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Wave Arts Master Restoration Suite

1. Hum Enable 0 Off 1 On Hum Frequency 20 200 Hz Hum Width 0 1 to 10 Hz Hum Num Harmonics 1 10 Buzz Enable lo Off 1 On 30 4 MR Hum Buzz Frequency 20m Buzz Width 10 100 Hz Gain 12 to 12 dB Monitor Gain I2 to 12 dB The parameters are described in more detail below Enable This parameter is only available in the standalone MR Hum where it functions as the global bypass control The Master Restoration plug in does not display an enable control for the Hum amp Buzz section and the Hum amp Buzz section is always enabled Monitor Enable This enables disables the monitor feature When monitoring is enabled the output signal consists of all the signals that would be removed by the MR Hum filters Brickwall Low Enable Enables or bypasses the brickwall lowpass filter Brickwall Low Freq Sets the brickwall lowpass filter cutoff Brickwall gh Enable Enables or bypasses the highpass brickwall filter Brickwall h Freq Sets the brickwall highpass filter cutoff Hum Enable Enables disables the hum removal filter Hum Frequency This parameter sets the fundamental frequency of the hum from 20 to 200 Hz Typically you will use 50 Hz or 60 Hz which can be selected using the presets Hum Width This parameter sets the bandwidth of the hum notch filters in Hz where bandwidth is defined as the difference between the half power 3
2. Index L Latency 32 40 53 60 63 Learn EA 43 45 Lookahead he Lowpass filter A m Mac 05 Xnuun Machine ID Magnetic tape Master Restoration Menu bar au Meters Monitor MR Click MR Gate MR Hum MR Noise Musical noise N Noise o Onset P Phonagraph Preset menu Preset name Presets R Ratio een Registration Release time Reset s Save preset Scaling Section preset Selector button Serial number Sliders Spectrum nannten 18 56 29 30 37 47 58 62 DET 28 42 47 69 Wave Arts Master Restoration Suite r u Text entry Undo Threshold acc Unlock Tools menu User manual User presets 70 Index 71
3. You should see a dialog indicating that the registration was successful If you need to install the plug ins on another machine such as a laptop you may repeat the procedure above Our license policy permits up to three installations provided you are the only user The registration web page keeps track of the number of machines on which you have installed your plugs Each computer will have a different Machine ID When registering a bundle such as Master Restoration Suite you can obtain the Machine ID from any one of the plug ins in the bundle and you can enter the key code in any one of the plug ins If registration is successful all the plug ins in the bundle will be unlocked If you do not have web access you can obtain a key code by calling Wave Arts customer support at 781 646 3794 1 4 Registration Troubleshooting Invalid key code message make sure you are entering the 10 digit key code from the registration email NOT the serial number that begins with WA All letters should be uppercase and you must enter the character Website says my number of registrations is used up contact Wave Arts support support wavearts com and let us know the number of computer s the plug ins are installed on As a single user you can install the plug ins on up to three computers but additional users must purchase their own copies of the plug ins Key code email not received make sure the mail is not being filtered by
4. Plug in Formats __ AU DirectX MAS RTAS VST sampling Rates up to 192 kHz supported rates listed below Precision 32 bit processing Latency 20 milliseconds or less depending on sampling rate listed below 170 Formats mono mono stereo stereo MR Noise is designed to work at the sampling rates listed in the table below When processing audio at some other sampling rate the closest sampling rate in the table below will be chosen The table also lists the processing latency in samples and milliseconds for each sampling rate Sampling rate Latency samples Latency msec 8000 160 20 11025 160 145 16000 320 20 22050 320 145 32000 540 20 44100 640 145 48000 640 13 3 88200 1280 14 5 36000 1280 133 176400 2560 14 5 192000 2560 B3 53 7 MR Gate 7 MR Gate Figure 7 1 MR Gate user interface 7 1 Overview MR Gate is a full featured expander gate that can be used to gate noise during quiet sections Some of MR Gate s key features are Adjustable lookahead Comprehensive metering Dynamic display shows recent history of input and gain levels Monitor allows you to hear gated signal A diagram of MR Gate s audio routing and meter placement is shown below Input and Gain meters Ey Output meter in Gate out Mon MON Figure 7 2 MR Gate audio routing diagram In normal processing the
5. Apr 18 2007 Demo mode 30 days remaining Machine ID 18869 User Manuali Unlock Plugin oK Wave Arts Inc Copyright c 2005 39 Massachusetts Ave Wave Arts Inc Arlington MA 024740600 ll rights reserved usa Tel 781 646 3794 VST plug in technology support wevearts com by Steinberg On the top line the plug in name and version are displayed along with the current plug in format DirectX VST AU RTAS or MAS This is useful if you aren t sure which format of the plug you are running The build date of the plug in is displayed on the next line The registration status is displayed on the next line If the plug in is operating in demo mode the time remaining if any is displayed If the plug in has been successfully registered unlocked the key cade and bundle name is displayed The Machine ID of the computer is displayed on the next line Finally buttons are provided for opening the registration dialog and the user manual 3 15 Open User Manual Select this option to open the user manual in a browser If the manual isn t found you will be asked to navigate to it Once the manual is opened successfully the plug in remembers the location 3 16 Unlock Plug in This option is described in the Installation and Registration chapter of this manual 21 Wave Arts Master Restoration Suite 3 17 Check for Updates If you are connected to the internet selecting this option will launch a browser and w
6. be set to pre mode meaning it runs before hum processing or post mode meaning it runs after hum processing see figure 4 1 You can select between the two modes by SHIFT clicking right clicking on Windows on the vertical axis of the display this causes a popup menu to appear containing the two choices By default the post mode is selected The vertical range of the spectrum analysis is fixed the bottom of the display is 120 dB and the top of the display is 0 dB hence each division is 15 dB Brickwall Each of the low and high brickwall filters has an enable button and a knob for setting the cutoff frequency When one of the bands is enabled a corresponding brickwall control handle appears in the frequency response display You can edit the 28 4 MR Hum brickwall frequency by dragging the control handle or dragging the frequency knob The monitor feature can be used to hear the signals that are removed by the brickwall filters If both the low and high brickwall filters are enabled the monitor signal will contain both low and high frequencies Hum If your signal has an obvious hum the first place to start is to enable the Hum section then select either the 50 Hz or 60 Hz hum preset depending on the frequency of the hum In the case where you are processing a signal of unknown origin you should be able to see the fundamental of the hum frequency in the spectrum analysis display You can also hear the hum frequency us
7. by the gate Typically this will contain background noise and perhaps some reverberant decay tail from the sound you are gating If you hear the leading Portions of sound onsets you may want to increase the lookahead time to prevent these from being gated 7 4 Parameters The table below lists all the internal parameters of MR Gate and shows the range of values as would be displayed by a generic parameter value plug in interface or by an automation interface Most of these parameters have a one to one correspondence with controls on the user interface Parameter name Values Enable O Off 1 On Monitor Enable 0 Off 1 On Ratio 1to 50 1 1 to 1 50 Threshold 72 10 0 dB Attack 0 1 to 1000 msec Release 1 to 2000 msec Lookahead 0 off 1 1 msec 2 2 msec 3 5 msec Knee O Soft T Medium 2 Hard Gain 12 to 12 dB Monitor Gain 12 to 12 dB The parameters are described in more detail below 7 MR Gate Enable Enables bypasses MR Gate In the standalone MR Gate plug in this parameter is implemented with the bypass control In the Master Restoration plug in this parameter is implemented with the ENABLE button Monitor Enable Enables disables monitoring When monitoring is enabled the output signal contains only the signal that is being removed gated Ratio Controls the amount of attenuation Higher ratios cause more attenuation as the signal falls b
8. click and crackle processors are enabled the monitor signal will contain both removed clicks and crackle 5 2 About Clicks and Crackle The playback of phonograph recordings often contains noticeable clicks and crackle caused by degradation of the recording grooves surface scratches or accumulation of foreign matter in the grooves We use the term click to mean a large disturbance such as caused by a scratch or an obstruction in the groove Clicks might also be called pops The disturbance that causes a click is always so large that both stereo channels will be similarly affected We use the term crackle to mean the frequently occurring lower amplitude disturbances due to groove degradation or accumulated dust These are small enough to affect just one wall of the recording groove and hence crackles will often occur on just one stereo channel at a time The plot below shows a typical phonograph click The click is considerably louder than the surrounding signal Time miiseconds Figure 5 3 Plot of a vinyl phonograph click during a signal Only one channel is shown however both channels were affected by the click event Clicks may also be present in digital audio signals that have undergone some kind of error in transmission or processing If the contamination results in various samples taking on random values these will sound similar to phonograph clicks and can be effectively suppressed using MR Click 34 4 MR C
9. dB paints of the notch response Hum Num Harmonics Sets the number of notch filters used in the hum filter from 1 to 10 This should be set to the number of prominent harmonics in the hum for maximum cancellation Buzz Enable Enables disabled the buzz removal filter Buzz Frequency This parameter sets the fundamental frequency of the buzz ranging from 20 to 200 Hz Buzz Width This parameter sets the bandwidth of the buzz notch filters in Hz where bandwidth is defined as the difference between the half power 3 dB points of the notch response Gain Output gain in dB 31 Wave Arts Master Restoration Suite Monitor G Monitor output gain in dB 4 5 Presets MR Hum factory presets are listed in the table below In the standalone plug in these appear in the preset menu in the menu bar In Master Restoration these presets appear in the Hum amp Buzz Preset selector Name Description Default Default settings 60 Hz hum removal 60 Hz Hum 60 Hz hum removal 50 Hz Hum 50 Hz hum removal 60 Hz Buzz 60 Hz buzz removal 50 Hz Buzz 50 Hz buzz removal Rumble Low frequency rumble filter Speech band Tsolate speech range 4 6 Specifications Hum and buzz suppression filters brickwall filters for rumble and Description hiss suppression and spectrum analysis Platforms Pentium amp compatible PowerPC Operating Systems Windows 2000 XP Mac OS X 10 4
