AudioBook Mastering version 4

Narrating and Producing Audiobooks.
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kozikowski
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Re: AudioBook Mastering version 4

Post by kozikowski » Sun Dec 17, 2017 5:54 pm

I just snap my fingers and then repeat the word/phrase correctly and continue on. That makes it easy to find the mistake and delete it.
Writing that down....

Do you have any lamp dimmers in with you or Compact Fluorescent Lamps? Regular tube-type fluorescent bulbs? There is a significant portion of the noise at 60Hz and 120Hz typical of a US location. Lamp Dimmers can make noise with tungsten (old fashioned) bulbs. Many of my CFLs create a buzzing sound. I'm phasing them out. LED lights are usually desirable, or run tungsten bulbs at full brightness.

Candles work.


Are you on a laptop? can you run it on battery power and disconnect the shore power adapter for a test?

Many consumer USB microphones take shortcuts with noise prevention and allow sub-sonic noises to get through. Yours does that. Yours has significant noise tones down at thunder and earthquake rumble—but of course, you can't hear them. The Noise Measurement System can hear them and they can mess up a recording "for no apparent reason." Unless you know where to look.

The first step in the correction suite, Equalize > Low Rolloff for Speech can get rid of most of it, but there's still stuff left over.

I'm on a larger machine now and I'm ripping apart the noise to see if there's anything else that can be done. I couldn't make noise conformance, either.

Koz

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Re: AudioBook Mastering version 4

Post by kozikowski » Sun Dec 17, 2017 6:31 pm

I got noise conformance with a comfortable margin, but I had to work hard to get it there. Attached.
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Next time you submit something, you can convert it to mono. It uploads faster, takes up less room and we don't care. ACX requests submission in mono. Drop-down arrow on the left > Split Stereo To Mono. [X] delete the bottom track.

-=-

I went in with a hatchet and deleted three different tones. 60Hz, 120Hz, and 138Hz. 60 and 120 are "simple." Those come from power in the US. 138 is not simple or normal. That almost has to be coming from a fan or motor somewhere.

From inside your booth, can you tell if your computer is running? If you left instructions for someone to turn the computer off while you were in the booth not watching, could you tell when it went down?

I applied the notch filters before anything else.

Effect > Notch Filter: 60Hz, Q10 > Enter.
Effect > Notch Filter: 120Hz, Q10 > Enter.
Effect > Notch Filter: 138Hz, Q10 > Enter.

Then the rest of Mastering Suite 4 and then Noise Reduction 6, 6, 6.

-=-

You can use your microphone as a diagnostic instrument. The AT2020 responds best from the front, the company name side. Aim it at your desk or other lamp and see if the 60 and 120 goes up. Move it closer to the door with the computer behind it and see if the 138 goes up. If you're listening on headphones, you can actually hear many of these effects as you move the microphone similar to that guy with the metal detector at the beach. I don't remember if the 2020 has a place for headphones.

Koz
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kozikowski
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Re: AudioBook Mastering version 4

Post by kozikowski » Sun Dec 17, 2017 6:43 pm

If you do the diagnostic thing, "slate" what you're doing as you go. "This is my desk lamp." _______________. "This is my ceiling lamp." _______________. "This is the closet door." _________________.

Koz

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Re: AudioBook Mastering version 4

Post by kozikowski » Sun Dec 17, 2017 9:36 pm

Are you using the little three leg stand that comes with the 2020USB?
Tripod desk stand with folding legs for secure and easily portable tabletop use
It doesn't say anything about shock mount or desk/floor vibration suppression. There's an easy way to provide that.

Image

The blanket over the desk is a pretty good idea, too.

Koz

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Re: AudioBook Mastering version 4

Post by kozikowski » Sun Dec 17, 2017 9:43 pm

In larger systems, vibration suppression happens up near the microphone. That's the spider of rubber bands.

Image
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Image

You don't have to do it up there, but it gets more expensive and awkward if you do it anywhere else. This is for, say, air conditioning or water pump noises coming up through the floor.

Koz

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Re: AudioBook Mastering version 4

Post by kozikowski » Sun Dec 17, 2017 9:57 pm

And you can tell ahead of time if you have noises in the desk or floor with a mechanics stethoscope. In English, that's a screwdriver. You press the handle against your ear and the blade against the table or floor. Mechanics have been using this trick for ages to find bad engine parts—with the engine running. Yes, the first four pages of google hits turn up actual stethoscopes, but on the fifth page, I found a guy using the screwdriver.
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Isn't noise management just the most fun?

Koz

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Re: AudioBook Mastering version 4

Post by Diver4242 » Thu May 24, 2018 11:47 pm

The info at https://manual.audacityteam.org/man/noi ... ction.html says to apply noise reduction multiple time for different types of noise. So would it be feasible to apply it once to get rid of a low level of hiss, then perhaps again to the track to get rid of breaths or some other type of noise that occurs a few times in the track (lip smack, etc)? If I do it once with the beast (6,6,6) by using a section of the track with just the room noise/low hiss, will it also reduce those other things, or make them more obvious?

kozikowski
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Re: AudioBook Mastering version 4

Post by kozikowski » Fri May 25, 2018 12:30 am

Sounds lovely doesn't it? The answer to most of that is no.

Noise Reduction doesn't work reliably on moving and changing noises. So there goes gasping, mouth ticks, buses going by and planes overhead. TV on in the background is guaranteed to kill your show.

Noise Reduction will try to reduce whatever you put in the Profile step. Drag-select some noise. Effect > Noise Reduction > Profile. Now select the whole track and Effect > Noise Reduction > choose the reduction settings > OK. The profile will stick as long as you don't close Audacity, so you can use it again and again.

There are purpose built filters and tools to address the most common home recording noises. There's one for Hum, one for Yeti Curse, one for Sibilance, etc. The trick is to figure out what you have.

Plain noise reduction of the beast (6, 6, 6) is an invisible reduction that can make an OK production into a good production with no other apparent damage. More importantly, ACX can't find it. They hate Noise Reduction.

You can get stiffer. 9, 6, 6 works but by the time you get to 12, 6, 6, you can hear voices starting to sound wine-glassy and cell-phony and you have to stop.

We should remember in all of these instances the tools are Step Two. Step One is not record the noise.

It's grand to think I can set up a Yeti in my kitchen, record audiobooks, make a fortune and retire to a cottage on Côte d'Azur. But probably not.

People still convert cloak closets into studios to avoid most of the hassle of post production. Everybody fails noise. We live in, and largely ignore a very noise environment.

So recording in a dead room is Very Highly Recommended. It's not unusual to need to record only after about 10PM or so. I have to do that because even though I have a terrific room, I also live next to a busy street and the room has a window.

One April First I posted an effects filter which would turn the garbage you shot into a studio production. It was a big hit. I need to see if I can find it.

There is one interactive problem I know of. I can't prove this but I think stiff noise reduction makesss sssibilanccce worssse. So if you already have a very bright and sparkly reading, Noise Reduction may push you over into harsh, gritty and screeching.

And we warn readers constantly to Export WAV (Microsoft) 16-bit sound files of any original readings. Move them to a safe place before you mess with copies. Cloud or thumb drives work.

Koz

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Re: AudioBook Mastering version 4

Post by kozikowski » Fri May 25, 2018 12:37 am

Here it is.
============================


20100401
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.

Enjoy

http://www.kozco.com/PAF/

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