Noise reduction

Noise reduction is the process of removing noise from a signal. Noise reduction techniques are conceptually very similar regardless of the signal being processed, however a priori knowledge of the characteristics of an expected signal can mean the implementations of these techniques vary greatly depending on the type of signal.

All recording devices, both analogue or digital, have traits which make them susceptible to noise. Noise can be random or white noise with no coherence or coherent noise introduced by the devices mechanism or processing algorithms.

In electronic recording devices, a major form of noise is hiss caused by random electrons that, heavily influenced by heat, stray from their designated path. These stray electrons influence the voltage of the output signal and thus create detectable noise.

In the case of photographic film and magnetic tape, noise (both visible and audible) is introduced due to the grain structure of the medium. In photographic film, the size of the grains in the film determines the film's sensitivity, more sensitive film having larger sized grains. In magnetic tape, the larger the grains of the magnetic particles (usually ferric oxide or magnetite), the more prone the medium is to noise.

To compensate for this, larger areas of film or magnetic tape may be used to lower the noise level to an acceptable point.

In audio
When using analog recording technology, sound recordings exhibit a type of noise known as tape hiss. This is related to the particle size and texture used in the magnetic emulsion that is sprayed on the recording media, and also to the relative tape velocity across the tape heads.

Four types of noise reduction exist: single-ended pre-recording, single-ended hiss reduction, single-ended surface noise reduction and codec or dual-ended systems. Single-ended pre-recording systems (such as Dolby HX Pro) work to affect the recording medium at the time of recording. Single-ended hiss reduction systems (such as DNR) work to reduce noise as it occurs, including both before and after the recording process as well as for live broadcast applications. Single-ended surface noise reduction (such as CEDAR) is applied to the playback of phonograph records to attenuate the sound of scratches, pops and surface non-linearities. Dual-ended systems (such as Dolby NR and dbx Type I and II) have a pre-emphasis process applied during recording and then a de-emphasis process applied at playback.

While there are dozens of different kinds of noise reduction, the first widely used audio noise reduction technique was developed by Ray Dolby in 1966. Intended for professional use, Dolby Type A was an encode/decode system in which the amplitude of frequencies in four bands was increased during recording (encoding), then decreased proportionately during playback (decoding). The Dolby B system (developed in conjunction with Henry Kloss) was a single band system designed for consumer products. In particular, when recording quiet parts of an audio signal, the frequencies above 1 kHz would be boosted. This had the effect of increasing the signal to noise ratio on tape up to 10dB depending on the initial signal volume. When it was played back, the decoder reversed the process, in effect reducing the noise level by up to 10dB. The Dolby B system, while not as effective as Dolby A, had the advantage of remaining listenable on playback systems without a decoder.

Dbx was the competing analog noise reduction system developed by dbx laboratories. It used a root-mean-squared (RMS) encode/decode algorithm with the noise-prone high frequencies boosted, and the entire signal fed through a 2:1 compander. Dbx operated across the entire audible bandwidth and unlike Dolby B was unusable as an open ended system. However it could achieve up to 30 dB of noise reduction. Since Analog video recordings use frequency modulation for the luminance part (composite video signal in direct colour systems), which keeps the tape at saturation level, audio style noise reduction is unnecessary.

A second class of algorithms work in the time-frequency domain using some linear or non-linear filters that have local characteristics. Noise can therefore be also removed by use of spectral editing tools, which work in this time-frequency domain, allowing local modifications without affecting nearby signal energy. This can be done manually by using the mouse with a pen that has a defined time-frequency shape. This is done much like in a paint program drawing pictures. Another way is to define a dynamic threshold for filtering noise, that is derived from the local signal, again with respect to a local time-frequency region. Everything below the threshold will be filtered, everything above the threshold, like partials of a voice or "wanted noise", will be untouched.

Modern digital sound (and picture) recordings no longer need to worry about tape hiss either so analog style noise reduction systems are not necessary. However an interesting twist is that dither systems actually add noise to a signal to improve its quality.