10. dB of noise floor offset is usually sufficient to completely silence any musical noise Dynamics Another artifact of noise reduction is the possibility of individual harmonics turning on and off as they decay approaching the noise floor We can reduce the possibility of individual frequencies gating on and off by introducing some time dependent filtering to each frequency gain in the form of attack and release rate controls The release control determines the maximum rate of attenuation for decaying signals 44 6 MR Noise The attack control determines the maximum rate of boost for increasing signals Using short attack and release times means the frequency band gains will respond very quickly to the input signal Using longer attack and release times means the frequency band gains will respond slower to changing inputs 6 3 Using MR Noise Learning the noise floor The first step is to identify a section of your track that contains only background noise Often this can be found at the very start of the track before the signal comes in However if the track has already been cropped to eliminate leading and trailing signal then you will have to find noise during a silent section in the track MR Noise can learn a noise profile with as little as 50 msec of noise so this could be found between words in a dialog track for example If you can t find any part of the track which is quiet then the noise floor will have to be estimated by learnin
11. of 31 control points are drawn on each of the stereo noise floor curves The curves can then be modified by clicking and dragging the control points As shown in Figure 6 5 it is also possible to click and drag a selection window to select multiple points You can also SHIFT click on points to select any set of points Note that when LEARN is enabled button lit the noise floors cannot be edited until learning is complete After editing you may want to save a preset to save your noise floor edits Click the floor button again to turn off editing When the FLOOR button is lit clicking RESET will reset the noise floor to 160 dB at all frequencies Figure 6 7 Editing the noise floor Clicking and dragging will select multiple points The selected points are highlighted Editing the frequency scaling curves For challenging noise reduction problems it may be useful to specify different threshold amount attack time and release time parameters at different frequencies This can be done by scaling the parameters as a function of frequency MR Noise allows the user to specify a scaling curve for each of the above parameters To edit the scaling curve click on the corresponding edit button The figure below shows the Amount button selected Figure 6 8 The Amount parameter Is selected for editing as a function of frequency 49 Wave Arts Master Restoration Suite When one of the parameter buttons is selected a blue scaling curve is drawn
12. to the next preset clicking the left arrow goes to the previous preset 3 6 Preset menu The Preset menu contains lists of factory and user presets for easy selection and options for managing presets The functions are described in the following sections Hard Bass Comp Vocal Derce Mastering Acoustic utar Female Deess Male De ess Medium enharce MiaPurch Bass Punch 2 Bard Template Bard Template Bard Template Meise Gate Meise Raduce 3 7 Factory Presets Factory presets are selected from a rolloff menu at the top of the Preset menu Factory presets cannot be modified or deleted The Default preset is always first in the list it defines all default parameter settings 18 3 Menu Bar and Preset Manager 3 8 User Presets User presets are selected from a rolloff menu just below the Factory presets in the Preset menu When you first run a Wave Arts plug in there will not be any user presets and the menu will be empty When you save a preset using the Save option the preset is added to the User menu All instances of a plug in share the same set of user presets So after you save a preset with one instance of a plug in you can go to another instance and find that the preset can be found in its User preset menu too You can delete an individual user preset by holding down the SHIFT key while selecting the preset The entire set of user presets can be deleted using the Reset option described below User pr
13. uses up to 10 notch filters to eliminate up to the 10 harmonic The frequency of hum depends on the frequency of the local line power 60 Hz power is used in North America except Greenland Central America mast of South America Saudi Arabia and parts of southeast Asia including Korea The rest of the world including Europe Asia Africa and Australia uses 50 Hz power 26 4 MR Hum Buzz is a periodic impulsive contamination which like hum can be caused by poor grounding The simplest example of a buzz is that of a very bad hum whose harmonics extend up to very high frequencies However buzz can also be caused by a periodic signal like a camera motor which is recorded along with the audio program The plot below shows buzz created by very poor grounding with 60 Hz line power The periodicity of the signal is about 16 7 msec AAN Time miliseconds Figure 4 4 Time plot of 60 Hz buzz Buzz removal differs from hum removal in that the buzz harmonics extend to high frequencies and the fundamental frequency might be something other than 50 or 60 Hz Buzz processing consists of a set of notch filters located at the fundamental buzz frequency and at all harmonics in the audio range The set of notch filters is created using a comb filter which essentially computes the difference of the input signal with a copy of the input signal delayed by one fundamental period The difference calculation removes any periodic contamination H
14. 0dB and in red above OdB Peak hold levels are also drawn The meter also stores the overall peak value for each channel and displays these values in the peak indicator boxes above the meter If the detector finds a peak value above 048 the text color will turn red as a warning Click on either indicator box to reset them back to 96dB If the plug ln has an output gain knob you can right click PC or Shift click Mac on an indicator box to automatically increase or decrease the output gain so that the peak will be 0 1dB 15 3 Menu Bar and Preset Manager 3 Menu Bar and Preset Manager All Wave Arts plug ins in the Master Restoration Suite have the following menu bar displayed at the top of the plug i Bypass Unde This section describes the operation of the menu bar preset manager and the other functions available in the menus 3 1 Bypass Clicking on the bypass button bypasses the effect that is audio will pass through the effect without alteration The button is lit when the effect is bypassed 3 2 Undo Clicking the Undo button causes the parameters to revert to their settings Prior to the last edit Only one level of undo is available so clicking the undo button again will restore the parameters after the edit Both A and B buffers described below have their own undo buffers 3 3 Copy Clicking the Copy button copies the current set of effect parameters to the unused A B buffer Hence if t
15. EULA if you fail to comply with the terms and conditions of this EULA In such event you must destroy all copies of the SOFTWARE PRODUCT and all of its component parts COPYRIGHT All title and copyrights in and to the SOFTWARE PRODUCT including but not limited to any images text and applets incorporated into the SOFTWARE PRODUCT the accompanying printed materials and any copies of the SOFTWARE PRODUCT are owned by Wave Arts or its suppliers The SOFTWARE PRODUCT is protected by copyright laws and international treaty provisions Therefore you must treat the SOFTWARE PRODUCT like any other copyrighted material LIMITED WARRANTY NO WARRANTIES Wave Arts expressly disclaims any warranty for the SOFTWARE PRODUCT The SOFTWARE PRODUCT and any related documentation is provided as is without warranty of any kind either express or implied including without limitation the implied warranties or merchantability fitness for a particular Purpose or noninfringement The entire risk arising out of use or performance of the SOFTWARE PRODUCT remains with you NO LIABILITY FOR CONSEQUENTIAL DAMAGES In no event shall Wave Arts or its suppliers be liable for any damages whatsoever including without limitation damages for loss of business profits business interruption loss of business information or any other pecuniary loss arising out of the use of or inability to use this Wave Arts product even if Wave Arts has been advised of the possib
16. Restoration Suite Sampling Rates up to 192 kHz Precision 32 bit dick 10 5 milliseconds when enabled ateney crackle 3 milliseconds when enabled 1 0 Formats mono mono stereo stereo 6 MR Noise 6 MR Noise cz ug Figure 6 1 MR Noise user interface 6 1 Overview MR Noise is broadband noise reduction processor Here are some of MR Noise s key features Great sounding with minimal artifacts Low latency under 20 msec noise reduction can be used in live situations Fast noise floor learning time down to 50 msec hence noise looping is not required Auto dynamics mode keeps transients sharp while avoiding squirrelly artifacts Monitor feature to hear removed noise Very easy to use Comprehensive display shows spectrum of input signal output signal and noise floor Parameters can be edited as function of frequency 41 Wave Arts Master Restoration Suite A diagram of MR Noise s audio routing and meter placement is shown below Output meter IN In shpadecton Pe out Mon MON Figure 6 2 Audio routing in MR Noise In normal processing the noise processor removes noise from the signal and outputs the noise reduced signal When the monitor feature is enabled the output consists of the signal i e the noise that is removed by the noise processor 6 2 About Noise Reduction Noise Noise is a general term that can apply to vari
17. Wave Arts Master Restoration Suite User Manual Last updated April 27 2007 Copyright 2007 Wave Arts Inc All Rights Reserved Table of Contents Table of Contents 1 Installation and Registratio 1 1 Mac OS X Installation 1 2 Windows Installation 1 3 Registration 1 4 Registration Troubleshooting 2 Plug in Control Operation 2 1 Knobs 2 2 Text Entry 2 3 Selector button 2 4 Sliders 2 5 Buttons 2 6 Output Meters 3 Menu Bar and Preset Manager 3 1 Bypass 3 2 Undo 3 3 Copy 3 4 A B buffers 3 5 Preset name and arrow controls 3 6 Preset menu 3 7 Factory Presets 3 8 User Presets 3 9 Save 3 10 Import 3 11 Export 12 Reset 5 Open User Manual 16 Unlock Plug in 3 17 Check for Updates 3 18 Visit Website 4 MR Hum 4 1 Overview 4 2 About Hum Buzz and Brickwall filtering 4 3 Using MR Hum 4 4 Parameters 4 5 Presets 4 6 Specifications 5 MR Click 5 1 Overview 5 2 About Clicks and Crackle 5 3 Using MR Click 5 4 Parameters 5 5 Presets 5 6 Specifications 3 3 1 3 1 3 1 3 Wave Arts Master Restoration Suite 6 MR Noise 6 1 Overview 6 2 About Noise Reduction 6 3 Using MR Noise 6 4 Parameters 6 5 Presets 6 6 Specifications 7 MR Gate 7 1 Overview 7 2 About Gating 7 3 Using MR Gate 7 4 Parameters 7 5 Presets 7 6 Specifications 8 Master Restoration 8 1 Overview 8 2 Usin
18. a junk or SPAM mail program The key code is mailed immediately and 10 1 Installation and Registration should arrive in your email inbox within several minutes Check your junk mail folder Machine ID changed the Machine ID is based on your computer s network hardware specifically the MAC address of the computer s default internet adaptor In normal circumstances this number will not change However if you change your network hardware or configuration the Machine ID may change If the Machine ID changes after the plug ins have been unlocked the plug ins will display a message to this effect the next time they are opened The plug ins will then revert to 30 day demo mode to give you time to obtain a new unlock code based on the new Machine ID In the case that the Machine ID is flipping between two values based upon two different network configurations you can simply register both Machine IDs and the plug ins will stay unlocked even if the Machine ID changes 11 2 Plug in Control Operation 2 Plug in Control Operation 2 1 Knobs Please refer to the following guide for information about the various ways you can use knobs Function Mac Windows Increase Decrease a parameter value rotate clockwise counterclockwise Click on the knob drag up down Glick on the knob drag up down Fine adjustment increase decrease Shift click drag up down RTAS Command Right click d
