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Restoration Techniques

Here you will find a description of some novel noise reduction steps devised to try and get the most out of poor quality recordings in addition to more typical practices. In the end, experimentation as well as trial and error seem to be the key to success with some recordings. If at first you don't succeed and the outcomes don't meet your expectations, then be prepared to try and try again! (and again! ...)

Each step presented is accompanied by one or more examples to help you decide if you think the process is worth your effort. Keep in mind, these noise reduction examples are based on my personal preferences. You may prefer more or less noise reduction and other filtering effects.

The general approach used for all recordings follows this basic path:

  1. Pre-record the recording using a 2.8-3.0 mil stylus (or make several recordings as appropriate) if the record is rare/valued or damaged in any way.
  2. Clean the record with a warm lightly soapy solution, rinse well and dry off immediately.
  3. Pre-play the recording with a small stylus to remove any residual grit from the grooves (repeat this as appropriate).
  4. Make digital recordings of the record with the optimal stylus size. I find this step difficult, so I prepare several records for transcription and try each one with the first stylus size, digitally recording only those that are suitable. I then change over the stylus and re-play the batch of records again. I repeat this until I have found the optimal stylus size for each record and made a digital transcription (it minimises the number of times I have to change the stylus). Where a record reproduces poorly with a particular stylus, I stop playing it and start on the next in the stack that I am transcribing. Only record what works best.
  5. Run several generic impulse noise filters over the file, reversing it between runs.
  6. Perform more aggressive automated impulse noise filtering (including narrow crackle filtering) on selected areas of the recording (Eg, quiet passages, sections with no brass/male voice).
  7. Perform Equalisation
  8. Perform Dynamics processing (suppression) of loud and distorted passages.
  9. Perform manual interpolations/de-clicking and distortion noise reduction.
  10. Perform Broadband noise reduction using the Fast Fourier Transform(FFT) continuous noise filter (CNF).
  11. Perform any additional enhancements and missed impulse noise removal.

It is a good idea to keep a copy of the original sound file and the de-clicked sound file in addition to the final version. That way if you change your mind about the noise reduction outcome, you can go back to the equalised de-clicked version and a significant amount of the work is already done!