This could be your refrigerator down the hall, your Peavey 6505+, or the audio cables for your direct input bass track. Also, anything that produces or uses electricity gives off a subtle (or not so subtle) hum. You can determine how much you want to reduce these frequencies by setting parameters, as well as what you don’t want to be affected. Once targeted, the level of these frequencies can be reduced. Without getting too technical, noise removal programs hone in on specific frequencies, either during recording or playback. However, the principle remains the same from the ’60s to now. These early pioneers of noise removal paved the way for more recent digital noise removal algorithms and plugins. This circuitry could affect any source when played back, making it widely popular. A decade later Philips came up with its own noise removal method, dynamic noise limiting (DNL). At that time, the Dolby Tape A method emphasized four frequency bands during recording, then lowered them during playback. Effective noise reduction techniques in music production began in the 1960s with Ray Dolby. So, some smart engineers began looking for ways to reduce as much noise as possible in any given signal. Fortunately, we have a remedy: noise removal. And if you lack proper soundproofing, this battle becomes that much more difficult. The nature of recording means that sometimes unwanted ambiance or other sounds will find a way in. As we know from discussing studio soundproofing, bending sound to our will takes a bit of effort. One of the greatest challenges every engineer faces is unwanted noise.
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