19. by the Knee parameter There are three knee shapes soft medium and 43 Wave Arts Master Restoration Suite hard These actually represent well defined theoretical approaches to noise reduction Soft is spectral magnitude subtraction Medium is Weiner filtering and Hard is spectral power subtraction But we can also think of them as just different knee shapes that control how fast the attenuation is applied as the signal approaches the noise floor 18 20l 0 5 70 15 20 Figure 6 3 Plots of attenuation as a function of level in dB above the noise floor The three knee shapes are shown red dashed Soft blue dotted Medium green solid Hard Musical noise If the noise reduction is applied to noise alone then portions of the noise will survive the noise reduction processing because by chance they are distributed above the average noise floor The result is a set of tone bursts occurring at random times and frequencies called musical noise which despite being an interesting phenomenon also sounds fairly annoying It sounds like trickling water but with lots of resonance as if one was listening to it through a tube In order to prevent musical noise from occurring it is necessary to raise the knee point above the noise floor so that more attenuation is applied to signals just above the noise floor In the MR Noise plug in the Threshold parameter specifies an offset that raises the knee point above the noise floor About 6 9
20. dynamics mode that adjusts the attack and release times based upon transients in the input signal When AUTO mode is enabled MR Noise detects transients in the input signal and automatically uses short attack time during rapid onset events and uses short release times during rapid offset events When there are no transients MR Noise uses the attack and release times set by the user for maximum smoothness during slowly changing passages We recommend enabling AUTO mode at all times Monitoring the removed signal Enabling the MONITOR feature allows you to hear the signal that is being removed by the noise reduction processor Ideally this would contain only noise but in practice it is impossible to perfectly separate the unwanted noise from the desired signal hence the monitor signal will contain some residue from your desired signal usually at high frequencies and during transients Listening to the monitor can be useful for adjusting the various parameters to optimize the noise reduction performance Adjusting the Amount parameter directly controls the amount of noise signal you will hear in the monitor Increasing the Amount also increases the amount of residue from the desired signal You should also be able to hear the effect of adjusting the attack and release parameters Slower attack and release times allow more of the transients to leak into the noise monitor Using faster attack and release times or enabling the AUTO mode retains more of
21. e knob or by typing in the value You can also examine the spectrum display and look at the frequency of the buzz fundamental You can also use the monitor feature while slowly adjusting the frequency to scan for the proper fundamental When the frequency parameter is adjusted close to the fundamental the monitor will begin to pass the buzz sound Similarly with monitoring off and with the spectrum analysis set to post mode you can scan for the buzz fundamental and see when the buzz harmonics are canceled by the buzz filter this should be plainly audible as well Once the fundamental is determined turn off the monitor and proceed to adjust the width control Generally larger widths will reduce the resonant sound of the comb filter Now try enabling disabling the buzz section to hear the effect of the buzz processing It s possible the comb filter effect imparted by the buzz filter is more annoying than the buzz If so you can seek other methods to remove the buzz Broadband noise reduction as provided by MR Noise can be extremely effective in removing buzz Also the buzz can be gated in quiet sections using MR Gate 4 4 Parameters The table below lists all the internal parameters of MR Hum and shows the range of values as would be displayed by a generic parameter value plug in interface Most of these parameters have a one to one correspondence with controls on the user interface Parameter name Values 0 Off i On
22. elow threshold Threshold Input signals are attenuated when they fall below the threshold level Attack Time Sets the time it takes to increase gain Release e Sets the time is takes to decrease gain Lookahead Sets the lookahead time Lookahead is useful when gating to provide a bit more time for the gate to restore gain prior to an onset Knee Sets the dynamics knee shape options are soft medium and hard G in Output gain in dB Monitor Gain Monitor output gain in dB 7 5 Presets Following is the list of presets that ship with MR Gate Name Description Default Default settings with MR Gate disabled Fast Gate Fast release gate Slow Release Gate Slow release gate Medium Gate Small ratio downward expander use for medium ducking during silence Mild Gate Very small ratio downward expander use for mild ducking during silence 7 6 Specifications Description Expander gate Platforms Pentium amp compatible PowerPC Operating Systems Windows 2000 xP Mac OS X 10 4 or higher Plug in Formats AU DirectX MAS RTAS VST Wave Arts Master Restoration Suite Sampling Rates up to 192 kHz Precision 32 bit processing Latency 0 5 msec depending on lookahead setting 1 0 Formats mono mono stereo stereo 60 Master Restoration 8 Master Restora Figure 8 1 Master Restoration us
23. er interface 8 1 Overview Master Restoration combines the functions of MR Hum MR Click MR Noise and MR Gate into one plug in The audio routing diagram for Master Restoration is shown below Output meter lo MR Hum MR lick MR Noise o MR Cate o p won fwen fwon Co Tuon out Figure 8 2 Master Restoration routing diagram 61 Wave Arts Master Restoration Suite The signal processing order is MR Hum MR Click MR Noise and MR Gate When any of the processors is monitored the output consists of a mix of all the monitor outputs from the processors Hence you can monitor any combination of the processors to hear a mix of all the signals that have been removed by the individual processors 8 2 Using Master Restoration The individual processors are described in detail in the preceding chapters and the descriptions will not be repeated here This section will describe some issues specific to using Master Restoration Switching the display The processors share the same common display area There are three ways to switch the active display 1 Click on the tabs at the bottom of the display 2 Click on the DISPLAY button in each section 3 Click on the panel in each section Monitoring sections Each section has a MONITOR button which can be selected to hear the signal that is removed by the processor In Master Restoration it is possible to select mul
24. esets are stored in a text file called Master Restoration Presets txt On Macintosh the presets are stored in the folder Library Application Support Wave Arts On Windows the presets are stored in the folder C Documents and Settings All Users Application Data Wave Arts If the preset file is deleted it will be created automatically by the plug in Note that all Master Restoration plug ins share the same preset file this is so presets created by the individual plug ins are automatically shared with the Master Restoration plug in 3 9 Save When you have created an effect you want to save as a preset select the Save option You will be asked to name the preset and the preset will be saved in the set of User presets If you supply the same name as an existing user preset the preset will be overwritten with the new preset without any warning notice 3 10 Import User presets can be written to files using the Export function and read from files using the Import function Selecting the Import option will first ask if you want to replace or merge the imported presets Replacing causes your current set of user presets to be deleted and replaced with the presets read from the file merging will add the presets read from the file to your set of User presets Then you will be asked to choose a preset file for importing and the presets are read from the file Import can also be used to convert presets
25. ficant energy at 60 Hz 120 Hz 180 Hz 300 Hz and 420 Hz i e the fundamental 2d 3d 5 and 7 harmonics 25 Wave Arts Master Restoration Suite Figure 4 3 Frequency spectrum of typical 60 Hz hum Hum is generally caused by poor grounding of audio equipment Ground loops where the ground connections between different pieces of equipment create a loop circuit form a loop antenna which is effective at picking up line power oscillations Atypical ground loop can be created when two pieces of grounded equipment say a pre amp and an amplifier are connected with a shielded audio connector that completes a ground loop Ground loops can be broken by breaking the ground connection on the audio path It is also possible to lift the ground connection of a piece of equipment but this is a dangerous practice because it eliminates the safety feature of a ground which is to prevent electrocution Even without ground loops hum can be created when sensitive audio electronics share a ground with other equipment that may be discharging significant current through the ground Hum harmonics are created when electronic equipment rectifies AC power to create DC or by other devices such as dimmers Hum is best removed by using a set of sharp notch filters to eliminate the fundamental and harmonic frequencies of the hum Sharp notch filters work well because the frequency of line power is very stable so the filters can be very narrowly tuned MR Hum
26. from an older version of the plug in to the current version If the plug in detects presets from an older version and it knows how to convert them to the current version it will ask you if you want to convert the older presets to the current format 19 Wave Arts Master Restoration Suite 3 11 Export Selecting the Export option will first ask if you want to replace or merge the exported presets Replacing causes the presets in the file to be deleted and replaced with the exported user presets merging will add the user presets to the presets in the file Then you will be asked to choose a preset file for exporting and the presets are written to the file Preset Export is also useful for making backup copies of your user presets If you have a large set of user presets be sure to export them to a backup file 3 12 Reset Reset is used to delete all of your user presets Selecting Reset will first ask you if you really want to do this and if you confirm all the user presets are deleted 3 13 Tools menu The Tools menu contains various important options described below Master Restoration Open User Manual Unlock Pos Check for Updates Vist Weste 3 14 About The About option displays important information about your plug in An example is shown below 20 3 Menu Bar and Preset Manager About Master Restoration wave arts Master Restoration v5 30 DirectX Build date
