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The Good News -

We Repair Audio

Its not always possible to get a sound recording as good as we would like. So often the visuals must come first, there isn't time to prepare, or the environment takes over, and social distancing has just made things worse. What do you do when you get to the edit and you really wish the take you want to use sounded better?

Having years of experience in Sound Post Production means we know the results you would like to have. We use these tools and methods in productions that we are working on.

Our repair skills can be applied to every type production, not just High End TV or Film. Not everything can be fixed completely, but in most cases the results are impressive and usually save the take. Can we fix it? Yes we can! Well, at least we will have a pretty good go, so contact us!


admin@the-digital-audio.co.uk
01756 797100

Here is just a selection of what we fix...


Noise Removal

Noise can be anything that masks what you really want to hear for instance: constant noise like distant traffic over someone talking, or tape hiss under music. If it's constant noise like distant traffic or hiss, then having a few seconds before or after what you want to use means we can take a snapshot of that noise and be more effective its removal. If the noise is changing, then we just have to work a bit harder! We have different starting points for speech or music.

Hum Removal

Mains hum or lighting buzz can get everywhere and is not necessarily created from an acoustic source. We can filter a fixed (e.g. 50Hz mains) or moving fundamental, complete with up to 16 harmonics. This is not just for TV/ Film, but guitar amps etc in studio and live recordings.

De Clothes Rustle

You have a great take, but the mic was rubbing against clothes. You no longer have to go for second best or ADR. This is a great repair tool.

De Wind

Outside and the wind picks up. Even the best wind gag doesn't stop all the wind noise. This will also deal with boom handling rumble and similar low frequency noises.

De Mic Pop

You think you've set the mic at the correct distance, and even with a windshield the mic 'pops' on the take the director wants to use. Don't panic, the adjustments on this are very fine and we will usually treat each 'pop' separately rather than a blanked setting. This can be used to take out bumps from a boom mic as well.

Dialogue Isolate

You really need to hear the dialogue, but there's random noises going on. The software we use for this has learned the sound of the human voice from thousands of samples. It can then pick out the voice from the noises to improve intelligibility; very clever. By reversing the processing, a voice can be removed fairly successfully, so we can rescue a lot of sync sound when you ask us to do your M & E tracks.

Music Rebalance

Not immediately obvious how useful this, except when mastering. So, the director wants a piece of source music under some dialogue. The vocal in the track fights the dialogue but the director wants the music louder. Step in 'Music Rebalance' and we reduce the level of the vocal in the track; everyone's happy. Useful for increasing the rhythm section in those chase sequences, and removing the vocal for Karaoke at the wrap party.

De Click

Not just electrical clicks, but those annoying lip smacks as well. You will not appreciate how annoying they are until we take them out!

Phone / Internet Improvement

In these times of non contact more audio is being sent to post production over the phone or internet. Often the frequency range is limited. We have the tools to reconstruct the missing high frequencies which improves intelligibility, as well as the noise removal tools above. Very useful tool if the new recording needs to match with previously recorded material.

Your Questions Answered

1Why Bother?

Because Sound Matters

I would guess that more people complain about poor sound than poor pictures. Clear dialogue, whether it be in a dramatisation or a documentary is a must. If you struggle to hear a line, you often miss the next as you are trying to make sense of the first. (As a dubbing mixer this is also about volume and tonal quality, but don't get me started unless you are asking for us to do the whole soundtrack!)

2How Successful Are You?

Removing noise completely often leaves processing artifacts. But then removing noise completely is unnatural. We try and find a compromise between intelligibility and sounding natural. This is where our years of fixing audio in productions that have come through our doors helps.

3I only have a problem with one clip.

Then you had a good recordist and it would be a shame if one clip spoiled the job. No problem, but maybe send a good take as well and we'll match them up.

4What Does It Cost?

We work on length of material to be processed and the processing required. Steady state noise is quicker to remove than going through removing mic thumps.

5How Can I Send My Audio?

The easiest way nowadays is via the internet. A file transfer service like WeTransfer can be used. Sharing folders in Google Drive or Drop Box is alright, but it has been known for customers to update their files AFTER we have downloaded them.

The format can be WAV or AIFF. 16 bit or 24 bit. Sample frequency of 44.1k or 48k. Higher sample rates can be accommodated. Please do not 'normalise' your files, leave them at the original recording level, or the level you have them in your time line if you have already started editing.

Alternatively, you could try sending an AAF of your timeline with some notes of where you need fixing. If, for instance, this was a complete scene where the takes have different levels of background noise, we could fix them keeping your edits and send you back an AAF for you to mix.

6Is it just for Film and Drama dialogue?

NO!

We repair sound of all sorts. The first time I used this software was for a live music recording that had technical problems. Just think how much better a documentary would sound with cleaned up vox pops.

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RX Software


Our main weapon for Audio Repair is RX by iZotope. If you would like to learn more about how we were first introduced to it, click on the picture of the steam whistle below. There is also an explanation why the link is a whistle image.

Two whistles on Hunslet loco Linda
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What Our Clients Have To Say...

  • "Wicked job Dave, I have loaded in and sounds great."
    Tom Newman - Editor for: We Go In At Dawn

    Sound Post Production by Dave Aston

  • "The Fat Cats Master sounds amazing, brilliant job as always."
    George Stackhouse - Rawkus Redz

    Audio Mastering by Dave Aston

  • "We have amazing news from Hollywood! “I wish I went to Ecuador” won Best International Animated Film at the prestigious Hollywood International Family Film Festival this weekend! Congratulations!!!"
    David Bunting - Producer - I Wish I Went To Equador

    Sound Post Production By Dave Aston

  • "By the way, the CD sounds absolutely awesome and the cover print has turned out beautifully accurate! Cheers"
    Phil Allen - The Idle Hands

    Audio Mastering by Dave Aston

  • "It's wonderful. You've done the most amazing job."
    Denise Silvey - Producer of Jack and the Beanstalk Online Panto

    Sound Post Production By Dave Aston

  • "Thanks so much Dave… as always, your work transforms the song! Much appreciated."
    Andy Silver - Founder and Director – Pop UK

    Audio Mastering by Dave Aston

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You Can Trust Us


The Digital Audio Co is a partnership owned by Dave and Sharon Aston. Although the company is run on Christian principles, we are happy to work with all faiths and none. We are often the last creative process in the chain, and understand the responsibility and trust that clients place in us.

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