![]() ClickFix's output must be inverted before proceeding. Sonic Foundry automatically inverts the retained clicks. no Younglove decrackling run after major declicking), and if you do it with some tool, like ClickFix or Sonic Foundry, that has a "keep clicks only" option, you can use that option to end up with a file containing just the removed clicks, no music. If your declicking of choice is a one step process (e.g. Over declicked is better than under declicked, but anything more than necessary just increases the time and effort of correction. From here, we can eliminate the destruction and tidy up the proper declicking. The ideal is a perfectly declicked file, but as the starting assumption for this journey is that perfection cannot be achieved via automatic declicking, we strive for a file that is so adequately declicked it needs little or no additional declicking, while not being too badly destroyed from over processing. This can be one step of declicking or as many steps as one wishes, especially including the Younglove decrackling process. The declicked working file is what comes out of automatic declicking. If using the Sonic Foundry declicking plugin, you must uncheck ‘remove subsonic rumble,' or probably better, first processing the file with ‘remove subsonic rumble' checked but with the three sliders all the way to the left. Any and all other processing can be done either before or after the declicking, just not between the baseline file and the declicked working file. This means that between the baseline beginning file and the declicked working file one does no noise reduction, no equalization, no normalization, no whatever. Proceedings are much easier if one involves only declicking in this adventure. To use this approach, one needs to check ‘limit playback to: mono' in the device settings. If you are blessed with a recording in good enough condition, simple manual declicking will take less time, but for a bad to terrible disk, this second approach is easier and offers better results. It is a variation of a technique introduced by Alofoz, but adapted to allow virtually absolute control. It is adaptable from the extreme of just preventing the worst of automatic over processing to the extreme of striving for click removal perfection. The second method is a bit more complex but can demand less intensive effort than strict manual declicking. More importantly, however, one can stay away from almost all legitimate musical transients, resulting in no dulling or loss of impact. This difference is frequently fairly subtle but it is real and often enough the difference isn't subtle at all. Manual declicking often does a better job on any individual click than is possible with automatic declicking. The straightforward method is to do only manual declicking. It is still as Graeme said, "that you can't get 'something for nothing' ", but for more time and effort you can get better results. Almost flawless results are possible if the source LP is in reasonably good condition. I myself only do this for extreme cases.Īlthough all declicking aalso removes good material, there are two ways around most of that problem. Perhaps they won't even want to know how much good material goes ‘out with the bath water,' but if your results are not satisfactory, there is a better way. Most people will decide that the automatic declicking they now use is good enough. The recent post about the destructed drum attacks goaded me into action. I held off writing this up for quite a long time because I suspect it will have very limited appeal. ![]() I don't use it often, it usually isn't necessary to get very good results, but it is a method that lets you know exactly what you are doing to the file. ![]() It is quite labor intensive but can be faster than straightforward manual declicking. I will copy here a post I made some years ago discussing a technique I worked out with CoolEdit/Audition. Reissues of LP on Cd are often quite different. ![]()
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