27. g Master Restoration 8 3 Presets 8 4 Specifications License Agreement Support Index 1 Installation and Registration 1 Installation and Registration 1 1 Mac OS X Installation If you are Installing from the Master Restoration Suite CD ROM insert the CD ROM and double click the Master Restoration Suite OSX folder You will see the Master Restoration Suite OSX mpkg file as shown below If you are installing from a download the download manager will create a file MasterRestoration dmg Double click on this file to create the file Master Restoration mpkg If you are downloading and installing an individual plug in or another bundle the procedure is similar but the files will be named after the plug in or bundle rather than named Master Restoration Gl Wave Ans Co ment a Now double click the Master Restoration mpkg icon and proceed though the installation process Wave Arts Master Restoration Suite Welcome to the Wave Arts Master Restoration Installer nae gia emg e ot or en ae cs imac nny arime poe Ene mer 90 ros Yu nue me pon sR Seeing une oma JAU MAS VST TAS you woas ma nea Feiner rs Dar maer when ya es aa selec Destination Time pape i Saa installing wave arts voce Cena 1 2 Windows Installation If you are installing from a CD ROM insert the CD ROM and double click the file MasterRestoration exe shown below This will start
28. g the quietest Portion you can find and then manually editing the floor parameters to lower and smooth the floor Editing the noise floor is described later Figure 6 4 Learn time and Learn button The learn time is specified using the LEARN TIME parameter It has various choices from 50 msec to 5 seconds and also has a manual mode Manual mode would be used for doing very long averages Choose the longest learn time that is shorter than the portion of naise you have identified If you are using the Master Restoration plug in first enable the noise section by clicking on the ENABLE button If you are using the MR Noise plug in it should already be enabled unless it happens to be bypassed in which case you should turn off the bypass Now click the LEARN button It will light in a lovely purple color Now start playback of your track During learning you can see the noise floor evolve in the spectrum display as the averaging takes place When learning is complete the LEARN button will extinguish and the displayed noise floor spectrum is smoothed as it is converted from a spectrum to a set of 31 noise floor parameters spaced at 1 3 octave bands For stereo inputs MR Noise learns independent noise floors for the left and right channels At this point the noise reduction is active You can adjust the noise reduction parameters as described below 45 Wave Arts Master Restoration Suite Manual learning can be used for learning very long p
29. gate mutes the audio during silent portions When the monitor feature is enabled the output consists of the low level signal that is removed by the gate Wave Arts Master Restoration Suite 7 2 About Gating A noise gate is a conceptually simple device that passes high level signals and attenuates low level signals This is useful for muting the noise that can be heard in the quiet sections between loud parts A gate monitors the level of the input signal and if the level falls below a predetermined threshold the signal is attenuated The threshold is set to be just above the level of the background noise The amount of attenuation applied depends on the ratio control The definition of ratio is somewhat confusing A ratio of 1 means no attenuation is applied as signals fall below threshold while a ratio of infinity means the signal is maximally attenuated For other ratios R the attenuation is R 1 times the difference between the input signal and the threshold So for example if the ratio is 5 and the signal is 10 dB below threshold then 40 dB of attenuation will be applied MR Gate has a maximum ratio of 50 which for practical purposes can be considered infinite Because MR Gate has a ratio control it is more properly considered to be an expander than a gate The attack and release time parameters control how fast gain changes are applied The release time controls low fast the gain is turned down and the attack time controls ho
30. he A buffer is currently selected the parameters are copied to B and if the B buffer is selected the parameters are copied to A After clicking Copy you can continue to make changes and then revert to the original copied settings by clicking either the A or B buttons to switch buffers 3 4 A B buffers The A B edit buffers allow you to compare two different sets of parameters or presets One of the A or B buttons is always lit the button that is lit shows the current buffer Clicking either the A or B button will switch to using the other buffer thus changing the effect settings assuming different settings are stored in A and B Here s how to use the A B buffers to compare two different presets Select a preset from the Preset menu then switch to the other buffer and select a different preset Now switch between the two buffers to alternate between the two different presets 17 Wave Arts Master Restoration Suite 3 5 Preset name and arrow controls The currently selected preset name is displayed in the text field in the menu bar Changing any parameters causes an asterisk to be displayed at the end of the name This indicates that changes have been made to the preset In order to save the changes to a user preset you must select the Save item in the Preset menu described below The arrow controls to the left and right of the preset name cycle through the set of factory and user presets Clicking the right arrow goes
31. ible Longer time constants cause smoothing of decays Knee Type The Knee determines how fast the attenuation is applied as the signal approaches the noise floor The Soft knee applies attenuation slowly Medium is a sharper transition and Hard is the hardest transition Learn Enable Enables learning When learning is enabled the input signal spectrum is averaged to form the noise floor spectrum Learn Time Sets the learn time from 50 msec to 5 seconds Learning will automatically stop after the learn time period Manual learning means the learn enable must be turned off manually to stop learning 51 Wave Arts Master Restoration Suite Auto Mode When enabled Auto mode overrides the attack and release times with automatically determined times based on a broadband transient analysis MR Noise will use fast attacks during rapid onsets and will use fast releases during rapid offset events During slowly changing signals without transients the usual attack and release times are used for maximum smoothness Gain Output gain in dB Monitor G Monitor output gain in dB Left Floor Noise floor levels in dB for the left channel There are 31 floor parameters ranging from 20 Hz to 20 kHz in roughly 1 3 octave intervals Right Floor Noise floor levels in dB for the right channel There are 31 floor parameters ranging from 20 Hz to 20 kHz in roughly 1 3 octave intervals Thresh Scale Frequency scaling va
32. ility of such damages Because some states jurisdictions do not allow the exclusion or limitation of liability for consequential or incidental damages the above limitation may not apply to you MISCELLANEOUS If you acquired this product in the United States this EULA is governed by the laws of the State of Massachusetts If this product was acquired outside the United States then local laws may apply Support Support For assistance please send email to support wavearts com If you are having problems with a plug in please include the following information plug in name operating system and host software you are using The version numbers are also helpful For software updates revision history frequently asked questions FAQ and more please visit our website at www wavearts com Contact information Wave Arts Inc 99 Massachusetts Ave Arlington MA 02474 te 1 781 646 3794 faxi 1 781 646 7190 67 Index A AB buffers About E Acoustic noise Amount da Attack time Auto mode B Brickwall filter Broadband noise Buttons Buzz Bypass c Clicks COPY nen Crackle D Demo mode Display E Export preset F Factory presets Floor 6 Gating H Harmonics Highpass filter Hum da I Import preset Installation K Key code Knee Knobs acta 28 36 47 57 20 ls 42 45 49 56
33. ill navigate to the Wave Arts Downloads page 3 18 Visit Website If you are connected to the internet selecting this option will launch a browser and will navigate to the Wave Arts home page 22 Wave Arts Master Restoration Suite 4 MR Hum Coo E are DANA Figure 4 1 MR Hum user interface 4 1 Overview MR Hum combines hum removal buzz removal brickwall filtering and spectrum analysis into one easy to use plug in The functions of MR Hum are also available in the Master Restoration plug in Here are some of MR Hum s key features Hum removal using from 1 to 10 harmonic notch filters Buzz removal for frequencies from 20 Hz to 200 Hz Adjustable notch widths Brickwall filtering for rumble and hiss removal High resolution spectrum analysis All sections can be monitored to hear removed signal MR Hum s audio routing and meter placement is shown in the diagram below Spectrum Spectrum ere pos Output meter LU Fun Buzz in Lof Bw Low Le Bw High H Hum pf Buzz EEN Mon Mon Mon Mon mon Figure 4 2 MR Hum audio routing diagram The input signal is first processed by the spectrum analyzer if set to pre mode The input signal is then processed by the brickwall filter This allows the user to 24 4 MR Hum eliminate rumble using the low brickwall filter or hiss using the high brickwall filter The signal is next processed by the hum filte
34. in other noise reduction literature For many sources of noise the noise floor spectrum will remain fairly constant over time This is typical of quantization noise electronic noise magnetic tape noise 42 6 MR Noise and phonograph noise Acoustic noise however can either be constant or varying We would expect the acoustic noise in a quiet recording room to be fairly constant But the acoustic noise in an outdoor environment can vary significantly over time due to traffic noise wind or other background sound Noise reduction The noise reduction algorithm used by MR Noise is very effective at removing noise with a constant spectrum The MR Noise algorithm operates in the frequency domain At each frequency it compares the signal level with the noise floor If the signal level is well above the noise floor it is unchanged but signals that are close to the noise floor are attenuated This is like having a noise gate running at each frequency where the gate threshold is set to the noise floor level at that frequency Learning the noise floor MR Noise must first learn the noise floor spectrum This is done by finding a portion of the recording where there is just noise without signal The noise sample is played through MR Noise with the LEARN option enabled When learning MR Noise computes the noise spectrum and when learning is complete MR Noise remembers this spectrum and uses it for Subsequent noise removal The MR Noise alg
