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BIAS Sound. Soap Pro 2 . The new version 2 adds some major new features, the most significant of which is an 'adaptive' broadband noise. Sound. Soap Pro 2 is cross. The processes are arranged from left to right in the order in which they are most likely to be required: Hum & Rumble filters, Click & Crackle elimination, Broadband noise and finally Noise Gate. The crackle, hum and gate sections are pretty much the same as in the original Sound. Soap Pro, though the user interface has been streamlined, with new tooltips and display features, but there's a new 'ANR' adaptive mode in the broadband section. As we've covered Sound.

Soap Pro in its original incarnation, and the full review is available to read for free on our web site (/sos/feb. I'll concentrate mainly on the new features in this review. While some restoration software, such as the excellent Sonnox Suite, encourages forensic adjustment to optimise performance, Sound. Soap Pro has always aimed to make setup as simple as possible, though in my experience some user adjustment is still necessary to get the best results from it. For example, Sound. Soap Pro uses a 5.

The threshold and noise- reduction faders can either be left locked, so that moving one moves all together, or they can be unlocked to allow individual adjustment. One of the most obvious uses for noise. Newtek Keygens Free read more. ANR is clearly useful for audio that has been previously trimmed to remove any 'noisy silence' at the start and end of the file, but it is also effective where the noise gradually changes in character throughout a recording.

In all modes, the user can solo the part of the signal identified as noise, using the Noise Only button, so it is possible to check that no significant part of the wanted signal is being removed. As well as the automatic ANR adaptive noise reduction, there's also an adaptive noise Extraction mode that requires some adjustment by the user, the purpose of which is to extract a noise profile from an audio track with no exposed noise. Another new feature is the Preserve Attacks tick- box that makes the noise- removal process kinder to transients. As I understand it, this applies less noise reduction during transients, to minimise apparent treble loss. The Learn button, normally used to create a profile from a noise. This mode is best suited to audio where no noise. If the noise is reasonably constant, a slower Speed setting produces the best results.

Once the noise profile has been extracted, it is used just as in earlier versions where you had a noise. The user can also manually choose the section to be analysed in Adaptive mode, using the Timed Extraction button (the clock icon immediately to the right of the Extract button) to start and stop the analysis manually, rather than letting the software decide. This may be appropriate where the section of audio is shorter than the automatic analysis time or where the user feels it beneficial to average the noise over a longer period of time.

Fully automatic Adaptive mode, accessed by selecting Adaptive but not subsequently pressing Extract, attempts to create a changing noise profile on the fly. During fully automatic noise removal, the Speed knob determines how quickly the process follows a changing noise spectrum. Again, the slower you can set this, the fewer artifacts are likely to be generated. During my tests, I needed to set the control past its midway position to avoid chirps and warbles. The individual threshold sliders are not available in Automatic mode, as the software is constantly adjusting them but there is an Offset knob that can be used to move the overall noise profile up or down by a few d. B. There are also attack and release controls that set the time constants for the noise- reduction process when the signal crosses the threshold in each frequency band. A further pair of controls called Attack Tilt changes the attack and release time between the high and low frequencies, so that the time constants are shorter at high frequencies than at low frequencies.

BIAS Sound. Soap Pro 2's crackle and hum sections work as before and are reasonably effective in improving problems such as vinyl surface noise and mains hum. The gate, too, is very straightforward, and would normally be used to silence sections between wanted parts of the audio file where no signal other than residual noise is present. As a fingerprint noise. As long as you could find a noise. The new modes make the software more versatile, as it is no longer imperative to find a section of exposed noise to analyse, but if you can find a few seconds of exposed noise, and the noise is essentially consistent, this mode still produces the most natural results.

The new Extract mode works in essentially the same way as the original noise fingerprint mode, except that a viable noise profile can be created where no exposed section of noise is available. Free Burn Fat Feed Muscle Program. As long as the noise is consistent and the speed setting is set past midway, this works almost as well as having a noise. For example, noise is often the most intrusive in the upper- mid range, whereas above 7k.

