The DNS1000 was the most successful product of its type ever manufactured, installed in and used by TV, film, and post studios the world over. It made otherwise unusable interviews intelligible, saved huge costs in ADR and looping, and rescued dialogue for movies such as The Lord Of The Rings, Spiderman, and Castaway, as well as countless others. The DNS1000 was also a valuable tool used for cleaning audio signals in the lab and during live surveillance in audio forensics investigations.
Today the DNS1500 updates the style, design, and performance of its predecessor. With an improved chassis and updated processors, it couples the perfect ergonomics of the DNS1000 with improved 2-channel performance, and up to 100kHz capabilities for increased compatibility in today’s audio environments.

The DNS2000 is a fully automated implementation of our DNS technology designed specifically for Pro Tools users. Connected to its Mac-based Pro Tools host using a USB cable, the DNS2000 processor provides the DSP and the 24-bit I/O for the system. Housed in a 1U rack, it offers a remarkable 198MFLOPS of floating-point power, and will process two independent channels simultaneously. Cedar's Dynamic Noise Suppression technology has become the standard for removing background noise from dialogue. With near-zero latency, 40-bit processing, and a fast, intuitive user interface, it eliminates traffic noise, aircraft, air conditioning, wind, rain, tape hiss, and general background from recordings and live transmissions. It will help to remove motor noise from small covert recorders and eliminate electrical interference. It will help to compensate for unfavorable acoustic conditions, and poor microphone placement. It will even suppress excessive reverberation. The DNS2000 has less than 0.2ms latency, making it perfect for real-time applications. So, in addition to its obvious place in post and dubbing suites, you can use it for studio and remote broadcast, where it will eliminate noise and control excessive reverberation with no loss of lip-sync.

The DNS3000 is the latest generation of CEDAR’s Dialogue Noise Suppression technology, combining the tactile control surface of the original DNS1000 with the Pro Tools integration (Mac- and PC- based) of the DNS2000, plus much more. Additional features include on-board scenes with a simple and intuitive recall system, automation to timecode, flying faders and sample rates up to 96kHz.

As before, the hardware provides the processing power and audio I/O, and near-zero latency continues to ensure that there is no loss of lip-sync. With CEDAR’s Academy Award®-winning DNS algorithm at its core, the DNS3000 eliminates all manner of noises from recordings and live transmissions.

The audio world has changed. Surround systems with six or eight channels are becoming commonplace, as are 24-bit, 96kHz processing and replay systems. These have increased the need for a wider range of audio tools capable of cleaning up everything ranging from the earliest recordings to the live broadcasts being transmitted today. CEDAR Cambridgeª gives you the power to address all of these problems. CEDAR Cambridgeª incorporates a suite of completely new CEDAR algorithms. The most powerful and most faithful processes yet developed, these are capable of removing more noise - and more types of noise - than ever before, without damaging the desired audio or introducing unwanted side-effects and artefacts.

Cambridge Audio Modules & Processes

DNS

CEDAR Cambridge's DNS module helps remove the rumble, the hiss, the whistles, the broadband noise and the "shot" noise from contaminated sounds. DNS splits the signal into a large number of well-defined bands, and sophisticated digital filters then analyse each of these bands, suppressing the noise independently in each. The innovative design of this filter bank allows you to control the DNS process using relatively few controls, making it simple and quick to use in all situations.

If you work with film dialogue, the speed, flexibility, and ease of use of DNS provides solutions to audio problems that you could not previously solve. And, with eight, 96kHz channels of the DNS algorithm in a convenient, automated format, it cannot be bettered for multi-channel post-production in the film, video, and TV industries.

In the audio forensic laboratory, DNS is ideal for removing motor noise from small covert recorders, for eliminating electrical interference, and for helping to clean up recordings suffering from unfavourable acoustics and poor microphone locations.

Auto Dehiss

Auto Dehiss embodies a more advanced algorithm than any previous dehisser. It offers significantly improved performance and has a unique "Auto" mode that enables the software to determine the broadband noise content, removing this without the introduction of unwanted side-effects or artefacts. The module can also be used in manual mode that allows you to control all parameters and fine-tune the noise reduction.

Dehiss-3

Dehiss-3 is optimised for relatively uncoloured and consistent hiss, and for broadband noises such as fan-noise. Its simple and intuitive interface means that excellent results can be obtained quickly by users with few (or no) advanced audio engineering skills.