35. in reduction meter on the right The input meter shows the peak signal level coming into the gate and the gain reduction meter shows the amount of gain reduction being applied 7 MR Gate Figure 7 3 MR Gate input meter left and gain reduction meter right The meters show both the minimum and maximum values since the last meter redraw The meter is drawn with a dark color up to the minimum value and drawn with a lighter color from minimum to maximum value These types of meters are a Wave Arts innovation The min max meters let you see at a glance how much the signal is modulating If the signal level is constant the meter bar will be a solid dark color If the signal level is modulating rapidly this is shown by a large light section The size of the light section indicates how much a signal is changing dynamically The input meter has a triangular control that lets you set the input threshold level Drag the contral up and down to change the threshold MR Gate display Figure 7 4 MR Gate time display The green plot Is the Input signal level the blue plot is the gate gain and the yellow line is the threshold MR Gate features a dynamic display that plots signal level and the gate gain The MR Gate display is shown above Signal level is plotted in green the gate gain is plotted in blue and the threshold level is plotted as a horizontal yellow line The display is mono for either mono or stereo inputs This is because when
36. ing the monitor feature Press the MONITOR button to enable monitoring This will pass only the frequencies of the hum fundamental and the selected harmonics Then alternately select the 50 Hz or 60 Hz preset One of these will pass the hum The default width is 1 Hz This is the bandwidth of the notch filters defined as the width between the half power frequencies Hence with a width of 1 Hz the notch at 60 Hz will have half power 3 dB response at 59 5 Hz and 60 5 Hz Obviously these filters are very sharp The notches are infinite depth at the center frequency the response is 0 which equals inf dB Very narrow width filters have a long time response Consequently a narrow notch filter will take some time to reject the hum When applying the hum filter to a signal with hum if you notice that the hum persists at the very start of the signal you can increase the width of the notch filters and this will make the filters respond faster to the onset of the hum Deciding how many harmonics should be used can be done by examining the spectrum display which is overlaid with the hum frequency response showing the notch filters As you increase the number of harmonics you can see if the spectrum has a corresponding spike at that frequency If there is no corresponding spike in the spectrum then the newly added notch will have little effect In some cases you may have to use a large number of notches in order to cancel a high order harmonic For exa
37. ke and use copies of the SOFTWARE PRODUCT you agree to be bound by the terms of this EULA If you do not agree to the terms of this EULA you may not use the SOFTWARE PRODUCT SOFTWARE PRODUCT LICENSE The SOFTWARE PRODUCT is protected by copyright laws and international copyright treaties as well as other intellectual property laws and treaties The SOFTWARE PRODUCT is licensed not sold GRANT OF LICENSE This EULA grants you the following rights Installation and Use You may install and use the SOFTWARE PRODUCT on up to three computers provided you are the only user A license must be acquired for each individual user of the SOFTWARE PRODUCT Reproduction and Distribution You may not reproduce or distribute the SOFTWARE PRODUCT except to make backup copies or to install as provided for above DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS Limitations on Reverse Engineering Decompilation and Disassembly You may not reverse engineer decompile or disassemble the SOFTWARE PRODUCT except and only to the extent that such activity is expressly permitted by applicable law notwithstanding this limtation Software Transfer You may permanently transfer all of your rights under this EULA provided you retain no copies you transfer all of the SOFTWARE PRODUCT and the recipient agrees to the terms of this EULA Wave Arts Master Restoration Suite Termination Without prejudice to any other rights Wave Arts may terminate this
38. lick The plot below shows a typical phonograph crackle event Although not shown this crackle event affects only one channel The level of the crackle is similar to the level of the surrounding signal Typical crackle events have a shorter duration than clicks and have a correspondingly higher frequency content 02 Figure 5 4 Time plot of a vinyl phonograph crackle event Only one channel is shown and only one channel was affected by the crackle event Processing clicks and crackle The strategy for processing clicks and crackle is to detect the occurrence of click and crackle events and then alter the signal around the event to suppress the sound of the click or crackle Both the detection strategy and the suppression strategy differ for click and crackle events Clicks are detected as a rapid onset and offset of energy Clicks are suppressed by overwriting the signal with a linear interpolation during the click event The time of the interpolation is a user parameter typically 1 msec is ample to completely mask the click Crackle is detected as a rapid onset of high frequency energy Crackle is suppressed by smoothing the signal around the crackle event using a lowpass filter In many cases crackle caused by degradation of the phonograph groove is not distinguishable from the content of the original recording Typical percussive events such as snare drum hits ride cymbal hits etc contain rapid onsets of high frequency energ
39. lues for the Threshold parameter ranging from x0 to x2 There are 11 scaling parameters ranging from 20 Hz to 20 kHz in roughly one octave intervals Amount Scale Frequency scaling values for the Amount parameter ranging from x0 to x2 There are 11 scaling parameters ranging from 20 Hz to 20 kHz in roughly one octave intervals Attack Scale Frequency scaling values for the Attack Time parameter ranging from x0 to x2 There are 11 scaling parameters ranging from 20 Hz to 20 kHz in roughly one octave intervals Release Scale Frequency scaling values for the Release Time parameter ranging from x0 to x2 There are 11 scaling parameters ranging from 20 Hz to 20 kHz in roughly one octave intervals 6 5 Presets Following is the list of presets that ship with MR Noise Name Description Default Default settings same as Clean Clean Default settings with learn enabled Light Clean Light cleaning settings with learn enabled Vinyl Vinyl phonograph settings with reduced threshold and amount at low frequencies learn enabled Tape Magnetic tape settings harder knee than Clean learn enabled 1P33 Floor Example vinyl phonograph noise floor Cassette Floor Example cassette tape noise floor 52 6 6 Specifications 6 MR Noise Description Frequency domain noise reduction processor Platforms Pentium amp compatible PowerPC Operating Systems Windows 2000 XP Mac OS X 10 4 or higher
40. ly great noise reduction performance But you may encounter difficult input signals that can reveal artifacts under heavy noise reduction Using moderate Amounts say 6 12 dB can leave a bit of noise in your recordings but this may be more desirable than trying to fully suppress noise and causing artifacts Another useful technique when processing extremely noisy recordings is to do multiple passes Instead of doing one pass with a large amount of noise reduction do several passes using gentle noise reduction settings This technique will usually result in fewer bad sounding artifacts Sometimes a large Amount value is needed to fully suppress noise during quiet portions However it may be better to focus instead on what sounds best when the music is playing Suppressing noise during quiet portions can also be done using a basic noise gate such as MR Gate 46 6 MR Noise Adjusting attack and release times For transient input sounds with sharp attacks you will want to use short attack and release times to preserve the transients For slower changing legato sounds you want to use long attack and release times to prevent harmonics from gating on and off rapidly as they decay near the noise floor If the attacks seem to be smoothed out by the noise reduction try using a faster attack time If you hear individual harmonics gating on and off as they decay try using a longer release time Auto dynamics mode MR Noise features an AUTO
41. mple in Fig 4 3 one would select 7 harmonics in order to reach the 7 harmonic which has significant energy Although the 4 harmonic of the hum is not present there is no way to disable the 4 harmonic of the notch filter One can also listen to the harmonics using the monitor feature With monitor enabled try increasing the number of harmonics starting with 1 If adding harmonics does not increase the amount of hum in the monitor signal then you should not add harmonics You may also notice frequencies from the desired signal appearing in the monitor This indicates frequencies that will be cut by the hum filter While monitoring you should select the number of harmonics that maximize the monitored hum signal while minimizing the amount of desired signal 29 Wave Arts Master Restoration Suite The frequency response of the hum filter is shown in the MR Hum display This reflects the fundamental frequency the number of harmonics and the width of the notch filters However the parameters cannot be edited by clicking in the display If the hum is bright and buzzy you should try processing with the buzz filter instead In this case you should disable the hum filter The buzz filter can also be used for any sort of periodic contamination After enabling the buzz section the first step is to determine the buzz frequency If you know the buzz is created by line power then enter the fundamental in the buzz frequency control by adjusting th
42. msec 2 200 msec 3 50 6 MR Noise E 500 msec 4 i sec 5 2 sec 6 17 manual sec 12 dB to 12 de Monitor Gain pa Left Floor 0 30 160 to 0 dB Right Floor 0 30 160 to 0 dB Thresh Scale 0102 jamount 0102 Attack Scale 0 10 0 to2 Release Scale 0 10 Dto2 The parameters are described in more detail below Enable Enables or bypasses the noise reduction processing Monitor Enable This enables disables the monitor feature When monitoring is enabled the output signal consists of the noise signal that is removed by MR Noise Threshold Sets the amount the noise floor is offset to start signal attenuation at higher levels than the noise floor The threshold raises the knee point above the noise floor Amount Sets the amount of noise reduction in dB This is the maximum amount of attenuation for signals that are at or below the noise floor level Attack Time This parameter sets the attack time constant of the dynamics processor for each frequency that is how fast a signal can increase at each frequency A time of 0 means attacks are followed as quickly as possible Longer time constants cause smoothing of attacks Release Time This parameter sets the release time constant of the dynamics processor for each frequency that is how fast a signal can decay at each frequency A time of 0 means releases are followed as quickly as poss
43. nd pops have been suppressed you can proceed to process the crackle Again it is good to audition the track ahead of time to get a good idea of the amount of crackle present Then enable the crackle processor and begin playback You will see the detected crackle events appear as yellow lines in the display Adjust the threshold to change the number of crackle events detected lower thresholds will detect fainter crackle and will create more crackle events while higher thresholds will detect louder crackle and will create fewer crackle events The monitor feature is particularly useful for hearing the detected and removed crackle events Note that if the click processor is still engaged you will also hear the removed click events With lower thresholds the crackle processor will detect high frequency portions of your signal and process these as crackle this will be apparent when monitoring because you will be able to hear parts of your signal in the monitor signal This is a good indication that the threshold is set too low Basically the monitored crackle signal should sound like random crackle events and should not resemble your input signal If your signal is fairly percussive it is likely that the crackle processor will detect the percussive onsets as crackle events This will be audible in the monitor signal because you will hear the underlying rhythm Your choices here are to increase the threshold or to engage the onset bypass mechanism T
