To put it simply, use the filter in the audio editing software to filter out the sound band around 100-300HZ, and that’s it. If the effect is high, you need to constantly debug and put in more effort.

It’s also a good idea to take a look at this: Teach you how to use CE to eliminate the original vocals in songs

Many friends are worried about not being able to find accompaniments for their favorite songs. The following is the system Let me introduce how to use Cool Edit Pro (hereinafter referred to as CE) to eliminate the original singing voice in the song to achieve the effect of accompaniment.

As long as you have the original audio file of the song, you can quickly create an accompaniment.

There are many softwares that can eliminate the original singing, and the accompaniments produced are also different, but none of them can achieve the ideal effect. The accompaniment obtained after eliminating the original singer cannot fully achieve the effect of the original accompaniment. Generally, part of the original singer's sound will remain, and some audio will be damaged. So what we introduce is just to eliminate the original singer and ensure the quality of the accompaniment to the maximum extent. But if you want to get higher quality accompaniment, you still have to practice and explore on your own.

Here we only introduce CE. CE is not an automated software, so the most important thing about the audio processing effect is that you have to listen to it yourself. If you are interested, you can spend some time and explore more experiences to achieve the sound quality you want.

In any case, I still hope that this method can bring some help to everyone.

1. Why can the original song be deleted?

Suppose there is an audio file in our computer, whether it is mp3, wma or wav, it is usually a song. One of the songs we heard had original vocals and accompaniment. The characteristics of the original singer can be roughly divided into two types: 1. The sound image position of the human voice is in the center of the entire sound field (balanced distribution of left and right channels); 2. The sound frequency is concentrated in the mid-frequency and high-frequency parts. After reading this, we know that we need to eliminate the "equivalent sounds of the left and right channels with frequencies concentrated in the mid-range and high-frequency parts."

2. The basic method of using Cool Edit Pro to eliminate the original singing

"Eliminating the original singing" is what we usually see as "silencing".

The method of using CE to eliminate the original singing is actually very simple, but if you want to improve its sound quality, you still have to work hard.

The "silencing" we are talking about here is just an independent function in the CE menu. Select and use it and you will get immediate results. But if you want to get better results, more detailed audio processing and adjustments must be performed. OK, the specific implementation steps are introduced below.

1. First enter the "Single Track" editing mode interface of CE. "File" → "Open" to load an audio file. Here we take "Destined" by Yu Chengqing as an example. The file name is "Destined.mp3".

2. After opening the audio, select "Effect" → "Waveform Amplitude" → "Channel Remix", and select "Vocal Cut" in "Presets" in the window that opens (see Figure 1 ), keep the default settings on the dialog box, and click the "OK" button. After CE processing, the accompaniment music of the song "Destined" is obtained.

3. The functional principle of "Vocal Cut" is to eliminate all sounds (including vocals and part accompaniment) whose sound image is in the center of the sound field. Therefore, whether you can use this function to eliminate only the original vocal sound mainly depends on the source of the original vocal audio. Whether there are instruments and vocals placed in the center of the sound field before mixing, if so, using this function will also remove them. are eliminated together, resulting in a great attenuation of the sound quality. For example, generally the sound fields placed in the center include "main voice", "BASS", etc. If the audio source of the original song is one of the above, it is still recommended not to use this function, otherwise the vocals will not be eliminated but all the accompaniment music will be eliminated.

4. Okay, let’s try out your results! Listen carefully and you will find that the accompaniment sounds different from the original tape. The original singer's voice in the accompaniment tape has become very "virtual", but the original singer's voice can still be vaguely heard. In fact, this is the so-called "silencing" effect (it is impossible to absolutely eliminate the original singer).

This kind of accompaniment effect is good as background music for karaoke, and it is enough to cover up the original singer's voice when you sing. If you don’t really want the original accompaniment, this one should be enough for you.

5. In addition, the audio quality in the entire accompaniment band has declined. What we hear is a lack of three-dimensional accompaniment sound (similar to mono audio), and there may be some "hiss" "The low-frequency part of the sound has also been weakened a lot. Anyway, it sounds bad. Maybe you are very dissatisfied with this effect now, so let's learn some advanced processing techniques.

3. Advanced Cool Edit Pro elimination of original songs

Let’s first summarize the results that we are not satisfied with. First, the sound of the original singer seems not clean enough; second, there is "hissing" noise; third, the stereo effect is reduced; fourth, the low-frequency effect is weakened. The above four problems will be corrected one by one below.

1. Eliminate the original singing sound more cleanly

First open the "Destined.mp3" original singing tape in the CE single track. Select "Effect" → "Waveform Amplitude" → "Channel Remix", and select "Vocal Cut" in "Presets" in the window that opens. Previously we dealt with the default values, now we try to adjust the parameters on the left. See (Figure 2).

During the adjustment process, you can click the "Passthrough" checkbox at any time to compare the original sound.