NR-4

CEDAR Audio developed NR-4 to remove as much unwanted noise as possible, and to provide as many options as possible that remove noise and restore the genuine signal to each user¹s requirements. Consequently, it provides a simple but powerful interface that allows you to reduce the noise in many different ways, and is equally applicable to CD remastering, film soundtrack restoration, post-production, and forensic audio investigation.

NR-5

Building upon the latest noise reduction algorithm developed for the rackmount CEDAR Duo™ DDH Auto Dehisser and the Auto Dehiss process already available on CEDAR Cambridge, NR-5 marries our best signal processing with numerous facilities that help you to achieve the best possible results. It will work equally well with or without a noise fingerprint, and an array of tools allow you to manipulate the noise identification and reduction profiles in ways that are unique to CEDAR's flagship products.

To make NR-5 as quick to use and intuitive as possible, and to eliminate any learning curve for users of our previous noise reduction flagship, we have retained the style and layout of NR-4™. However, the clear screens and easily mastered controls of NR-5 belie the increased capabilities of the underlying algorithm, which removes more noise than ever before with even fewer side-effects or artefacts.

Declickle 2

The Declickle 2 is the lastest generation declicker and decrackler module, offering better impulsive noise detector and a better interpolator than any previous declicker or decrackler. This results in superior performance across a wider range of material than ever before. Indeed, this performance is so good that, in almost all cases, it is not possible to hear that the signal was damaged prior to restoration. The Declickle 2 module is available as a free upgrade for all owners of the original Declickle.

Vintage Decrackle

Vintage Decrackle is based up on the most popular implementation of our Split & Recombine algorithm, which proved to the world that real-time decrackling was not only possible, but could be performed to the highest remastering standards. It offers the same performance as our award-winning CR-1 Decrackler, and boasts a remarkable ability to dig deep into a damaged signal to identify and remove all manner of ground-in and grungy crackle without damaging the wanted audio. It will also remove some forms of buzz and many amplitude distortions from material as diverse as cylinder recordings and live broadcasts contaminated with lighting buzz.

Debuzz-3

The Debuzz-3, algorithm is our best yet. It provides full-bandwidth processing, removing components across the entire audio spectrum, and it is capable of removing all manner of buzzes and hums with fundamental frequencies as high as 500Hz. Compared with earlier algorithms, it offers improved signal modelling and better component tracking. Having locked on to the fundamental, it even has the ability to cope with jittery buzzes. Typically, Debuzz-3 will successfully remove the buzz even if the frequency drifts by as much as 2% at 50Hz at 44.1kHz sample rate. The module also rescues signal that lies at the same frequencies as the buzz harmonics. It does this by analysing the dynamics of the signal and buzz, optimally detecting and reducing the buzz with minimal side effects.

Declip

Declip is a genuine declipping algorithm that allows you to identify and remove most instances of clipping in a single real-time pass. It does so by presenting a visual indication of the density of sample values in the signal. If the Signal Analysis window displays 'hard' vertical edges, this demonstrates that the signal has been clipped at that sample value. It is then simple to remove the offending samples and reconstruct the signal. If you wish to inspect a region of the display more closely, you can use zoom to increase the resolution, allowing you to see finer detail within the signal. Furthermore, like the CEDAR Cambridge Spectrum Analyser, Declip offers multiple display modes that help you to analyse the audio correctly.

Two processing modes are provided, and these allow you to choose between an algorithm optimised for light clipping, and one optimised for heavy amounts of clipping. This ensures that you remove the problem without causing damage to the genuine signal.

Phase Correction

The Phase Corrector identifies any monophonic component(s) common to a reference channel and the channel(s) being corrected, and then measuring the timing differences between them. If any such errors are detected, the system recreates the signals so that they are accurately aligned. It will track any changes in the error, dynamically updating the amount of correction it applies at any given moment. A manual mode allows you to shift a signal by as little as 0.01 samples - an offset of just 0.1 microseconds at 96kHz.

A sophisticated filter minimises the chance that the detector will be fooled by unusual signals that contain little or no monophonic components, so that CEDAR Cambridge should never generate false corrections and introduce phase/time errors of its own.