44. o a frequency value box are equivalent 2k 2 3 Selector button kHz 2000 2000 Hz The selector button cycles through a number of fixed values Click on the button to go to the next value Click on the text to display a pop up menu of the available values The table below describes the functionality of the selector button Function Mac Windows Go to next value Click on the knob Click on the knob Go to previous value Shift dick on knob Shirt click on knob Display pop up menu of all choices Glick on text Click on text 14 2 Plug in Control Operation 2 4 Sliders Function mac Windows RELEASE Click on the slider Click on the slider er a parameter handle drag handle drag up down up down Right cick drag Fine adjustment Shift click drag up down increase decrease up down Shift click drag up down Command cick Control click Reset slider to default value ar zor Double click Double click Lighted buttons show a toggle state A green orange or yellow light indicates on and a black extinguished light indicates off Click the button to toggle the state Buttons that do not light up are used to activate certain commands 2 6 Output Meters Output meters show the peak signal power in short time updates in green from 96dB to 6dB in yellow between 648 and
45. o use the onset bypass adjust the onset threshold until you see onset events white lines in the display that correspond to the underlying rhythm of your track Lower thresholds result in more onsets events higher thresholds reduce the number of onset events Now enable the onset bypass by clicking on the BYPASS button When monitored you should hear that the crackles corresponding to musical onsets are no longer present or at least reduced when the onset bypass is engaged 37 Wave Arts Master Restoration Suite It is unrealistic to expect that you will be able to remove all audible clicks and crackle without adversely affecting the sound of the original signal A better strategy is to remove the most offending events leaving the signal as untouched as possible Because crackle is most audible during silent portions say between tracks one might be tempted to lower the threshold until all of the crackle is suppressed during these silent portions But this is probably overdoing it and there are other techniques which can be used to clean up the quiet portions Both broadband noise reduction as provided by MR Noise and noise gating as provided by MR Gate can clean up the quite portions Hence you should focus on removing the clicks and crackle that are audible while the music is playing 5 4 Parameters The table below lists all the internal parameters of MR Click and shows the range of values as would be displayed by a generic paramete
46. old This parameter sets the crackle detection threshold Lower values result in many faint crackles detected high values result in only a few loud crackles detected Onset Bypass When onset bypass is engaged crackle processing is bypassed during detected onset events This is useful to prevent decrackling of percussive onsets that can easily be recognized as crackle Onset Threshold This parameter sets the onset detection threshold Lower values result in many faint onsets detected high values result in only a few loud onsets detected Gain Output gain in dB Monitor G in Monitor output gain in dB 5 5 Presets MR Click factory presets are listed in the table below In the standalone plug in these appear in the preset menu in the menu bar In Master Restoration these presets appear in the Click amp Crackle Preset selector Name Description Default Default settings with nothing enabled Vinyl Clean Typical vinyl phonograph settings both click and crackle Vinyl Light Cean Light cleaning settings for vinyl Vinyl Hard Clean Hard cleaning settings for vinyl Clicks Click removal Crackle Grackle removal 5 6 Specifications Description Click and crackle removal filters Platforms Pentium amp compatible PowerPC Operating Systems Windows 2000 XP Mac OS X 10 4 or higher Plug in Formats _ AU DirectX MAS RTAS VST 39 Wave Arts Master
47. on the display The scaling curve is specified using 11 control points at frequencies from 20 Hz to 20 kHz such that each point spans roughly one octave Each control point can scale the parameter from 0 to 200 of the parameter s nominal value The parameter value at any frequency is determined by the product of the value shown on the knob times the value of the scaling curve at that frequency The figure below shows an example scaling curve Although the display is stereo the scaling curves are monophonic the scaling parameters are the same for each channel If you click RESET when editing a scaling curve the curve will be reset to x1 at all frequencies Figure 6 9 Example scaling curve for the Amount parameter Frequencies below 160 Hz are at 50 value IF the Amount knob was set to 12 dB then Amount would be 6 dB up to 160 Hz and 12 dB above 320 Hz 6 4 Parameters The table below lists all the internal parameters of MR Noise and shows the range of values as would be displayed by a generic parameter value plug in interface or by an automation interface Most of these parameters have a one to one correspondence with controls on the user interface Parameter name Values Enable 0 Off 1 On Monitor Enable 0 Off 1 On Threshold 0 40 dB Amount 0 60 d8 Attack Time 0 100 msec Release Time 0 1000 msec Knee Type 0 Soft 1 Medium 2 Hard Learn Enable 0 Off 1 On Learn Time 0 50 msec 1 100
48. or higher Plug in Formats _ AU DirectX MAS RTAS VST Sampling Rates upto 192 kHz Precision 64 bit hum and brickwall filters 32 bit buzz filtering Latency none 1 0 Formats mono mono stereo stereo 32 4 MR Click 5 MR Click AN A Figure 5 1 MR Click user interface 5 1 Overview MR Click combines click and crackle filtering specifically intended for restoring phonograph recordings The functions of MR Click are also implemented as part of the Master Restoration plug in Some of MR Click s features include Separate algorithms optimized for click and crackle processing Sophisticated detection algorithms for clicks and crackle focus processing on contaminating events Onset detection allows crackle processing to bypass onset events keeping attacks bright Monitoring feature for hearing eliminated clicks and crackle Comprehensive stereo display of signal level clicks crackle and onset events A diagram of MR Click s audio routing and meter placement is shown below Output meter in e Glick Cracke oc Sit Mon Mon MON Figure 5 2 MR Click audio routing diagram 33 Wave Arts Master Restoration Suite The input signal is processed by the click filter first then the crackle filter When the monitor feature is enabled the output consists of the signal that is removed by each of the enabled sections If both the
49. orithm requires only a short noise sample down to 50 msec to learn the noise spectrum effectively although longer learning times give more accurate results To handle varying noise floors there are two approaches One can learn a long varying portion of noise and use this average floor or one can segment the audio into different clips and learn different noise floors for each clip The latter method is more effective Reduction amount It is often necessary to limit the maximum amount of attenuation This is done via the Amount parameter which specifies the maximum attenuation By limiting the maximum attenuation we limit the amount of noise reduction but also limit processing artifacts Knee shape As described above the noise reduction algorithm is essentially a dynamics processor applied to each frequency band in the spectrum Maximum attenuation is applied when the signal level falls equal or below the noise floor Signal levels above the noise floor are attenuated less because they are less likely to be noise When the signal rises to about 20 dB over the noise floor there is very little attenuation since it is very unlikely the signal could be noise So this is like a gate or expander dynamics curve where there is no attenuation at high signal levels with respect to the noise but attenuation is applied as the signal level gets lower In the MR Noise algorithm the curve of attenuation versus level above noise floor is defined
50. ortions of noise or for controlling the start of learning When the LEARN TIME is set to Manual learning will continue for as long as the LEARN button is on You must click LEARN again to turn off learning Adjust 19 the noise reduction Assuming you are starting from the default preset values the noise reduction parameters will be set to something sensible Recommended parameters are AUTO mode enabled Soft Knee type Threshold from 6 to 9 dB to eliminate musical noise and Amount from 3 to 40 dB based on preference Adjusting the Threshold can be done easily if you have a quiet portion of the track that contains only noise When this is processed adjust the threshold as low as Possible until you hear some musical noise random tones and then raise the threshold by 2 3 dB so the tones disappear The Amount control is the most important for adjusting the tradeoff between noise reduction and processing artifacts When Amount is set to 0 dB there is no noise reduction and the output signal should exactly match the input Increasing the Amount increases the amount of noise reduction but also increases the possibility of processing artifacts Possible processing artifacts include smearing of attack transients harmonic tones gating on and off causing a watery effect musical noise during quite portions loss of signal content particularly at high frequencies MR Noise is designed to minimize artifacts and give you real
51. ous types of unwanted artifacts in an audio signal including hum buzz clicks crackle rumble and hiss We use the term broadband noise to describe noise consisting of a random signal which sounds like hiss This type of noise is present in every audio signal There are many sources of broadband noise igital quantization in digital signals the quantization of the signal to a certain bit resolution creates broadband noise called quantization noise Acoustic recordings there is always some acoustic noise which can be due to ventilation sounds or other background noises Electronics all electronics particularly high gain amplifiers will add noise to a signal due to thermal variation in the amplifier elements Magnetic tape recordings magnetic tape is composed of individual grains of magnetic material which are each magnetized differently to record an audio signal The finite number of grains and limited tape speed causes random noise during playback Phonograph recordings surface irregularities cause playback noise An important characteristic of the noise is its spectrum that is the distribution of energy at different frequencies The noise spectrum is also called the noise floor because it defines the lowest signal level at each frequency that can be distinguished from the noise In order for a signal to be audible it has to be above the noise floor The noise floor is also called the noise profile
