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Gear / Technical Help => Post-Processing, Computer / Streaming / Internet Devices & Related Activity => Topic started by: rigpimp on June 18, 2023, 05:40:09 PM
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Does anyone have any experience using this and either working around or reconstructing the low end? It removes the wind rumbles but strips the low end along with it. I finally gave up and am just applying it lightly to dialog in between tracks
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EspeciallyI'm curious about this too, especially because I was at a windy outdoor show yesterday.
I used wind removal on a different program before, but it was basically just a high pass filter, and if I set it high enough to get rid of all the wind it got rid of most of the bass as well.
If anyone knows the best program or settings to use, please let us know.
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Have you tried this in Adobe Audition? It worked well for me.
Effects > Filter & EQ > FFT Filter > Kill The Mic Rumble
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In Izotope RX, you can see the wind rumble in the spectrogram at the very bottom of the display. You can paint over it with the paintbrush tool and select attenuate in Spectral Repair. You may not get it gone completely but by reducing it substantially, listening back is more pleasurable. You can also do this with some crowd noise that is overpowering the music.
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I've not used any DeWind tools myself, but most wind noise reduction has historically consisted of chopping off low frequency content with a highpass, which is the range most affected by wind. The Audition FFT tool is a form of EQ filter, with the "Kill The Mic Rumble" setting likely acting as a high-pass filter. If really bad such that it includes higher frequency wind noise as well, low cut filtering may not be enough.
Spectral Editing is most likely to preserve low bass, and potentially work better when there are higher frequency components to the wind noise, albeit at the cost of having to manually apply it wherever needed.
If you can sufficiently rid it of rumble with a low enough high pass filter to get something clean but bass weak, you might then try applying a bass manipulation plugin which generates subharmonics based on the remaining higher frequency bass content. Some of those are intended to do the opposite in creating bass harmonics above the fundamental to make the bass more easily audible on tiny speakers, yet may feature a preset that does the opposite, generating sub harmonics rather than upper harmonics. Not sure if this will work and may be fidgety to get set right, but perhaps worth a try.
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In Izotope RX, you can see the wind rumble in the spectrogram at the very bottom of the display. You can paint over it with the paintbrush tool and select attenuate in Spectral Repair. You may not get it gone completely but by reducing it substantially, listening back is more pleasurable. You can also do this with some crowd noise that is overpowering the music.
This is completely unnecessary since something like RX 6 or RX 7. They have a De-Wind module that does it for you. You pretty much just set the top of the affected frequency and determine the amount of reduction you want. The challenge is that it really just acts like a "smart high pass filter" and I don't want to strip the entire low end of the spectrum. Has anyone tried using RX to reconstruct or extrapolate corrected bass response after something that acts like a high-pass filter?
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In Izotope RX, you can see the wind rumble in the spectrogram at the very bottom of the display. You can paint over it with the paintbrush tool and select attenuate in Spectral Repair. You may not get it gone completely but by reducing it substantially, listening back is more pleasurable. You can also do this with some crowd noise that is overpowering the music.
This is completely unnecessary since something like RX 6 or RX 7. They have a De-Wind module that does it for you. You pretty much just set the top of the affected frequency and determine the amount of reduction you want. The challenge is that it really just acts like a "smart high pass filter" and I don't want to strip the entire low end of the spectrum. Has anyone tried using RX to reconstruct or extrapolate corrected bass response after something that acts like a high-pass filter?
You might be able to train the "sound remover" module in Adobe Audition on the wind work. Keep the FFT high. I use that for click tracks on IEM recordings, it's a semi-intelligent noise reduction.
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Does anyone have any experience using this and either working around or reconstructing the low end? It removes the wind rumbles but strips the low end along with it. I finally gave up and am just applying it lightly to dialog in between tracks
The standard versions of RX (which I have) do not include the De-Wind module so I can't speak to that. But aside from one of my previous posts in this thread, you piqued my curiosity and I started some searches elsewhere. In a discussion of the De-Wind module on Reddit, one poster said he doesn't use the De-Wind module because it takes out too much of the music spectrum in that frequency range.
Instead, he suggested using the Spectral De-Noise module and highlight the wind in the spectrogram view and click "Learn". Then apply it to the recording. He indicated it may take a time or two to get it right. I haven't tried it but perhaps this might help.