Hz it becomes less noticeable, so if you set less gain reduction both at lower frequencies and above 5k. Hz or so, there tends to be less 'burbling' and less apparent loss of high end. The fully automatic Adaptive mode works adequately well as long as you don't set the Speed knob too fast, as this can introduce audible artifacts. As ever, if you try to attenuate the noise too much, the dreaded 'chirpy and bubbly' artifacts start to appear, though tweaking the gain. I found that adjusting the individual gain. From watching the noise profile as outlined by the threshold faders, I found that Sound. Soap Pro 2 seems to assume there is more noise than there is when the wanted signal level falls.

If you can hear the noise removal working in Auto mode, therefore, it is worth also adjusting the Offset control to bring the threshold down a bit, so you can set the subjective best balance between minimising the noise and changing the character of the audio. Remember that in this mode you can't access the individual threshold faders, as they are always moving under software control. To test the Adaptive mode's ability to respond to a changing noise floor, I created a multitrack project including normalised recordings of guitar amplifier hiss, computer fan and drive noise, and circuit hiss. Using mix automation, I then arranged for these to change in balance and level and added them into my clean audio at a level of around . Letting Adaptive mode run entirely automatically, the start of the audio sounded distinctly watery as the algorithm struggled to generate a noise profile, but after a few seconds, it settled down and seemed to work pretty well. To minimise this problem in real life, it would be practical to copy 3.

Sound. Soap Pro 2 to stabilise before it reached the wanted section of audio. This could then be trimmed off again after denoising. However, Adaptive mode didn't respond well to fast changes in noise, as setting the Speed control lower than halfway made the audio sound very watery, and longer settings took 1. In other words, don't expect miracles where the noise level and/or spectrum changes radically. Even on slower speed settings I found the audio sounded a little artifact. I don't think BIAS would ever claim that Sound.

Soap was the most effective restoration plug. However, not all competing plug.

One that can is Waves' Z. If you don't ask too much of it, Sound. Soap Pro 2 can bring about significant improvements in all kinds of noise contamination without demanding too much in the way of expertise from the user.

As with much of the competition, it struggles to keep the audio sounding natural where the noise contamination is high in level, but for modest amounts of circuit or tape hiss, or noise from air conditioning, computers and cameras, it can work effectively, and it really doesn't take long to learn how to tweak it for the best results. Although Sound. Soap Pro 2 can't be considered a magic bullet to fix all noise contamination issues, its automatic Adaptive and noise Extraction modes make it more useful than ever, as you often get audio to deal with that has no exposed noise. Each of these is then fed through an expander circuit, allowing signals falling below a certain level to be muted or attenuated. It would be impractical to set hundreds of separate thresholds manually, so instead a noise 'fingerprint' or profile is taken by analysing a short section of audio containing only noise, usually from before the start of a piece of audio or during a pause.

The amplitude of the noise within each frequency band is measured, and this is used to set the threshold value for that band. There's usually a facility to audition just the sound being removed as you adjust the overall threshold, so you can hear when parts of the wanted signal are being affected. This was how the original Sound. Soap worked. The next stage of refinement is to allow the software to analyse a section of audio and to use an algorithm to try to estimate what is wanted signal and what is noise. Real audio is constantly changing but noise tends to be either reasonably constant or slow. The capture time will vary depending on the material, so in some systems the software decides how much audio it needs to 'see' to get a reliable result but gives the operator the option to change this if necessary. The noise data is then used to create a noise profile based on the average noise amplitude and spectrum over the sampling period.

The clear benefit of this method is that you can work on audio that has been trimmed to remove any noise. Daa Conference 2010 Program Tv. It can also be helpful on occasions to choose a section of audio where the noise is most exposed when creating a noise profile.

However, it is only really effective when the noise character is fairly consistent.