52. owever the side effect imparted to the signal is that of a comb filter that is an echo with a very short delay This can sound like a hollow room ambience and may be objectionable Hence buzz removal imparts significant side effects Brickwall filters Brickwall filters are lowpass or highpass filters with very steep cutoffs used to pass all frequencies up to the cutoff frequency and eliminate all frequencies beyond the cutoff The frequency range that is passed unaltered is called the passband the frequency range that is attenuated is called the stopband MR Hum s brickwall filters are implemented using 10th order elliptical filters with at least 90 dB of stopband attenuation and less than 0 1 dB of passband ripple 27 Wave Arts Master Restoration Suite Brickwall filters are used to eliminate unwanted frequency ranges One use of the low brickwall filter is to eliminate low frequency rumble which can occur from phonograph playback or due to wind or other low frequency noise during an acoustic recording Brickwall filters can also be used when processing a noisy recording of an instrument sound that does not use the entire frequency range The brickwall filter would be positioned at the edge of the instrument s frequency range to eliminate out of band noise So for example when processing voice one could use the brickwall filters to eliminate all frequencies below 100 Hz and above 8 kHz The brickwall filters can also be used to ze
53. processing stereo inputs MR Gate applies the same gain to both channels based on peak level calculated across both channels The display is only active if MR Gate is enabled 57 Wave Arts Master Restoration Suite The display plots the last few seconds As processing continues the display contents scroll from right to left The vertical amplitude axis range can be changed by right clicking SHIFT clicking on Mac the vertical axis this will display a popup menu of choices for vertical axis range Similarly the horizontal time axis range can be changed by right clicking SHIFT clicking on Mac the horizontal axis this will display a popup menu of choices for horizontal axis range 7 3 Using MR Gate A good place to start is to select the Fast Gate preset If you are using the Master Restoration plug in click on the DISPLAY button to bring up the MR Gate display Now start playback and adjust the threshold to be just above the level of the background noise during quiet sections After the threshold is set you may want to adjust the release time to get the most natural sounding decays into silence For best results you want to match the release time of the gate with the release time of the sound you are gating If the noise gating is too obtrusive you may want to reduce the attenuation during quiet sections This can be done by using lower ratio values Selecting the MONITOR button allows you to hear the sound that has been removed
54. r which applies from 1 to 10 harmonic notch filters to cancel 50 Hz or 60 Hz hum and associated harmonics The signal is next processed by the buzz removal filter The result is input to the spectrum analyzer if set to post mode When the monitor feature is enabled the output consists of the signal that is removed by each of the enabled sections For the low brickwall filter the monitor will contain all frequencies up to the cutoff of the low brickwall For the high brickwall the signal will contain all frequencies above the cutoff of the high brickwall For the hum filter the monitor signal will contain only those frequencies that are notched by the hum filter this is accomplished using a parallel sum of bandpass filters at the harmonics of the hum fundamental For the buzz filter the monitor signal will contain frequencies of the buzz fundamental and all harmonics 4 2 About Hum Buzz and Brickwall filtering Hum is caused by interference of audio circuitry with line power Line power oscillates at either 50 Hz or 60 Hz depending on your world location So in its simplest form hum is a low frequency interference tone at either 50 Hz or 60 Hz However Hum often contains harmonics multiples of the fundamental frequency For example in a region with 60 Hz power interfering hum would typically contain frequencies of 60 Hz 120 Hz 180 Hz and so on Below is a frequency spectrum of typical hum with a 60 Hz fundamental It shows signi
55. r value plug in interface Most of these parameters have a one to one correspondence with controls on the user interface Parameter name Values Enable 0 Off 1 On 0 Off 1 On 0 Off 1 On J6 20 de Duration 0 5 10 msec Crackle Enable 0 Off 1 On Crackle Threshold 12 40 dB Onset Bypass 0 Of 1 n Onset Threshold 40 dB Gain 2to 12 dB Monitor Gain 12 to 12 dB The parameters are described in more detail below Enable This parameter is only available in the standalone MR Click where it functions as the global bypass control The Master Restoration plug in does not have an enable for the Click amp Crackle section Monitor Enable This enables disables the monitor feature When monitoring is enabled the output signal consists of the click and crackle signals that are removed by MR Click Click Enable Enables or bypasses the click processor Click Threshold Sets the click detection threshold Lower values result in many faint clicks detected high values result in only a few loud clicks detected 38 4 MR Click Click Duration Sets the interpolation time for each click MR Click will overwrite the click event with a linear interpolation starting 0 5 msec before the click and lasting a duration set by this parameter Crackle Enable Enables disables the crackle removal filter Crackle Thresh
56. rag up down or Shift click drag up down Click _RTAS Ctrl click Command click Control elie or Reset knob to default value Double click Double click RTAS Option click RTAS Alt click 2 2 Text Entry Many value displays are editable text A text field is editable if your mouse cursor changes to an I beam when moved over the text Following is a table that fully describes how to use the text editing features Function Mac Windows Enter text entry mode Click in the display Click in the display Select text Click drag Glick drag Select entire text Double click Double click Delete character to left of cursor Delete Backspace Delete character to right of cursor Del Delete 13 Wave Arts Master Restoration Suite Tenjrightarren _Len Rignt arrow Move the cursor left right Heel pee Shift cick drag Sh dick drag Extend the current selection Silane arrow keys arrow keys ESC ESC Click outside value Click outside value Exit text entry mode baxi box Tabl Tab Return Enter Return Enter Select next parameter to edit Tab Tab Select previous parameter to edit SHIR F Tab SAIR F Tab Typing ESC causes the text to revert its original value before editing You ll find that many parameters such as frequency will recognize units typed into the text field The following values when typed int
57. ro in on a particular frequency range just for analysis purposes For example one could use the brickwall filters to listen to selected overtones in an organ or to isolate the sibilants of a human voice 4 3 Using MR Hum MR Hum has three sections the hum filter the buzz filter and the brickwall filters Each section can be enabled with the corresponding ENABLE button Hence the enable buttons can be used to compare the results of processing enabled with processing disabled bypassed The monitor feature is also extremely useful to tune the parameters by listening The spectrum analyzer can be used to visualize the spectrum before and after processing Spectrum analysis Spectrum analysis works by transforming the time signal into its constituent frequencies and displaying the resulting spectrum amplitudes as a function of frequency You can see at a glance what frequencies are present in your signal MR Hum uses a long time window when transforming blocks of the input signal hence the resulting spectrum has very good resolution at low frequencies which makes it easy to see low frequency tones as spikes in the spectrum See figure 4 2 for an example of a spectrum display Because of the long time block sizes the update rate is fairly slow just a few updates per second When using the spectrum analyzer to visualize hum or buzz it is best to audition a portion of your signal which contains only the hum or buzz MR Hum spectrum analysis can
58. rol of the Noise section of Master Restoration 8 3 Presets Master Restoration factory presets are listed in the table below Name Description Default Default settings with nothing enabled Tape clean Magnetic tape Vinyl clean Vinyl phonograph 8 4 Specifications Description Hum buzz click crackle and broadband noise removal with gating brickwall filters and spectrum analysis Platforms Pentium amp compatible PowerPC Operating Systems Windows 2000 XP Mac OS X 10 4 or higher Plug in Formats AU DirectX MAS RTAS VST Sampling Rates up to 192 kHz 64 bit hum and brickwall filters 32 bit buzz filtering 32 bit click and Ereclslon crackle removal 32 bit noise reduction 32 bit gating Latency Sum of latency of individual sections See specifications for individual plug ins 1 0 Formats mono mono stereo stereo 63 License Agreement License Agreement END USER LICENSE AGREEMENT FOR WAVE ARTS SOFTWARE IMPORTANT READ CAREFULLY This Wave Arts End User License Agreement EULA is a legal agreement between you either an individual or a single entity and Wave Arts Inc Wave Arts for the Wave Arts software accompanying this EULA which includes computer software and may include associated media printed materials and on line or electronic documentation SOFTWARE PRODUCT or SOFTWARE By exercising your rights to ma
59. selecting the About command in the Tools menu of any Wave Arts plug in as shown in the figure below The Machine ID is a number which identifies Wave Arts Master Restoration Suite the computer you are using Different computers will have different machine IDs Master Restoration A Unlock Pag Check for Updates Visit Webste After selecting the About item you ll see an About dialog box like the one below The About box shows the version number of the plug in the host plug in format e g DirectX VST the registration status of the plug in and the Machine ID of your computer Make note of the Machine ID About Master Restoration wave arts Master Restoration v5 30 Direct Build date Apr 18 2007 Dema mode 30 days remaining Machine ID 18869 User Manual Unlock Plugin 0K Wave Arts Inc Copyright c 2005 99 Massachusetts Ave Wave Arts Inc Arlington MA 024740600 All rights reserved usa Tel 781 646 3794 VST plug in technology support weveerts com by Steinberg At our registration site http www wavearts com register html you will enter your Serial Number the number that begins with WA and your Machine ID If you purchased an electronic download your Serial Number was emailed to you when you purchased the product If you purchased the 1 Installation and Registration software in a shrink wrapped box the Serial Number can be found in the box contents The regis
60. the Left or Right values to select just the left and right channels for display When processing mono signals the DISP MODE control will show Mono and the display will show the single channel In the display the input signal spectrum is shown in green the output signal spectrum is shown in red and the noise floor spectrum is shown in yellow The input and output spectra are shown only when the MR Noise is enabled and the plug in is processing audio Green Input signal spectrum Rea Output signal spectrum Yellow Noise floor spectrum MR Noise uses a fairly short spectral analysis time under 20 milliseconds and consequently the spectrum display does not have good resolution at low frequencies This is seen in the spectrum display as a very smooth curve at low frequencies The choice of using a short analysis time was made to optimize the noise reduction performance without regard to display resolution Editing the noise floor It may be impossible to find a portion of sound that contains only background noise In this case the noise floor can be learned from a portion of your sound that 6 MR Noise has the lowest signal level and then you can manually adjust the floor by editing To edit the noise floor click on the FLOOR button Figure 6 6 Clicking the floor button allows the noise floor to be edited manually Click the floor button again to turn off editing When the FLOOR button is lit a set
