Removing Background Noise

monkey man · Post by **monkey man** » Wed May 07, 2008 9:04 am

Dwetmaster wrote:
monkey man wrote:I've seen the future, and it has one redeeming feature: a rip-roarer of a DP for us all, an all-in-one powerhouse, a one-stop shop, a self-contained audio creation suite, the DAW to rule them all, an all-you'll-ever-need-for-most-any-project DP, an all-I'll-ever-want version of DP... an... you get the idea.
and then you see it...

900$.......

FOR AN UPGRADE!!!

LOL!

You know what though, Dwetster?
I'd still run DP, and those upgrades would logically comprise a plethora of component upgrades and enhancements, all in one convenient, non-conflicting hit.
The inherent stability one would expect in return for one's custom wouldn't go astray either.

Methinks it'd be worth the dollars these days... well, maybe 4 or 500 bucks anyway.
Think of the time you'd save alone by not having to root out conflicts.

PhireAlly · Post by **PhireAlly** » Wed May 14, 2008 5:39 pm

Another option is to lower the impedance on the mic-pre (if available) prior to recording.

bolla · Post by **bolla** » Thu May 29, 2008 10:51 pm

Thanks for the additional steps. I sort of gave the readers digest version.
I was recording one band (long ago) where the singer would freak out with headphones on. Using the speaker side on to the figure 8 at least got some usable vocals. He was even freaked out with this because it wasn't like the foldback from the live wedges he was used to. A lot of the record ended up being the lines he would sing between takes which we recorded onto 1/2" and spun back onto the 24. Those were the days

Cheers, Bolla

HCMarkus · Post by **HCMarkus** » Fri May 30, 2008 12:49 am

Environmental noise is not likely to be greatly reduced by this technique unless you are talking low frequencies, and then slight timing offset is often necessary to hit the null phase relationship. The trick is best used on leakage from a pre-recorded source, as in the case of the no-cans singer. Thanks for reminding us this useful benefit of digital recording.

Jim · Post by **Jim** » Fri May 30, 2008 11:13 am

Here's a tip I read about last week for no-can's vox: Set up two speakers in the vocal room, both equidistant from the mic capsule, facing the null of mic. Sum mono to both speakers, and flip ONE speaker channel out of phase. This should cancel the speakers at the mic, and allow the singer a loud mix for accompaniment. Obviously, you'd want to control reflections slapping back from the vocal booth back into the mic. I haven't tried it, but in theory it should work.

HCMarkus · Post by **HCMarkus** » Fri May 30, 2008 6:21 pm

Jim wrote:Here's a tip I read about last week for no-can's vox: Set up two speakers in the vocal room, both equidistant from the mic capsule, facing the null of mic. Sum mono to both speakers, and flip ONE speaker channel out of phase. This should cancel the speakers at the mic, and allow the singer a loud mix for accompaniment. Obviously, you'd want to control reflections slapping back from the vocal booth back into the mic. I haven't tried it, but in theory it should work.

It's the quick and dirty version. Playing back the track in a quiet room, flipping phase and re-combining will give much quieter results.