Quote:
Originally Posted by Chipotle
Automated tools can be helpful, but many times such repair comes down to tediously fixing spots by hand to get the best result. For example, the aforementioned spectral editing can work really well for squeaks, but since every squeak is different, you have to tweak every one individually. Same with noise, crackles, sibilants or plosives, etc. etc. Some spectral editing here, a bit of dynamic compression there, a volume envelope adjustment there...
Bob Womack has posted some stories here about working magic on absolutely trashed audio, but it takes a lot of effort. As you've surmised, getting better takes in the first place saves a lot of work in the end.
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I started trying to edit the squeaks individually, but there were simply too many of them, and doing it unobtrusively on the mix required selecting not just the time but frequency (moves depending on the specific squeaky strings), since that particular RX module does not seem to have enough fine tuning capability to not leave a big hole in its aftermath, otherwise.
Squeaks are generally too long for the spectral repair module (operating in a mix) because the surroundings are not constant enough. Clicks and such are pretty easy, and sibilance can be done, but also needs to be bounded both time and frequency, though vocal sibilance doesn't move around as much, i.e., like the squeaks, in frequency for a vocalist (IMO/IME). And there are often only a few that stick out in a mix.