{"version":"1.0","provider_name":"Sonarworks Blog","provider_url":"https:\/\/www.sonarworks.com\/blog","author_name":"Tiki Horea","author_url":"https:\/\/www.sonarworks.com\/blog\/author\/tiki-horea","title":"Fixing Noises in Mixes and Masters, Part II - Sonarworks Blog","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"4xTh7Qe4ah\"><a href=\"https:\/\/www.sonarworks.com\/blog\/learn\/fixing-noises-in-mixes-and-masters-part-ii\">Fixing Noises in Mixes and Masters, Part II<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.sonarworks.com\/blog\/learn\/fixing-noises-in-mixes-and-masters-part-ii\/embed#?secret=4xTh7Qe4ah\" width=\"600\" height=\"338\" title=\"&#8220;Fixing Noises in Mixes and Masters, Part II&#8221; &#8212; Sonarworks Blog\" data-secret=\"4xTh7Qe4ah\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/*! This file is auto-generated *\/\n!function(c,l){\"use strict\";var e=!1,o=!1;if(l.querySelector)if(c.addEventListener)e=!0;if(c.wp=c.wp||{},c.wp.receiveEmbedMessage);else if(c.wp.receiveEmbedMessage=function(e){var t=e.data;if(!t);else if(!(t.secret||t.message||t.value));else if(\/[^a-zA-Z0-9]\/.test(t.secret));else{for(var r,s,a,i=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),n=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),o=0;o<n.length;o++)n[o].style.display=\"none\";for(o=0;o<i.length;o++)if(r=i[o],e.source!==r.contentWindow);else{if(r.removeAttribute(\"style\"),\"height\"===t.message){if(1e3<(s=parseInt(t.value,10)))s=1e3;else if(~~s<200)s=200;r.height=s}if(\"link\"===t.message)if(s=l.createElement(\"a\"),a=l.createElement(\"a\"),s.href=r.getAttribute(\"src\"),a.href=t.value,a.host===s.host)if(l.activeElement===r)c.top.location.href=t.value}}},e)c.addEventListener(\"message\",c.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",t,!1),c.addEventListener(\"load\",t,!1);function t(){if(o);else{o=!0;for(var e,t,r,s=-1!==navigator.appVersion.indexOf(\"MSIE 10\"),a=!!navigator.userAgent.match(\/Trident.*rv:11\\.\/),i=l.querySelectorAll(\"iframe.wp-embedded-content\"),n=0;n<i.length;n++){if(!(r=(t=i[n]).getAttribute(\"data-secret\")))r=Math.random().toString(36).substr(2,10),t.src+=\"#?secret=\"+r,t.setAttribute(\"data-secret\",r);if(s||a)(e=t.cloneNode(!0)).removeAttribute(\"security\"),t.parentNode.replaceChild(e,t);t.contentWindow.postMessage({message:\"ready\",secret:r},\"*\")}}}}(window,document);\n<\/script>\n","thumbnail_url":"https:\/\/blog-uploads.nyc3.digitaloceanspaces.com\/2019\/09\/de-noise-1-cover.jpg","thumbnail_width":1200,"thumbnail_height":900,"description":"Part I of this article focused on repairing continuous type noises and this second part addresses how to repair intermittent type noises, like clicks, pops, digital clipping and dropouts. Remember to keep in mind that while this article discusses noises present in musical productions, many of the same problems and solutions apply to producing podcasts,&hellip;"}