There are two "Invert" checkboxes on the left. By default, one of them has a "√" in front of it. Now we cancel the "√" and the sound becomes "dry", but the sound field changes. It needs to be wider, and the three-dimensional effect is enhanced, but the low frequency is reduced even more. Maybe this effect is more suitable for some songs, but for some songs it is not very effective. When processing, everyone still needs to debug it slowly and carefully. If this method is not good for the songs you want to process, naturally keep the default settings.

Under the default settings, this dialog box is already in a state to eliminate the original sound to the greatest extent, so if you want to eliminate the original sound more cleanly, there is basically no way here. Songs sung by different people will have different effects on the original singer. Some are better, some are far from ideal. But we can optimize this processing through the four sliders in the "Channel Remix" dialog box. Since the final effect is greatly affected by the original soundtrack, there are no fixed parameters for the adjustment here. You can only move the slider slightly to the center point. The stereo effect will be more obvious, but the vocals will also become more obvious. When it comes to stereo and vocal cancellation effects, you have to compromise on one side. Here, the processed result is first saved as "Destined (accompaniment) .mp3".

2. Eliminate the "hiss" sound

Noise comes from two places. What we are referring to here is the noise in the accompaniment. First, your original soundtrack has undergone lossy compression (such as mp3 or wma encoding), which will naturally appear after the "channel remixing" process; second, the clean breath and sound have not been eliminated. Sibilance. Therefore, if conditions permit, you can directly save the CD audio track to the hard disk in wav format and then process it.

To eliminate the "hiss" sound, you generally need to use the "equalizer" function of CE. First, call in the accompaniment "Destined (Accompaniment) .mp3" that was just "muffled" and select "Effect" → "Filter" → "Parametric Equalizer". This "parametric equalizer" is not very intuitive for beginners. Friends who don't know much about equalizers can also choose to use the "graphic equalizer" to adjust it. Its operation interface is much more intuitive and easier than the "parametric equalizer" . Here we use the "parametric equalizer" to eliminate the "hiss" sound in the accompaniment.

The function of "equalizer" is to enhance or attenuate the sound intensity of a certain frequency range or several frequency ranges. The "hiss" sound is usually around 8000Hz, and we attenuate the sound intensity in this area. See (Figure 3).

This processing also helps to further eliminate human voices. For example, the frequency response of the general human voice is dominated by the intermediate frequency, and we can appropriately attenuate the intermediate frequency part. Breathing sounds and sibilant sounds are mainly above 6000Hz - 18000Hz. They can also be attenuated according to the actual situation, but the clarity of the accompaniment will be lost.

The equalizer is generally used for repair and optimization. To eliminate the human voice, you have to rely on "Effects" → "Waveform Amplitude" → "Channel Remixing". Don’t forget to save it when you’re done here!

3. Stereo effect enhancement

"Stereo effect enhancement" is a relatively professional processing method. Due to its wide coverage, here we only briefly introduce the "stereo effect enhancement" method. You can use "stereo effect enhancement plug-in" (for example: "waves plug-in effect" is a good processing plug-in.) or use professional "stereo enhancement software" to make appropriate adjustments, and you can also add some reverberation effects appropriately.

4. Low-frequency compensation

"Destined (accompaniment).mp3" is the result after we eliminated the original singer and the "hiss" sound, but its audio was It is attenuated a lot, so the low frequencies need to be compensated. You can use CE's "equalizer" here, but don't use this file that has been "muffled" because its low-frequency effect has been attenuated. If gain processing is performed, the effect will definitely not be as good as the original tape, so we use the original tape to process. Take out the low-frequency part from the original song tape as a compensation for the accompaniment.

Now first load the "Destined.mp3" original soundtrack, select "Effects" → "Filter" → "Parametric Equalizer", enter "Parametric Equalizer", and adjust the parameters to ( Figure 4) looks like. Click "OK" to process immediately, so that you can get the low-frequency part of the "Destined" soundtrack. Here, save this file as "Destined (BASS) .mp3" for the time being. (Remind everyone again, it is best to save in lossless wav format from the beginning, so that the final effect will be better.)

5. Multi-track synthesis

This But needless to say, you must be familiar with it. Here, first insert the silenced "Fated (accompaniment) .mp3" into the first track; insert the "Fated (BASS) .mp3" into the second track , the mixing and condensation is OK. If you feel that the volume of the two audio tracks is not very balanced, you can adjust the volume of the two audio tracks through "Adjust audio block volume" under multi-track before mixing, and then mix and save until you feel the accompaniment is suitable.

This method is only for reference and learning, and may not necessarily achieve the best results. The point of eliminating vocals is actually to strike a balance between the degree of vocal elimination and the playback effect. If the playback effect is not considered, the vocal can be eliminated cleaner, but this is not necessary, as long as your voice is As long as it can cover the original song. In this way, the effects in the accompaniment tape can be guaranteed, and the sound of the original singer will not be too obvious. The use of this method mainly depends on the source of the songs you want to silence. Not all songs can be silenced. It must first meet the principle conditions mentioned above, and the second is the post-audio processing process. In the end, it’s up to everyone to explore and experience it themselves.

