The application of digital processing technology is very common. However, although digital technology looks very powerful, it does not solve all the problems. Your voice is analog, many instruments are also analog, the sound waves move in an analog way, and, most importantly, your ears are also simulated!
Regardless of how powerful your plug-ins are, the issues listed below are unresolved.
1. The dynamic range is too low
If your recording level is too low, or if the number of digits in the digital resolution is not enough, the recorded sound dynamic range will be narrow and the noise floor will be relatively increased. In reality, there is no plug-in as a "bottom noise canceller". Some buzz can be modified, this is just a landscaping to make the noise floor less obvious, and it will not improve the dynamic range of the sound.
2. Distortion (clipping)
Distortion can occur in many situations. One of the obvious audible ones is clipping, which often occurs when the input level is too high. When the original waveform changes, the signal is distorted. Looking at the spectrum, a lot of harmonics (overtones) are introduced into the signal. Some clever algorithms can reduce "clean up" clipping to an acceptable level. However, for the discerning listener, the distortion will still be heard. If other distortions appear, there is no possibility of being corrected.
3. Distortion (intermodulation)
Another type of distortion that cannot be corrected is caused by intermodulation (Intermodulation IM). IM usually generates and adds some extra low frequencies into the spectrum. By the way, this may also appear in the microphone. Just record a tambourine and listen to your recordings carefully. You can check the performance of the mic in this area and you will find that the distortion is difficult to avoid. Using a high-pass filter may help, but of course the filter also changes the frequency response of the microphone.
4. Comb filtering
Comb filtering can be heard when the same source is recorded on the same track by two microphones with slightly different distances. The name of the comb filter describes that the resulting frequency response pattern looks like a comb. If the source is moving, there is no chance at all to compensate for random high and low variations in the frequency response range.
5. Bad mix (How to restore the mix?)
If you find that the sound after mixing is not good and you are not using automatic mixing, it is difficult to fix. There are studies that work hard to find viable algorithms from the direction of semantic audio. But for now, it’s more fun to find.
6. Acoustic environment is bad
When recording acoustic instruments, especially orchestra ensembles, the acoustic conditions of the scene can be said to be a fundamental part of the entire sound field. If you record in a room with a long reverberation time, the reverb will not be subtracted. If the reverberation time is short, you can add artificial reverb for compensation. However, the performer may compensate for the lost reverb by increasing the vibrato or playing a louder sound, and the result is not the same as playing in a good acoustic environment.
7. Low resolution file
When making digital recordings, remember to save with the highest possible resolution (24 bit is better than 16 bit) and linear file format. Once the recording is saved as a lossy compression format it will not be restored. No system can recreate the data that has been discarded.
8. Insufficient isolation
In multitrack recording and downmixing, there is a high degree of isolation between the tracks. This will increase the freedom of mixing. Insufficient tracks will not bring any benefit to the mix; the final recording will lack clarity and transparency, and no digital device will improve it.
9. Geometric distortion
When placing a stereo or surround microphone, the goal is to make the sound sound clear and the source positioned correctly. Sometimes more microphones are added to establish the correct balance of music, such as between different instrument groups of the orchestra. However, while increasing the number of microphones, if you are not aware of the negative effects, the final result may be very blurred and the source location will be very blurred. There is no digital processing to redefine the geometric position of the recording.
10. Wrong microphone selection
If you select the wrong microphone at work, the dynamic range will not be increased or adjusted, the lost frequency will not be added, and the sound will be reduced due to poor resolution. The “mud†cannot be reduced because there is no button called MUD ±10. You may be able to compensate for the tone of the tone or microphone, but that's it.
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