Click (acoustics)

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A click is a sonic artifact in sound and music production.

Contents

Analog recording artifact

Vinyl clicking noise

On magnetic tape recordings, clicks can occur when switching from magnetic play to record in order to correct recording errors and when recording a track in sections. [1] On phonograph records, clicks are perceived in various ways by the listener, ranging from tiny 'tick' noises which may occur in any recording medium through 'scratch' and 'crackle' noise commonly associated with analog disc recording methods. Analog clicks can occur due to dirt and dust on the grooves of the vinyl record or granularity in the material used for its manufacturing, or through damage to the disc from scratches on its surface. [2]

Digital recording artifact

In digital recording, clicks (not to be confused with the click track) can occur due to multiple issues. When recording through an audio interface, insufficient computer performance or audio driver issues can cause clicks, pops and dropouts. They can result from improper clock sources [3] and buffer size. Also, clicks can be caused by electric devices near the computer or by faulty audio or mains cables. [4] In sample recording, digital clicks occur when the signal levels of two adjacent audio sections do not match. The abrupt change in gain can be perceived as a click. [5] In electronic music, clicks are used as a musical element, particularly in glitch and noise music, for example in the Clicks & Cuts Series (2000–2010). [6] [7]

Speech noise

Audio recording of a male voice with speech clicks
The same recording with clicks digitally removed

In speech recording, click noises (not to be confused with click consonants) result from tongue movements, swallowing, mouth and saliva noises. [8] While in voice-over recordings, click noises are undesirable, they can be used as a sound effect of close-miking in ASMR and pop music, e.g. in Bad Guy (2019) by Billie Eilish. [9]

Click removal

In audio restoration and audio editing, hardware [10] and software [11] de-clickers provide click removal or de-clicking [12] features. [13] [14] A spectrogram can be used to visually detect clicks and crackles (corrective spectral editing). [15]

See also

Related Research Articles

An analog signal is any continuous-time signal representing some other quantity, i.e., analogous to another quantity. For example, in an analog audio signal, the instantaneous signal voltage varies continuously with the pressure of the sound waves.

Audio signal processing is a subfield of signal processing that is concerned with the electronic manipulation of audio signals. Audio signals are electronic representations of sound waves—longitudinal waves which travel through air, consisting of compressions and rarefactions. The energy contained in audio signals is typically measured in decibels. As audio signals may be represented in either digital or analog format, processing may occur in either domain. Analog processors operate directly on the electrical signal, while digital processors operate mathematically on its digital representation.

<span class="mw-page-title-main">High fidelity</span> High-quality reproduction of sound

High fidelity is the high-quality reproduction of sound. It is popular with audiophiles and home audio enthusiasts. Ideally, high-fidelity equipment has inaudible noise and distortion, and a flat frequency response within the human hearing range.

Dynamic range is the ratio between the largest and smallest values that a certain quantity can assume. It is often used in the context of signals, like sound and light. It is measured either as a ratio or as a base-10 (decibel) or base-2 logarithmic value of the difference between the smallest and largest signal values.

<span class="mw-page-title-main">Digital audio</span> Technology that records, stores, and reproduces sound

Digital audio is a representation of sound recorded in, or converted into, digital form. In digital audio, the sound wave of the audio signal is typically encoded as numerical samples in a continuous sequence. For example, in CD audio, samples are taken 44,100 times per second, each with 16-bit sample depth. Digital audio is also the name for the entire technology of sound recording and reproduction using audio signals that have been encoded in digital form. Following significant advances in digital audio technology during the 1970s and 1980s, it gradually replaced analog audio technology in many areas of audio engineering, record production and telecommunications in the 1990s and 2000s.

<span class="mw-page-title-main">Tape recorder</span> Machine for recording sound

An audio tape recorder, also known as a tape deck, tape player or tape machine or simply a tape recorder, is a sound recording and reproduction device that records and plays back sounds usually using magnetic tape for storage. In its present-day form, it records a fluctuating signal by moving the tape across a tape head that polarizes the magnetic domains in the tape in proportion to the audio signal. Tape-recording devices include the reel-to-reel tape deck and the cassette deck, which uses a cassette for storage.

