High-fidelity audio production and restoration for music, film, and beyond.
Nature of Noise is a production company which specializes in audio production and precision restoration of audio recordings. From concerts to field recordings, antique to modern, we provide persistence, expertise, and innovation honed by over a decade of audio production experience with the rapid turnaround required by podcasters and YouTubers.
Restoration is more than just noise removal. Often times the biggest improvements happen simply as a result of remixing and remastering audio that was recorded in less-than-ideal circumstances such as on location or with unfamiliar equipment. As formally-trained mixing and mastering engineers, as well as sound designers and musicians, we can identify opportunities to treat these problems with simple mixing and mastering techniques without having to employ intensive FFT-based noise removal processing. And if noise removal is necessary, we take a flexible approach wherein the audio is processed in layers of varying intensity which are later mixed on a DAW in order to achieve a natural sound. This also makes the revision process extremely quick and worry-free.
Additional services include:
Dialog, music, and narration - we have ACX audiobook publication experience and are happy to edit, restore, master, and assist with publication of your audiobook.
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
6 ReviewsEndorse Nature of Noise
Experts in mixtape restoration, knowledgeable about electronic music and responsive in order to keep the project moving. I would work with Nature again.
Very knowledgeable, most importantly goes way beyond the hours you pay and for and extremely good explaining what he is doing without the jargon/lingo of a pro.
Nature did an incredible job on a really challenging movie. The timeframe was urgent, the audio was a disaster, and he was able to fix it masterfully and quickly. I'm so impressed. I can happily recommend him for his professionalism, mad skills and really extraordinary results. He kept me updated every step of the way and went well above and beyond to help me when I really needed the expertise. He's awesome. So appreciative!
Excellent work and a pleasure to deal with, a detailed approach with a critical eye to the art.
Trevor practically saved my documentary. He took what was borderline inaudible interviews (due to wind and traffic noise) and transformed them into an audio track almost totally free of this interference. Throughout the process, he was thorough with explaining the technicals of his work, while also hardworking and courteous in working with me to see the project through.
Interview with Nature of Noise
Q: Describe the most common type of work you do for your clients.
A: We perform restoration, remixing, and mastering for music, film, and ENG/EFP post production. We often work with entrepreneurs and independent producers who experienced an equipment failure / operator error in the field and call us in to salvage the audio by removing noise, reducing reverb and distortion, and improving dialog clarity.
Q: What other musicians or music production professionals inspire you?
A: We are always inspired by those who are humble, innovative, and know how to connect with the human spirit.
Q: What was your career path? How long have you been doing this?
A: Nature of Noise has been around since 2006 with the owner having started audio production in 1998 while still in high school. We have been restoring audio for over 10 years.
Q: What questions do you ask prospective clients?
A: We always ask clients about the file's origin and its destination. So what was the original file format and what is the intended audience for this project? Restoring audio for post-production can often be complicated, requiring adaptation to the client's workflow, so we usually ask about that as well. And, of course, we like to know if there are any specific issues they have - is there anything specific that is bothering you, any section of the audio that needs more attention than others?
Q: What questions do customers most commonly ask you? What's your answer?
A: We are often asked about voice enhancement, to which we reply that it is much more practical to remove elements from the voice than it is to add. And additionally for forensic jobs too much "enhancement" can cause artifacts that literally cause you to hear voices where none existed before.
Q: What do you like most about your job?
A: We love working with creative people from all around the world.
Q: What advice do you have for a customer looking to hire a provider like you?
A: We like getting to know people, so don't be afraid to tell us a bit about yourself and your project!
Q: What type of music do you usually work on?
A: Archival recordings of traditional music are some of our favorite. Live concert recordings are also quite common.
Q: How would you describe your style?
A: Our restoration style is "less is more", preferring to remove only what is necessary without going too far and damaging the audio. But we love challenging projects that require creative, out-of-the-box solutions.
Q: Analog or digital and why?
A: Both are amazing! That being said digital gear lets us get out of the studio and into the field which is where we feel most at home and inspired.
Q: What's your typical work process?
A: After receiving a sample from a client, we will perform an assessment and possibly render a quick sample to ensure that we are on the same page as the client. Then we render several treatment options for the client to consider. The final deliverables we provide are the final mix, mastered to the client's specifications, and the stems from which the mix was constructed.
Q: What's your strongest skill?
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: We recently finished a rather complex post production job where loud background music had to be removed from street interviews and replaced with a custom beat without access to the multitracks. We initially used spectral editing and a mic bleed remover to manually edit musical elements out of the voices. Then, rather than edit the music out of the non-speaking portions of the street interviews, we replaced the street ambience with one of our own high-definition field recordings. After that we ended up editing and mixing the new beat so the client could get the energy level they were looking for. That was a fun one and we're always looking for more projects like it.