Not all clicks are visually obvious, but Figure 1b on page 56 shows a section of waveform with several problem areas that would cause clicks. If you're planning to do a 10mS crossfade, for example, you need to leave at least 5mS' worth of material either side of the click. The same is true if you make the crossfade too long, as you can see from Figure 1a. The important thing to watch here is that you don't make the edits too close to the click you're trying to remove - otherwise when you create your crossfade the click will be allowed to creep back in. If you're lucky, the tiny portion of audio you've lost in getting rid of the click won't throw the timing out. Use a short crossfade to smooth the join. Line up the edit points so that they occur on zero crossings and are in phase.First, create two regions, one stopping a few cycles before the click and the next starting a few cycles later.This technique is useful for clicks caused by electrical interference that cause effects lasting several cycles of the audio waveform. In the case of the latter, though, be aware that not all clicks may be identified correctly, and attempts to remove them may not all be seamless.įigure 1b: Various click problems.Even if you don't have specialised click‑removing tools, where clicks are readily identifiable and not too frequent it's generally possible to remove them manually, using simple edits and crossfades. The vast majority of us turn instead to something more affordable, such as Steinberg's De‑Clicker, though some general‑purpose editing packages also provide tools specifically for dealing with individual clicks. As a rule, the more expensive systems work best, with CEDAR probably being at the top of the tree in terms of both quality and price. There's some very sophisticated software available for identifying and removing clicks automatically, and if you have access to one of these dedicated packages I'd suggest you try it, to see if it can do the necessary invisible mends. One of the most irritating of the problems you might have to deal with is clicks in audio material, so the first thing I'm going to do this month is offer a few strategies for dealing with them. In the final part of his 3-part series on digital editing, Paul White examines some methods of removing clicks from a recording, before looking at how to burn a production master CD.Īs I've observed in earlier parts of this series, stereo editing occasionally means fixing problems as well as making artistic decisions.
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