Sound can be recorded and stored and played using either digital or analog techniques. Both techniques introduce errors and distortions in the sound, and these methods can be systematically compared. Musicians and listeners have argued over the superiority of digital versus analog sound recordings. Arguments for analog systems include the absence of fundamental error mechanisms which are present in digital audio systems, including aliasing and quantization noise. Advocates of digital point to the high levels of performance possible with digital audio, including excellent linearity in the audible band and low levels of noise and distortion.

Glitch is a genre of electronic music that emerged in the 1990s. It is distinguished by the deliberate use of glitch-based audio media and other sonic artifacts.

<span class="mw-page-title-main">Mastering (audio)</span> Form of audio post-production

Mastering, a form of audio post production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device, the source from which all copies will be produced. In recent years digital masters have become usual, although analog masters—such as audio tapes—are still being used by the manufacturing industry, particularly by a few engineers who specialize in analog mastering.

<span class="mw-page-title-main">Acoustical engineering</span> Branch of engineering dealing with sound and vibration

Acoustical engineering is the branch of engineering dealing with sound and vibration. It includes the application of acoustics, the science of sound and vibration, in technology. Acoustical engineers are typically concerned with the design, analysis and control of sound.

<span class="mw-page-title-main">Reel-to-reel audio tape recording</span> Audio recording using magnetic tape spooled on open reels

Reel-to-reel audio tape recording, also called open-reel recording, is magnetic tape audio recording in which the recording tape is spooled between reels. To prepare for use, the supply reel containing the tape is placed on a spindle or hub. The end of the tape is manually pulled from the reel, threaded through mechanical guides and over a tape head assembly, and attached by friction to the hub of the second, initially empty takeup reel. Reel-to-reel systems use tape that is 1⁄4, 1⁄2, 1, or 2 inches wide, which normally moves at 3+3⁄4, 7+1⁄2, 15 or 30 inches per second. Domestic consumer machines almost always used 1⁄4 inch (6.35 mm) or narrower tape and many offered slower speeds such as 1+7⁄8 inches per second (4.762 cm/s). All standard tape speeds are derived as a binary submultiple of 30 inches per second.

Audio restoration is the process of removing imperfections from sound recordings. Audio restoration can be performed directly on the recording medium, or on a digital representation of the recording using a computer. Record restoration is a particular form of audio restoration that seeks to repair the sound of damaged gramophone records.

The history of sound recording - which has progressed in waves, driven by the invention and commercial introduction of new technologies — can be roughly divided into four main periods:

In sound and music production, sonic artifact, or simply artifact, refers to sonic material that is accidental or unwanted, resulting from the editing or manipulation of a sound.

Record restoration, a particular kind of audio restoration, is the process of converting the analog signal stored on gramophone records into digital audio files that can then be edited with computer software and eventually stored on a hard-drive, recorded to digital tape, or burned to a CD or DVD. The process may be divided into several separate steps performed in the following order:

  1. Cleaning the record, to prevent unwanted audio artifacts from being introduced in the capture that will necessitate correction in the digital domain, and to prevent unnecessary wear and damage to the stylus used in playback.
  2. Transcription of the record to another format on another medium ;
  3. Processing the raw sound file with software in order to remove transient noise resulting from record surface damage ;
  4. Using software to adjust the volume and equalization;
  5. Processing the audio with digital and analogue techniques to reduce surface/wideband noise;
  6. Saving the file in the desired format.
<span class="mw-page-title-main">BIAS</span>

BIAS was a privately held corporation based in Petaluma, California. It ceased all business operations as of June, 2012.

Total Recorder is digital audio editor software from High Criteria, Inc. which is able to record any sound coming through a computer soundcard. In addition to recording through a soundcard, Total Recorder is able to record digital sound directly through its virtual sound driver. This driver provides an advantage of recording audio reproduced by an external program directly in digital format, i.e. without digital-analog-digital conversions leading to loss of quality, and even in those cases when a computer soundcard has no loop-back line. Total Recorder is a shareware program. Evaluation version of Total Recorder is a fully functional version of the program, with the exception that an audible noise will be inserted about every 60 seconds.

