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Viktor Mastoridis schrieb:
> I am really sorry if I asked something that I shouldn't have. I thought this
> list is for asking questions,
Oh come on Viktor - do not take this as an affront. Neither Eric nor
anyone else is trying to make you a laughing stock. It was just a
harmless little joke about a problem discussed amongst recording-people
ever since a microphone was build that was capable of recording pop-noise.
And in the end I am with Erics side: the best way to cope with pops is
to avoid them in the first place. But of course: everyone had a vocal
track in his/her life, that could not be rerecorded and was both great
and full of peaks made by pop noise.
Trouble is: it is quite easy to design a plug-in, that can eliminate
such evil but only as long as the quality of the remains is not
essential. To both eliminate the pops effectively and preserve the
natural beauty of the singers performance is complicated and I came to
believe, that this cannot be done by software acting automatically by
formal mathematical rules.
I use to repair such tracks using the fader-automation step by step
syllable by syllable - once upon the time it took me about 2h to make a
track of a femal country-singer with little experience with
studio-microphones mixable - in an Allison Krauss Coversong playing 2.5
min... But the result was painting a smile on the face of everyone
involved ;-) And exploring the wav-graphs of a track in deep,fine-tuning
every fraction of a second is some kind of meditation too ;-)
So to answer you question: I too recommend to use a simple mechanical
pop killer on the microphone and to repair already polluted tracks by
hand using the fader-automation....
best regs
HZN
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Received on Wed Oct 28 08:15:02 2009
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