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Home » » DeClipper MAGIX Movie Edit Pro 15

DeClipper MAGIX Movie Edit Pro 15

Posted by Cara Belajar Editing Video on Sunday, June 10, 2012


Should the input level of an audio recording be too high, then overmodulation (digital distortion) may result at the loudest parts (the signal peaks). This digital distortion can also be called "clipping". At the overmodulated area, the values that are too high are simply cut off, and the typical, quite unpleasant sounding crackling distortions are heard.
MAGIX Movie Edit Pro 15 contains a special function for dealing with digital clipping and analog distortions.
Using the fader, you can set at what level the DeClipper should register a signal as being overmodulated and, if required, correct it (clip level). This is important, since different sound cards show different clipping methods. The more the fader is turned up, the lower the level recognized by the program as overmodulated. If the clip level is set too high, unwanted sound modification may occur.
Get clip level: The clip level is gauged automatically.

The DeNoiser removes persistent background noise like computer hum, hissing, noises from sound charts, disturbance from ground circuits, interference from audio equipment with high-impedance outputs (such as record players), impact noise, or the turntable rumble.
The DeNoiser requires a noise sample. Some typical noise sounds are included in the "Preset" selection menu.
Set the degree to which the noise should be reduced with the fader. It is often better to reduce interference signals by 3-6 dB rather than as much as is possible in order to keep the sound "natural".
A different option consists of creating a noise sample yourself. All that's needed is a short section from the audio track in which the distortion can be found. To get it, switch to the DeNoiser dialog by pressing "Advanced".

DeNoiser – Advanced settings

Step 1: Choose a noise sample
First of all, a sample of the distortion you wish to remove must be selected, i.e. a so-called "noise sample".
You have two options to choose from:
Pick out typical background noise: You can select and use a number of typical background noises from the flip menu. Select one and listen to it by pressing the "Play" button. If it is similar to the background noise in your sound track, go ahead and use it (see "Step 2: Removing background noise").
Extract a new noise sample from an audio track: You can also pick out a short passage (from the existing sound track) in which you can hear the background noise.
Automatic search: Searches especially quiet passages in which background noise is most noticeable.
Previous / Play / Next: These buttons allow you to play all of the passages found for easy comparison.
Save as: Once found, you can save noise samples to the hard drive. They then appear as entries in the "Typical background noises" flip menu to be used in other projects.
If you only wish to use the noise sample in the current project, you don't have to save. Instead just go to the "Remove noise" category.

Step 2: Removing background noise
Noise level: The level of the noise reduction function should be set as precisely as possible. Values that are too low are expressed at a low distortion dampening level and in artifacts, like noises or "twittering" (see below). High settings produce dull results – useful signals that sound similar to hissing noises are also filtered away. Try to find the best setting for the project at hand.
Reducer: This sets the balance between the original signal and the signal with the applied noise reduction. It's often better to reduce interference signals by 3-6 dB rather than as much as is possible, so as to keep the sound "natural". In case of buzzing, it's best to apply complete removal.


The DeHisser eliminates regular "white" noise typically produced by analog tape recordings, microphone pre-amplifiers, A/D converters, or transformers.
Noise reduction can be regulated in decibels with the fader. It is often better to reduce interference signals by 3-6 dB rather than as much as possible in order to keep the sound "natural".
Noise level: You can choose between different noise levels. The level of the noise reduction function should be set as precisely as possible. Low settings result in incomplete deletion of the hissing. Incomplete deleting of hissing produces artifacts and should be avoided, since high settings will produce dull results and some useful signals (i.e. woodwinds) which are similar to hissing are also filtered away.


The 10-track equalizer divides the frequency spectrum into 10 areas (tracks) and supplies them with separate volume controls to allow you to achieve many impressive effects, from the simple rising of the bass to total sound transformation. If you raise the low frequencies too much throughout the whole level, it might cause distortions.
Fader: The volume of each of the 10 frequency bands can be set separately with the 10 volume controls.
Link frequency bands: The frequency fields can be bundled together flexibly in order to avoid artificial-sounding exaggeration in individual frequency fields.


The compressor is essentially an automated dynamic volume control tool. Pitch dynamics are limited, loud passages stay loud, and low passages become louder. Compression is often used to make the material more powerful, particularly for bass recordings and vocals, but also as master effects in the mixer for adding to the overall sound.
Ratio: Regulates the compression ratio.
Function: Defines the compressor's mode of operation depending upon the sound material.

Stereo FX

The stereo FX processor provides adjustment of the alignment of the audio material in the stereo balance. If the stereo recordings sound weak and undifferentiated, an extension of the stereo base width can often provide better transparency.
Bandwidth control: Adjust the bandwidth between mono (on the extreme left), unchanged base width (center) and maximum bandwidth ("wide" on the extreme right).
Reducing the bandwidth can raise the overall level. In extreme cases, when the left and the right channels include identical material and the bandwidth control is pushed to the extreme left on "mono", the result can be a level increase of 3 decibels.
Raising the bandwidth (values of 100) diminishes the mono compatibility.

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