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anyone familiar with Adobe Audition here?



 
 
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  #11  
Old April 24th 19, 02:54 PM posted to rec.audio.pro
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Default anyone familiar with Adobe Audition here?

Of course, that may not be fair as I have never tried
> the complete plug-ins available for Audacity so there may be better NR
> out there somewhere.


try a spectral editing tool.

Audacity has one.

but you will have to make all the fixes by hand.



m

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  #14  
Old April 24th 19, 06:13 PM posted to rec.audio.pro
Mike Rivers[_2_]
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Default anyone familiar with Adobe Audition here?

On 4/24/2019 1:01 PM, Don Pearce wrote:
> The NR is pretty good, but really, don't try for too much. You get a
> choice between a slightly hissy background, and a really horrible "tin
> can" effect.


He's working with a recording of a short wave radio transmission of a
time signal. The "tin can" effect is baked in already.

--
For a good time, call http://mikeriversaudio.wordpress.com
  #15  
Old April 25th 19, 08:28 AM posted to rec.audio.pro
geoff
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Default anyone familiar with Adobe Audition here?

On 25/04/2019 1:24 AM, JBI wrote:
> On 4/24/19 9:18 AM, JBI wrote:
>> On 4/23/19 4:35 PM, Mike Rivers wrote:
>>> On 4/23/2019 2:55 PM, JBI wrote:
>>>> The background hiss varies throughout the file since the radio
>>>> carrier wave became stronger and also faded at times.
>>>
>>> "Adaptive" noise reduction seems appropriate. The trick is to apply
>>> it gently as you have, and then repeat until you've reduced the hiss
>>> to a tolerable level or distorted the program material to an
>>> intolerable level. You can't have one without the other.
>>>
>>>
>>>> 2)* There is a five second beat that occurs within every minute
>>>> throughout the entire file (every 50 seconds).
>>>
>>> By "beat" do you mean a tone? If you can find a sharp enough notch
>>> filter, you might just be able to filter it out, or get it down to a
>>> tolerable level. If you need to paste over it, be assured that just
>>> about every DAW program does an automatic crossfade at the beginning
>>> and end of a spliced-in section. You can usually adjust the crossfade
>>> time if you need to, and you might, to get the patch to be less
>>> noticeable. I can't tell you how to do that in Audition, but RTRM.
>>> Usually it's a matter of zooming in to the splice point and dragging
>>> a little "handle" at the top or bottom corner of the crossfade area
>>> to change its length and slope.
>>>
>>>> 3)* Finally, there is a beat every second that occurs throughout the
>>>> entire song.* In between the beats, there is one second of
>>>> background silence/ noise.
>>>
>>> Hmmm . . . . this is beginning to sound like a time signal.
>>>
>>>

>>
>> LOL yeah, you got it.* What happened was that I got a really good one
>> hour capture, but you know how the time is announced at the end of
>> every minute.* Well, I wanted two hours of clear capture.* The first
>> hour was actually remarkable.* None of the SDR stations I used were
>> actually close enough for consistent signals, so I've had to depend on
>> propagation conditions and then got lucky.* Their SDR's are user
>> limited, so I just couldn't start recording and let it go or I would
>> be cut off unexpectedly.
>>
>> So that meant, unless I wanted to spend days getting another lucky
>> day, I wondered how difficult it would be to take a sample of the next
>> hour and then combine it with the minutes of the good sample I have.
>> I think this will be possible; it's just to take a lot of time for 60
>> changes. I had hoped to take the overdub, which would be the same for
>> every minute.... "At the tone, 16 hours...", and then put the same
>> spacing between each sample over the hour.* I guess I'll just
>> duplicate it and then carefully move each sample into position.* The
>> good news is that the time stations already have their ticks, making
>> alignment easy.* I just have to do it 60 times.
>>
>> Just for fun, I've come across another time station out of China
>> called BPM.* It's a lot tougher finding any close SDR's, but again got
>> lucky. The good news is that there are no announcements per minute,
>> only on the hour, but I still had to string together a minute of
>> perfect 125 Hz sub tones, and I had to obtain these from several
>> captured samples.* I did manage to do that all in Audacity and saved
>> frequently just in case the program froze.
>>
>> Thanks for your help.* I guess I'll fire up Audition and get this done
>> before my trial expires.

>
> Also, just wanted to add, that I've never been all that impressed with
> software noise reduction.* I've only ever used it sparingly over the
> years, but, more often that not, I've taken near noise free harmonics
> from one part of a song, and then mixed them over another part that was
> more noisy.* That can sometimes be tough and impossible; then I'll turn
> to NR but prefer not to use it.* One thing that has helped is that the
> NR algorithms have improved over the years.* I see that Audition's NR is
> a lot better than Audacity's, for example, so the latter is what I'll be
> using this time.* Of course, that may not be fair as I have never tried
> the complete plug-ins available for Audacity so there may be better NR
> out there somewhere.
>


Dunno about the others, but is a steady uniform background noise, in
SoundForge with it's NR2 (and prior) modules, you take a 'noise-print'
from an otherwise blank area, and it applies that in an inverse way to
the wanted signal (gross over-simplification there of course).

geoff
  #16  
Old April 25th 19, 02:27 PM posted to rec.audio.pro
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Default anyone familiar with Adobe Audition here?


> >>>
> >>>> 3)* Finally, there is a beat every second that occurs throughout the
> >>>> entire song.* In between the beats, there is one second of
> >>>> background silence/ noise.
> >>>
> >>> Hmmm . . . . this is beginning to sound like a time signal.
> >>>

>


OP if this is a time signal station it's not a "song".

And you do have as many opportunities as you want to re-record this.

m




 




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