Clean up your audio recordings from any unwanted noise interference.
Klar Lyd performs audio restoration for different purposes:
Lectures – reduce reverberation for a clearer, more intelligible speech
Voiceover – remove interference such as puff, hiss and background noise
Shows – erase audience shouts/whistles, feedback and any other undesired sounds. Concerts – eliminate coughing, sneezing, whispering and seat noises. Correct ambience for a better perception of chosen instruments.
Transient correction – fix sounds captured by embedded microphones or any other microphones with automatic volume adjustment.
Audio for motion pictures/interviews – , remove sound interferences and unwanted voices, erase sound like sirens, airplanes, honking, hum, air conditioning, sirens, construction works, refrigerators, clocks, etc.
Celio Barros focused his work in corrections and editions for over than 20 years, using his perfect pitch as a crucial tool for a fast, accurate performance.
Contact me through the green button above and let's get to work.
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Interview with Klar Lyd
Q: What's the biggest misconception about what you do?
A: Some people think the restored audio is to remove the sound interference to fix the problem before it started to happen, like if I had a time travel machine.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Ask and talk about the possibilites and aims from your sound file. Each restoration is unique, made by several combinations of tools and procedures. It's impossible to get the best results in a pre determined way.
Q: What was your career path? How long have you been doing this?
A: It's not a path. It's just a continuous development, since the beginning, 20 years ago.
Q: Can you share one music production tip?
A: Restoration is not magic. The aim is remove the interferences like a plastic surgery. It means some scars could happen during this process. The challenge is to make them the smallest as possible.
Q: What type of music do you usually work on?
A: Jazz, improvised music, classical.
Q: Tell us about your studio setup.
A: A silent place in mid Norway, a computer, monitors and lots of patience and trained years to do this kind of work.
Q: Analog or digital and why?
A: Analog and digital. It's not a competition. Both exists, let's use the best from both.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: The hardest work was from a live jazz concert recorded. Client asked to remove each bass notes from the piano microphones. It took about a month, about 13 hours a day, 7 days a week. After that, they could mix using reverb only on piano and letting the double bass dry as desired.
Q: What's your 'promise' to your clients?
A: It's always possible to do something. The challenge is to get good results.
Q: What do you like most about your job?
A: Working alone.
Q: What questions do customers most commonly ask you? What's your answer?
A: Can you restore this sound? Send me the files. I'll listen and test to them. Then we'll talk about what could be done.
Q: What questions do you ask prospective clients?
A: Which kind of results are you expecting for?
Q: What's your strongest skill?
Q: What do you bring to a song?
A: A lack of undesireble interferences.
Q: What's your typical work process?
A: Analyze and try at least 3 different methods to compare and find the best way do to. It's a technical work but based on a human perception.
Q: What other musicians or music production professionals inspire you?
A: Jan Erik Kongshaug, as a sound engineer Frank Morrone, restoration works
Q: Describe the most common type of work you do for your clients.
A: Clean up audio recordings from any unwanted noise interference.