I’m pleased to announce the first public “beta” release of the Professional Audio Filter (PAF).
Some of the controls and installers are a little rough yet, and on occasion it’s been known to crash in a shower of brightly colored confetti, but I think it’s worth getting it out there for wider testing.
The object of the filter is to convert whomever you shot in the field and in whatever bad conditions to a quiet, polished, professional-sounding voice track.
Intensity and phase adjustments are provided to suppress “white” or microphone self-noise, proximity effect, competing voices, street noise, engine roar, large and small auditorium echoes, air conditioning compressors, vent whistle, and within reason, clipping, crosstalk, cracking, and overload distortion.
Whimsey is alive and well in Los Angeles. We are preparing an announcer module with pitch, sibilance, and depth controls that we’re calling, for obvious reasons, ‘LaFontaine.’ “In a World…”
I’ve been working with the programmers here in LA and friends at other audio web sites and forums to pull together a lot of different efforts. I aim to be “Welch.”
If you remember in LZW Compression, Lempel and Ziv were the world-class data compression Subject Matter Experts with no organizational or people skills. Welch was the one who got them both into a room and said nobody was leaving until they generated an integrated product. And he had a gun. Nothing like adding Smith and Wesson to the team to polish those people skills.
We’ve included installers for all the major audio software packages: SoundTrack Pro, Audition, Audacity, ProTools, AVS, etc. We even got one to work in the older, revered Cool Edit.
It’s open source on all three platforms.