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Another new feature is the Preserve Attacks tick-box that makes the noise-removal process kinder to transients. In all modes, the user can solo the part of the signal identified as noise, using the Noise Only button, so it is possible to check that no significant part of the wanted signal is being removed.Īs well as the automatic ANR adaptive noise reduction, there's also an adaptive noise Extraction mode that requires some adjustment by the user, the purpose of which is to extract a noise profile from an audio track with no exposed noise‑only sections. ANR is clearly useful for audio that has been previously trimmed to remove any 'noisy silence' at the start and end of the file, but it is also effective where the noise gradually changes in character throughout a recording. Whereas a few seconds of exposed noise were needed for the most effective broadband noise reduction in the original SoundSoap Pro, it is now possible to choose between the traditional fingerprint method, whereby a section of 'noise only' is analysed, or the new ANR option, which uses algorithmic methods to decide what is signal and what is noise spectrum.

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One of the most obvious uses for noise‑reduction software is in cleaning up transfers from analogue media such as vinyl. The threshold and noise-reduction faders can either be left locked, so that moving one moves all together, or they can be unlocked to allow individual adjustment. For example, SoundSoap Pro uses a 512‑band filter to split the audio spectrum for processing, but as far as adjustment is concerned, there are just 12 double faders, each of which offers separate adjustment of the threshold and noise-reduction amount in its part of the audio spectrum. While some restoration software, such as the excellent Sonnox Suite, encourages forensic adjustment to optimise performance, SoundSoap Pro has always aimed to make setup as simple as possible, though in my experience some user adjustment is still necessary to get the best results from it.

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As we've covered SoundSoap Pro in its original incarnation, and the full review is available to read for free on our web site ( /sos/feb05/articles/soundsoap.htm), I'll concentrate mainly on the new features in this review. The crackle, hum and gate sections are pretty much the same as in the original SoundSoap Pro, though the user interface has been streamlined, with new tooltips and display features, but there's a new 'ANR' adaptive mode in the broadband section. The processes are arranged from left to right in the order in which they are most likely to be required: Hum & Rumble filters, Click & Crackle elimination, Broadband noise and finally Noise Gate. Whereas some companies prefer to provide a separate plug‑in for each type of restoration process, SoundSoap Pro 2 integrates them into one plug‑in, using buttons to select which screen is displayed for making adjustments.

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SoundSoap Pro 2 is cross‑platform, supporting Mac OS and Windows hosts running VST, Audio Units, RTAS or AudioSuite plug‑in formats, and now works with Pro Tools 8.

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There's a cost‑effective upgrade path for existing SoundSoap Pro customers, and SoundSoap Pro 2 is also now included in the Peak Pro XT 6 bundle. The new version 2 adds some major new features, the most significant of which is an 'adaptive' broadband noise‑reduction mode that works in the absence of a noise fingerprint or where the noise floor is varying. The major new features in SoundSoap Pro 2 lie in the broadband noise‑reduction section, which now has a new Automatic mode, as well as the ability to extract a noise print where there is no noise‑only section of the recording.īIAS's SoundSoap Pro is one of the most popular affordable audio‑restoration packages on the market, and is capable of tackling a wide range of tasks including vinyl and tape transfer, music production and mastering, and cleaning up film soundtracks. The latest version of BIAS's popular restoration software aims to remove even more hassle along with your unwanted noise.

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