Logic pro noise reduction plugin1/13/2024 ![]() there's more of a 'right answer' because you're just fixing the audio. ![]() Things like pitch correction, timing correction, noise reduction are more likely to be 'do it once and forget' operations because you're hopefully not going to be agonizing afterward wondering if you used the right parameters. Having a ‘rock solid’ methodology in place is going to become vital to the success of future mixes for us all. A lot of the real time plugins in logic are effects whose parameters you might want to adjust later. I think when this happens, this ‘noise reduction first’ workflow will become standard practice everywhere, since it offers editors and mixers the opportunity to roll back or increase the depth of noise reduction nondestructively. Take a noise reduction tool like those in iZotope’s RX, for example. At their best, AI-powered plugins tend to support the creative decisions of the music maker, rather than attempt to overrule them. My prediction is that as neural network-based software continues to develop and computers get more powerful, the real time tools will get better and better but probably require significantly more system resources. Clear up and improve your audio quality with noise reduction, de-essing, and a fade in/. Machine learning involves, essentially, educating a plugin to recognise things so that it can make decisions on how to respond. It allows you to repair audio where these types of artifacts can be easily removed without effecting the recorded. I settled on using DialogueEnhance by Accentize, as it’s a fairly new tool and made for a quick, easy demo. I doubt this would work for this, but for this type of issue I use Izotope RX4, a plug-in with stand-alone application (can be used outside your DAW) for post production which has de-hum, de-crackle, de-noise & de-click features. Whether it was using offerings by Waves or iZotope or by Accentize, I found exactly the same issues manifested themselves. I tried a few noise reduction plugins as I was experimenting for this video and really, I kept coming to the same conclusion. I find in this workflow, I EQ and compress less than I do if noise reduction comes in later and don’t hear the noise reduction ‘pumping’ the noise and the dialogue as much. If you think about it, the signal processing chain where the noise reduction happens first means that we are in effect ‘cutting’ away things we don’t like about the recordings we’re trying to repair. ![]() That would open up the compressor a lot and allow things to retain a little of their natural punch. If I was going to put my noise reduction after a compressor, I’d likely want a low frequency filter in first in the chain, to carve away the heavy bottom end load. Dialogue pumps a little more and ultimately sounds a little buried if it nails a compressor too early. In effect, I’m mimicking offline noise reduction, which happens at the clip level, prior to any real time plugin instances. To my ear, placing noise reduction after compression in the chain can result in a less dynamic, less bright sounding track. I like to process noise reduction before anything else.
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