chances of having a bad, hummy or ratty connection go way up. You’ve met this. This is when your sound is a little buzzy and it goes away instantly when you touch or wiggle the plug. And then next Wednesday it comes back.

The home style plugs have the metal surfaces right out where you can touch them and get your finger oils all over everything. The Pro/Broadcast XLR connectors have the gold or silver pins buried inside the metal shell where they’re hard to get to. That’s not an accident.

We’re not cancelling out the ground.
Screen Shot 2017-10-15 at 4.05.53 PM.png

The XLR connection has your voice between pins two and three. Full Stop. There’s a shield (that’s the metal braid around the cable) and that’s on pin one, but it has nothing to do with the sound.

The pins are usually labeled inside. Take a strong light to the connector and you can see them.

Scene shifts forward to the 1/4" plug. The voice is between the tip and ground.
Screen Shot 2017-10-15 at 4.10.03 PM.png
Suddenly the ground is part of the show and really important. There are expensive, fancy ways to adapt between those two systems, but the home user can usually make do by jamming both XLR pin 1 and XLR pin 3 into 1/4" ground. XLR pin 2 goes to the tip.

Get there any way you want and use the fewest connections and adapters.

This isn’t rocket surgery as long as you know what the rules are.

I bet you’re wondering why everybody doesn’t do it this way.

Scene shifts to a live concert. The performer microphones are on stage, but the show mixer could be half-way up the audience or in a mix truck at the loading dock a hundred feet away. That only works when there’s a perfect XLR at both ends of the cable. No adapters. Zero.

So you can take the XLR apart and see where the cable colors are soldered. Take the 1/4" apart, trim the damaged wire and follow that recipe.

Don’t tell anybody else how to do this. If they find out, they’ll stop buying me beer.