This is the snapshot of noise that you captured in the previous step. Notice the spectrogram at the top of the window.
And, as usual, the wrong settings will really mess with your audio quality. With the right settings, this can be a lifesaver. The second adjustment is “Q” and determines how wide the notch is. Tune this to the frequency area that’s making you nuts – it may take a few tries to find the right spot (Figure 5). Usage is the same as the previous filters, only this time you have two adjustments to make. If your audio recording has one constant noise that’s driving you crazy – like the whine of a small office refrigerator – try a notch filter instead. The human voice doesn’t carry much above this point anyway, but you have to decide on an acceptable cutoff frequency. The low-pass filter cuts audio frequencies above the control setting, so now your challenge is to find the best balance of hiss reduction and crispness. Usage is similar, only this time, start the control slider in the 12,500Hz region (Figure 4). If hiss is the enemy, try the low-pass filter instead (Figure 3). The high-pass filter cuts off any audio signal below the control setting, and it works well for low-frequency sounds like rumble and some wind noise. This is a good starting point, but adjust for the best balance of noise removal and sound quality. In the Effects Control section, open the high-pass filter and move the control slider to the 90Hz area (Figure 2).
In Premiere, with the clip on the timeline, click on Effects/Audio Effects/Stereo and scroll down the list until you find the high-pass filter (Figure 1). Let’s say you shot an office interview and the house air conditioning produced a constant rumble in your recording. This tool is available in some form in virtually every NLE and DAW out there. Your first line of defense in noise reduction is the low-cut or high-pass filter. Most mid-to-high range programs can do these tricks, we’re using Adobe in our demo. But let’s be honest it’s unlikely you will eliminate all noise from your recordings, but you can minimize it to acceptable, even unnoticeable levels. Fortunately, there are audio tools to address both types of noise.
Random noise is trickier and comes from sources like nature, people and traffic. Mics, mixers and cameras can add noise too. Constant noise comes from things like air conditioners, motors and transformers. We can boil them all down to two main types: constant noise and random noise. It’s everywhere and comes from many different sources.
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