61. the desired signal during transients so that less transient signal leaks into the noise monitor signal If the monitor signal contains a lot of low or mid frequencies from the desired signal you should consider adjusting the frequency scaling parameters to prevent these frequencies from being removed as noise Try reducing the amount and threshold parameters at these frequencies Although the monitor feature is useful you should base your decisions on the sound of the processed signal comparing this to the original sound when the plug is bypassed Listening to the noise monitor by itself ignores the fact that many low level details of the noise reduction process are masked by the desired signal Thus details in the noise monitor signal may be inaudible in the processed signal Spectrum display MR Noise features a spectrum display which is shown below 47 Wave Arts Master Restoration Suite Figure 6 5 Noise reduction spectrum display Green is input signal spectrum red Is output signal spectrum and yellow is the noise floor spectrum For stereo inputs the left channel is displayed on top and the right channel is displayed below When processing a stereo signal the display is divided into two sections the top display is the left channel and the bottom display is the right channel For greater detail you can look at just one channel by using the DISP MODE control DISP MODE has values of Stereo Left and Right Use
62. the installation process as described below If you are downloading Power Suite the file MasterRestoration exe will be created on your computer Double click this file to start the installation process If you are downloading and installing an individual plug in or another bundle the installation process is similar but the files will be named after the individual plug in or bundle rather than named Master Restoration Wave Arts 01 TE EAE Ven Faros Teck Feb Bie As Erer i 0 1D haw ss Te Date Moet eb ies fea Fler era e recrea eie EEE applkaton SS contar If you have downloaded the installer from the Wave Arts web site when you run the installer you may get a warning message from Windows that the publisher could not be verified Ignore the warning and click Run to continue 1 Installation and Registration The installer will guide you through the following screens 1 Welcome Click Next to continue 2 Read Me File Displays information about demo and registration procedure Click Next to continue 3 License Agreement Read and click Yes if you agree to the terms of the agreement The agreement is reprinted at the end of this user guide 4 Select Components Here you have the option to select DX VST and RTAS formats for installation Click each box to toggle the checkmark on off boxes with checkmarks indicate the corresponding component i e plug in format will be installed B
63. tiple sections to be monitored in which case the output contains a mix of the monitored sections Master Restoration keeps has separate gains for monitored and non monitored output Hence when monitoring you can increase the output gain control to more easily hear the monitor signal When monitoring is turned off the normal output gain is applied Section presets In Master Restoration each section has a preset control as shown below Click on the button to advance to the next section preset SHIFT click moves backwards to the preceding preset Click on the text area to display a popup menu of preset options There are rolloff menus for factory and user presets and Save and Save As options for saving a section preset This menu works like the main preset menu in the menu bar which is described in Chapter 3 Figure 8 3 Section preset control 62 Master Restoration Sharing presets between processors User presets created in the various processor sections of Master Restoration are automatically imported into the individual plug ins Simply save the preset using the section preset control then you will see this preset in the main preset menu of the individual plug in For example if you save a preset in the Noise section of Master Restoration this preset will be available in the MR Noise main preset menu under the User rolloff menu Similarly if you save a preset in MR Noise this preset will automatically appear in the preset cont
64. tration page has the following fields to fill out Name Email serial Number Machine ID The registration page needs the following information your name your email address your Serial Number and your Machine ID It s very important to provide a working email address because your Key Code will be emailed to this address Also be sure to enter the Serial Number and Machine ID correctly Once the required information is entered at the Register web page you will be emailed a reply containing your 10 digit Key Code An example reply is shown below Your key code for Wave Arts Master Restoration Suite for Machine 1D 18869 is the Unlock Plug In item i r this number A bundi de in any plug in in pr and the bundle Plea us if you have any problems Thank you Wave Ar You then unlock the plug ins be selecting the Unlock Plug In command in the Tools menu om Nastor Restoration that Open a Nee Check for Updates Visit Wehste Wave Arts Master Restoration Suite Enter the Key Code in the dialog box Wave Arts Master Restoration Registration 2 Peso onts the Kay Code fot you Sol Hub belen Gerke Cove TP A Kay Code may be otsined by visting our Fleiter page at fiip uiau aeeatsccrvtageter il Buy Plugin Ifyou ee orline the Get Key Code butoni villteke you deol there You wil nood a valid email dose your Cera Number anc your Machine ID 18869 1 ax Lem
65. w fast the gain is restored Consider the example of a drum recording containing background noise assuming the threshold has been set just above the background noise and the ratio is large When the signal goes below threshold the gate kicks in and begins reducing gain A short release time will decrease gain rapidly abruptly cutting off the decay of the drum Longer release times cause the gain to decrease more slowly which may sound more natural but also allow the Noise to be audible at the end of the drum decay On the next drum hit the gate will restore gain according to the attack time Using a short attack time is prudent in this case otherwise the attack of the drum will be lost due to the slow attack fade in of the gate So when gating the attack and release times correspond to the attack and release times of the instrument you are processing Another important parameter for gating is the lookahead time Lookahead allows the gate to respond to events in the signal before they occur This is done by delaying the audio signal after level detection and before gain processing Lookahead is particularly important for restoring gain just before onset attack events A few milliseconds of lookahead is sufficient to allow the gain to ramp up before the attack is processed by the gain stage Running a gate without lookahead risks cutting off all attack events MR Gate Input and Gain meters MR Gate displays an input meter on the left and a ga
66. y default all three boxes are checked and thus all three formats will be installed Click Next to continue 5 Choose Destination Location For each of the plug in formats selected to install choose the destination location on your file system The first location is for DX format plugs and also serves as the destination for the user manual The second location is the folder where VST plug ins are installed The third location is the folder where RTAS plug ins are installed Click Next to continue 6 Select Program Manager Group Enter the name of the folder in the Windows start All Programs menu where the Wave Arts files can be accessed Start Inst lation Click next to perform installation 8 Installation complete Click Finish to exit the installer If you are attempting to install plug ins that are currently in use you may be asked to restart your computer 1 3 Registration After your plug ins are installed they will function in demo mode for 30 days While in demo mode they will be fully functional however you must register i e unlock your plug ins or they will stop working after 30 days You will be warned when you have 7 days remaining in your demo period To unlock the plugs after installation go to http www wavearts com register html and enter the required information You ll need your Serial Number either emailed to you or printed on a page in the product box and your Machine ID which can be determined by
67. y that are indistinguishable from crackle events If the crackle processing was applied uniformly the percussive attacks would be dulled by the crackle smoothing To alleviate this problem MR click has an option to bypass crackle processing during note onsets MR Click contains a broadband onset 35 Wave Arts Master Restoration Suite detector that will trigger on note onsets When the bypass onsets option is engaged the crackle processing will by bypassed during note onsets 5 3 Using MR Click MR Click Display Operation of MR Click is greatly facilitated by the event display shown below Figure 5 5 Click and Crackle event display The green plot shows signal level red lines are clicks yellow lines are crackle and grey lines are onset events The display is active when MR Click is enabled The display shows the past few seconds of signal history and scrolls from right to left as audio playback proceeds The green plot shows input signal level Red lines indicate detected click events Yellow lines indicate detected crackle events White lines indicate detected onset events These are summarized in the table below Green Input signal level Red Click events Yellow Crackle events Grey Onset events Click events are shown only if the click processor is enabled Crackle and onset events are shown only if the crackle processor is enabled To change the time range right click SHIFT click on Mac the hori
68. zontal time axis and a popup menu will appear with different choices for the time range in seconds To change the vertical range right click SHIFT click on Mac the vertical amplitude axis and a popup menu will appear with different choices for the amplitude range in dB 36 4 MR Click MR Click Operation When processing phonograph recordings to remove clicks and crackle the strategy is to first remove the loud clicks and pops and then remove the lower level crackle You should first audition the material to be processed and listen for offending clicks Then rewind your track and enable the click processor by clicking on the ENABLE button Start playback of the track and adjust the click threshold knob until all the offending clicks are detected Lower threshold values will detect more click events and higher threshold values will detect fewer click events only the loudest clicks will be detected at high threshold settings You can see the clicks appear in the event display as red lines You can also enable the monitor feature and listen to the detected clicks in the monitor signal When the monitor feature is off you can also enable disable the click processor to compare the results of click removal versus no processing A click duration of 1 msec usually works well but in some cases you might want to lengthen the duration if there is still a residual thump sound after click removal Once you are satisfied that the loud clicks a

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