Retouch

CEDAR Retouch 4 is a huge leap forward in sound processing technology. Unlike conventional restoration tools, it provides a wide range of time/frequency editing (TFE™) capabilities, and allows you to define the temporal and spectral content of the sound you want to remove. Furthermore, you are not limited to simple 'rectangular' definitions of complex sounds: Retouch 4 allows you to mark complex areas in its spectrogram using the types of tools commonly found in the most powerful photographic and image manipulation software. This makes it possible - accurately and correctly - to identify noises as varied as coughs, squeaky chairs, page turns, the creak of a piano pedal, and even those car horns. Once identified, unwanted sounds are replaced seamlessly with audio that matches the surrounding signal. All other audio remains untouched.

Manual Declick

Manual Declick is ideal for restoring audio that suffers from problems for which Declickle 2 is not ideal. It allows users to specify the audio that constitutes the unwanted noise, and the algorithm - optimised for long clicks and scratches - will remove noises such as those found on optical soundtracks, as well as drop-outs and extended digital errors. Simply mark the offending signal, and Manual Declick will eliminate the problem.

Dethump

Dethump eliminates the low frequency disturbances that cannot be restored using a declick process. It allows the user to identify the audio that constitutes the thump and uses the data in and around this to build up a picture of what the low frequency audio should have been had the thump not occurred. The process then replaces the thump with restored low frequency audio, leaving the undamaged high frequency data unaffected. This makes Dethump the world's best tool for removing many of the previously intractible problems associated with optical soundtracks, as well as for restoring damaged cylinders and discs, and for cleaning modern recordings when, for example, microphones and stands are bumped.

The Duo auto dehiss processor is a further development of the Dehiss 3 algorithm developed for CEDAR Cambridgeª. Nevertheless, the power of the auto dehiss process is disguised by a remarkably simple and intuitive interface, so that excellent results can be obtained quickly by users with few (or no) advanced audio engineering skills.

CEDAR Retouch is a huge leap forward in sound processing technology. Unlike conventional restoration tools, it allows you to define the temporal and spectral content of the sound you want to remove. This makes it possible to identify noises as varied as coughs, squeaky chairs, page turns, the creak of a piano pedal and even car horns.

Once identified, unwanted sounds are replaced seamlessly with audio that matches the surrounding signal. All other audio remains untouched.

Incorporating both manual and auto declick capabilities, CEDAR Tools Declick comprises two AudioSuite processes that perform at high speed without sacrificing CEDAR quality. The two together ensure that Declick addresses the widest possible range of scratch and click removal problems.

Auto declick allows the user to process part or all of an audio region as an off-line process. Remarkably, there is no need for controls because the algorithm detects each click, removes it, and then fills the gap with the best estimate of the material that existed (or would have existed) had the click not occurred. The maximum click length handled is 100 samples at 44.1kHz, or 200 samples at 96kHz.

Manual declick is ideal for restoring audio that suffers from problems for which auto declick is not ideal. It allows users to specify the audio that constitutes the unwanted noise, and the algorithm - optimised for extended clicks and scratches - will eliminate noises such as those found on optical soundtracks, as well as drop-outs and extended digital errors. The maximum click length handled is 2,048 samples at 44.1kHz, or 4,096 samples at 96kHz.

CEDAR decrackle doesn't only remove the tiny clicks, crackles and "grunge" from vintage discs and vinyl LPs... it removes many types of buzz, and can be extremely effective at reducing amplitude distortions. It automatically detects the tiny disturbances that comprise the unwanted sounds, removes them, and restores the audio with the best estimate of the material that existed (or would have existed) had the problem not occurred.

With no parameters for you to worry about, CEDAR's adaptive algorithms will identify and remove all of these noises automatically, making Decrackle as applicable to film soundtrack restoration, audio forensics and broadcast as it is to traditional audio restoration jobs such as CD remastering.

Dethump eliminates the low frequency disturbances that cannot be restored using a declick process. It allows the user to identify the audio that constitutes the thump and uses the data in and around this to build up a picture of what the low frequency audio should have been had the thump not occurred. The process then replaces the thump with restored low frequency audio, leaving the undamaged high frequency data unaffected. This makes dethump the world's best tool for removing many of the previously intractible problems associated with optical soundtracks, as well as for restoring damaged cylinders and discs, and for cleaning modern recordings when, for example, microphones and stands are bumped.

The maximum thump length handled is enormous: 50,000 samples (a little over one second) at 44.1kHz, or 100,000 samples at 96kHz.