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From Xici Hutong:

1. How to adjust the equalizer:

Subwoofer : 20Hz-40Hz, the sound is strong and powerful when appropriate. Controls the sounds of thunder, bass drum, organ and bass. Excessive boost can make the music muddy and unclear.

Bass: 40Hz-150Hz, which is the basic part of sound. Its energy accounts for 70% of the entire audio energy and is an important component in expressing music style.

When it is appropriate, the bass is relaxed and the sound is full and soft. When it is insufficient, the sound is thin, 150Hz. When it is excessively increased, the sound will be dull, the brightness will be reduced, and the nasal sound will be enhanced.

Mid-bass: 150Hz-500Hz, which is the structural part of the sound. The human voice is located at this position. When it is insufficient, the singing voice will be drowned by the music, making the sound soft and weak. When it is increased appropriately, it will feel rich and powerful, and the sound will be improved. The strength and loudness of the sound. Excessive boosting will make the bass stiff, with an excessive boost of 3-6dB at 300Hz. If reverberation is added, it will seriously affect the clarity of the sound.

Midrange: 500Hz-2KHz, contains the low-order harmonics and overtones of most musical instruments, and is the characteristic sound of snare drums and percussion instruments. When appropriate, the sound is clear and bright; when insufficient, the sound is hazy.

A phone-like sound can be produced when boosted too much.

Mid-range and high-pitched sounds: 2KHz-5KHz, which are the characteristic sounds of strings (the sound of the bow pulling the strings against the strings, the sound of the fingers touching the strings when plucking the strings). When it is insufficient, the penetration of the sound decreases, and when it is too strong, it will obscure the recognition of language syllables.

Treble: 7KHz-8KHz, which is the frequency that affects the layering of sound. Excessive improvement will make the sound of the piccolo and flute stand out, the sibilance of the language will be accentuated, and the timbre will become hairy.

Extremely high treble: 8KHz-10KHz

When appropriate, the metal feel of the triangle and vertical iron is highly transparent, and the rhythm of the sand clock is clearly discernible. Excessive boosting will make the sound unnatural and easily burn out the high-frequency unit.

2. A balanced and pleasant sound should be:

Below 150Hz (bass) should be full, soft and elastic;

150Hz-500Hz (mid-bass) ) should be thick and powerful without being turbid;

500Hz-5KHz (mid-treble) should be bright and transparent but not stiff;

Above 5KHz (treble) should be slender, smooth and smooth Not harsh and harsh.

When the entire frequency response characteristics are flat: the sound is naturally full and elastic, with clear layers, smooth and pleasant to the ear. When the frequency response has multiple peaks and valleys: the sound is rough and turbid, the treble is harsh and hairy, and feedback whistling is prone to occur when there is no layered sound amplification.

3. Frequency sound characteristics:

30~60Hz is dull and difficult for the human ear to detect without considerable loudness.

Heavy 60~100Hz and around 80Hz can produce a strong "heavy" effect. Even if the loudness is very high, it will not give people a comfortable feeling, but it can give people a strong stimulating effect.

100~200Hz is full and full

The intensity of 200~500Hz can easily cause the boring psychology of buzzing.

500~1KHz is bright and if it is increased by 10dB near 800Hz, it will obviously produce a noisy and cramped feeling.

1K~2KHz translucency has the greatest impact on brightness near 2800Kz.

2K~4Kz sharp 6800Hz creates a screaming, sharp feeling.

4K~8Kz crisp 3400Hz can easily cause hearing fatigue.

8K~16Kz and slender sound> 7.5KHz sound is clear and slender.

If there is no instrument to adjust by ear, the sound will be reduced by 60-80 for muddy sound, 125 for bass that presses the ear, 400 or 500 for too thick midrange, 1250-2000 for mid-frequency that hits the ears, and 3K for too prominent vocals. The harshness of high frequencies is reduced by 4-6K, the sibilance is reduced by 8K, and the high frequencies are hairy by 12-16K. On the contrary, if the low frequency is not full, add 60-80, if the intensity is insufficient, add 125, if the vocal is thin, add 200-400, if the voice is weak, add 1K, if the vocal is positioned behind, add 3K, if the voice is not bright, add 4-8K , if the sense of space is insufficient, add 12-16K. If the bass is too hard, the sound will be reduced by 160-200 points, if the male voice is too guttural, the sound will be reduced by 200 points, and if the nasal sound is heavy, the sound will be reduced by 250 points. 玑δ糯E?

Try to use attenuation instead of boosting. Cut off the excess and the natural layers will be clear. If you really feel that something is missing, it is usually caused by the indoor environment or the placement of the speakers. Excessive improvement will change the sound bottom of the speakers and actually damage the sound quality. Remember, sound amplification is art, and all art has flaws and cannot be perfect.