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It’s not the cheapest solution, because there is a price involved, (unlike ‘Audacity’), but I have used, for some time, a European ‘Magix’ product called ‘Audio Cleaning Lab. deluxe’. The cleaning-up of the audio is all done in ‘post’, so recording-wise, ‘what you hear, is what you get’. You find a point in the audio where there is no apparent noise audible but what you wish to eliminate, and by moving the cursor to that spot, take a sampling of the offending sound. (You even hear a momentarysample of what is to be subtracted from your audio overall, if you listen for it). Then a ‘subtraction’ process goes into action, and removes the offending sound with almost surgical precision. That is far more satisfactory than relying on ‘presets’ to do it for you. I have totally removed the sounds of throbbing diesel engines which are always a problem in harboursidelocations where fish are stored in freezers etc. for example. It has also proved invaluable when I have been recording commentaries, with heavy rain drumming on our roof, as well, and will even eliminate the sounds of cooling-fans etc, if you have recorded material in the vicinity of your computer.The greater part of your car’s sound, unless I miss my guess, would likely be tyre-noise/road-surface noise. (It certainly is on New Zealand roads, because of the coarse basalt ‘chip’ used here on the highways). If the unwanted soundis reasonably constant, it can be removed, with care, and no great skill is needed, because the procedure is ‘wizard’ driven.
An additional use of this great piece of software, is to bring minor sounds ‘to-the-front’ when editing in the timeline. In a recent use of the product, I made thecroaks of distant frogs plainly audible that way. It is also a great product when it comes to recovering sounds from a background of surf-noise, since surf comes-across as more-or-less uniform ‘brown-noise’ (eg random-noise frequency-weighted a bit, towards the ‘bass’). Where all else fails, there is the possibility of removing spot-soundsby means of spectrum analysis, and that works well with this software as allmanipulations of the sound may be carried out graphically. And,as if that wasn’t enough, you are able to step-through the cleaner functions into one of the best audio-editors I have ever come across, and ‘trim’, ‘cut-and-paste’ and do all the things you would normally expect. Finally, on the way back thru the ‘Cleaner’ software, you can normalise everything to constant audio levels, again by ‘sampling’, if you wish.Best of all, I can step-through my video-editor to do all of these things, without leaving the timeline. There is now a ‘video-cleaning’ equivalent, which is even more convenient, but lacks a few of the high-end features of the audio-version. A fault of an early version of ‘Audacity’, which permitted stereo tracks to drift out-of-synch. with each other in longish ‘takes’, put me off it, I am afraid. (It may be better now).
How did I learn this? Well, I score music for Symphony Orchestra to go with my videos, and some of the stuff comes fromthe sequencer, (as ‘wave-files’), a bit the worse for wear. Use of Audio Cleaning Lab. restoreseach instrument group back to a pristine sound again, before final mix-down. Not surprisingly, the software was created originally, for those restoring old tape-cassettes and vinyl recordings, possibly even ancient 78’s.