<span class="mw-page-title-main">Audio engineer</span> Engineer involved in the recording, reproduction, or reinforcement of sound

An audio engineer helps to produce a recording or a live performance, balancing and adjusting sound sources using equalization, dynamics processing and audio effects, mixing, reproduction, and reinforcement of sound. Audio engineers work on the "technical aspect of recording—the placing of microphones, pre-amp knobs, the setting of levels. The physical recording of any project is done by an engineer... the nuts and bolts."

<span class="mw-page-title-main">Glitch art</span> Practice of using digital or analog errors for aesthetic purposes

Glitch art is the practice of using digital or analog errors for aesthetic purposes by either corrupting digital data or physically manipulating electronic devices. Glitches appear in visual art such as the film A Colour Box (1935) by Len Lye, the video sculpture TV Magnet (1965) by Nam June Paik and more contemporary work such as Panasonic TH-42PWD8UK Plasma Screen Burn (2007) by Cory Arcangel.

<span class="mw-page-title-main">Audio forensics</span>

Audio forensics is the field of forensic science relating to the acquisition, analysis, and evaluation of sound recordings that may ultimately be presented as admissible evidence in a court of law or some other official venue.

References

  1. ↑ Company, Eastman Kodak (1961). Magnetic Sound Recording for Motion Pictures. The Company. pp. 62–63.
  2. ↑ Kahrs, Mark; Brandenburg, Karlheinz (2006-04-18). Applications of Digital Signal Processing to Audio and Acoustics. Springer Science & Business Media. p. 137. ISBN   978-0-306-47042-4.
  3. ↑ Corey, Jason (2016-08-12). Audio Production and Critical Listening: Technical Ear Training. CRC Press. ISBN   978-1-317-54104-2.
  4. ↑ "Eradicating PC Audio Clicks & Pops". www.soundonsound.com. Retrieved 2022-07-02.
  5. ↑ Fries, Bruce; Fries, Marty (2005). Digital Audio Essentials. "O'Reilly Media, Inc.". p. 260. ISBN   978-0-596-00856-7.
  6. ↑ Philip Sherburne: "Click", www.mille-plateaux.net, 1998, PDF
  7. ↑ Krapp, Peter (2011). Noise Channels: Glitch and Error in Digital Culture. University of Minnesota Press. ISBN   978-0-8166-7625-5.
  8. ↑ "How to Remove Mouth Noises & Clicks in Audio". The Podcast Host. 2021-12-20. Retrieved 2022-07-02.
  9. ↑ Sofer, Danielle Shlomit (2022-07-05). Sex Sounds: Vectors of Difference in Electronic Music. MIT Press. p. 262. ISBN   978-0-262-36205-4.
  10. ↑ High Fidelity. ABC Leisure Magazines. 1977. p. 6.
  11. ↑ Réveillac, Jean-Michel (2018-03-07). Musical Sound Effects: Analog and Digital Sound Processing. John Wiley & Sons. pp. 266–267. ISBN   978-1-78630-131-4.
  12. ↑ Handbook of Signal Processing in Acoustics. Springer Science & Business Media. 2008. p. 776. ISBN   978-0-387-77698-9.
  13. ↑ Fries, Bruce; Fries, Marty (2005). Digital Audio Essentials. "O'Reilly Media, Inc.". p. 267. ISBN   978-0-596-00856-7.
  14. ↑ Schroder, Carla (2011). The Book of Audacity: Record, Edit, Mix, and Master with the Free Audio Editor. No Starch Press. p. 236. ISBN   978-1-59327-270-8.
  15. ↑ Langford, Simon (2013-10-01). Digital Audio Editing: Correcting and Enhancing Audio in Pro Tools, Logic Pro, Cubase, and Studio One. CRC Press. pp. 282–285. ISBN   978-1-134-11130-5.

Further reading

Godsill, Simon J.; Rayner, Peter J.W. (2013-12-21). Digital Audio Restoration. Springer. pp. 191–214. ISBN   978-1-4471-1561-8.

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