Cedar Bundle (Declick, Decrackle, Dehiss, Dethump, Retouch) for Pyramix

• Define complex shapes using marquee, line drawing, and paint brush tools.
• Retouch multiple regions simultaneously.
• Lock either axis for pitch-shifting (vertical movement) or preserving the harmonic content (horizontal movement) when patching or copying.
• 'Match edges' and 'tilt' to accommodate fades and pre-existing filtering.
• Choose between logarithmic, linear and note scales on the frequency axis.
• Insert harmonic markers.
• Define your own hot-keys for faster, more intuitive operation.

Plugins that are included:

Dehiss:

Many plug-in dehissers are prone to side-effects known as twittering and glugging. Auto dehiss embodies a more advanced algorithm that enables the software to determine the broadband noise content and remove it without the introduction of those artefacts or other unwanted side-effects. A manual mode is also offered for fine-tuning the results when wanted.

Remarkably simple to use, Auto dehiss is nonetheless a fully-featured package for cleaning up audio for post, CD and DVD mastering, soundtrack restoration, broadcast, and sound archives.

Dethump:

Thumps may last for many hundreds of milliseconds, so conventional declicking processes are unsuitable for restoring audio containing them. Furthermore, the spectral content of thumps will usually overlap the genuine signal, so simple high-pass or band-reject filters cannot remove them without degrading the underlying signal.

Dethump uses the data in and around the damaged signal to build up a picture of what the low frequency data should have been had the thump not occurred. The process then replaces the thump with restored low frequency audio, leaving the undamaged high frequency audio unaffected. This makes dethump ideal for removing many of the previously intractable problems associated with optical soundtracks, as well as for restoring damaged cylinders and discs, and for cleaning modern recordings when, for example, microphones and stands are bumped. No other process can analyse and restore damaged signal of up to 100,000 samples duration.

Declicking:
With both manual- and auto- declicking capabilities, CEDAR for Pyramix 64 performs at high speed without sacrificing CEDAR quality, and addresses the widest possible range of scratch and click removal problems.
Auto declick (which now offers a threshold control for greater flexibility) incorporates a better impulsive noise detection and a better interpolator than any previous declicker available for Pyramix. This results in superior performance across a wider range of material than ever before. Indeed, this performance is so good that, in most cases, it's not possible to hear that the signal was damaged prior to restoration.

Decrackle:
Based upon the technology that underpinned the renowned CEDAR CR-1, Auto decrackle boasts a remarkable ability to dig into a damaged signal to identify and remove all manner of ground-in and grungy crackle without damaging the wanted audio. It also removes some forms of buzz and some amplitude distortions from material ranging from cylinder recordings to current broadcasts contaminated with lighting buzz.
Now offering a threshold control for greater flexibility, it's amazingly simple to operate and as applicable to film soundtrack restoration, audio forensics and broadcast as it is to traditional audio restoration jobs such as CD and DVD remastering.

Retouch:

Unlike conventional restoration tools, Retouch 7 allows you to define the temporal and spectral content of the sounds that you want to manipulate. You are not limited to simple definitions of complex sounds: Retouch 7 allows you to mark complex areas in its spectrogram using the types of tools commonly found in the most powerful photographic and image manipulation software. Once identified, sounds can be manipulated using any of the numerous modes at your disposal.

There are now seven processing modes rather than three:
• Interpolate
• Copy
• Patch
• Volume
• Erase
• Cleanse
• Revert

Volume

Allows you to adjust the amplitude of the signal within a region, and independently adjust the amplitude of the signal lying outside that region. Use this, for example, to reveal individual sounds within a file, either by amplifying the wanted sounds or by suppressing the rest of the audio (or both). You can also use Volume mode to retain only the wanted sounds within a file.

Erase

A quick and simple way to eliminate unwanted events and replace them with background (atmos) calculated from the surrounding audio.

Cleanse

In the past, it was difficult to isolate sounds such as wanted speech in the presence of strong, but relatively short-lived background noises such as gusts of wind blowing across a microphone. Previously, you could draw around the wanted signal to suppress the audio outside of this, but this was both time consuming and laborious. Today, Cleanse will separate the wanted signal from the unwanted and allow you to suppress the noise at the touch of a button. Don't be misled - this isn't a rehash of existing noise reduction methods, but a powerful new process (patent applied for) that achieves results never before obtained.

Revert

Revert allows you to define any part of the spectrogram and return it to its original, unprocessed form. Much more powerful than stepping backward and forward through a list of actions, this allows the user to reinitialise any part of the audio no matter where it came in the process history, thus leaving later work untouched. You don't even have to Revert whole Retouch operations. If you like the result of a single process at, say, the end of a note, but feel that you could do better at the start of the note, you can reinitialise and reprocess this section of the audio no matter how many Retouches you have performed elsewhere since then. It's so quick and so powerful that you'll wonder how you ever worked without it.