You’re trying to make sleek and shiny club music, but can’t seem to escape the vintage charm that's eating up headroom. Whether you grab your samples from Splice, old VHS tapes, or dusty records, a common situation often occurs: you come across what should be the perfect complement to your song, but there is a layer of noise baked into the recording that influences the music too much and masks other elements.
#IZOTOPE AUDIO EDITOR BOUNCING FILES HOW TO#
Learn more about remixing and US copyright law in our article How to Remix a Song. So before sharing your remix with the world, be sure to take the appropriate legal steps.
Note: though I am no copyright expert, you do need permission to distribute songs that contain parts of other people’s music. The saturation and reverb smudge the ticks and make them hard to ignore, whereas the cleaned up version maintains a much tighter overall sound. It's a subtle, but important change, since further processing of the percussion loop will amplify the ticks and introduce unwanted consequences, which you will hear in the second example. In the first audio example below, you’ll hear a percussion loop with some ticking sounds, followed by a cleaned up version that has been passed through De-click. I rely on De-click, De-hum, De-reverb, and De-bleed-which do what their names imply-to get rid of anything that doesn’t need to be in a sample.
#IZOTOPE AUDIO EDITOR BOUNCING FILES SERIES#
RX has a series of modules designed to remove these annoying sounds without the harmful signs of editing. If we tuck the drums further back to hide the noise, however, we lose their rhythmic power. A drum loop with wondrous groove but lots of ambience might be too distracting at the forefront of a mix. Unusual noises, clicks, and tones in samples restrict our creative options and often require some kind of sonic sacrifice to use. Occasionally, these imperfections add to the overall character of our music, but there are many scenarios where they also make producing a frustrating process. There might be a singer’s grunt in a drum loop, a trumpet squeal at the end of a four-bar piano sequence, or an out of tune note that we somehow have to make work in the context of our song. Part of what makes sampling so fun is working within the limitations of an audio source.
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