I use a variety of tools for post-processing my field recordings. Below are what I currently use. I will update this periodically as I change my workflow or learn new methods.

Last updated: 19-August-2026

Field Recording

For each situation I record, the recording level should be set so that it is not clipping, of course, but also so that there is a dynamic range. For a detailed explanation of how to capture field recordings, see my article on that: Master Field Recording: Capturing and Organizing Field Recordings.

The rest of this article assumes you have properly captured and cataloged your field recordings and are now ready to polish them into great-sounding tracks.

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The Field Recording Post-Processing Workflow

I have a simple process for processing my field recordings after capture:

First, capture and organize – see my article on that here:
Master Field Recording: Capturing and Organizing Field Recordings

Then…

1. Archival Master: I create an “archival master” recording entirely in Izotope RX that is technically correct and extremely dynamic. The file suffix has “RX” added to it so I know.
   • Increase the gain so I can hear what I am doing (if needed).
   • De-hum (optional – only if there is unwanted hum) in Izotope RX.
   • De-rumble via equalization (optional but usually needed), in Izotope RX. By applying the EQ before de-noising, the de-noise module has to do less work.
   • Spectral De-Noise (optional), in Izotope RX.
   • De-wind (also optional) in Izotope RX.
   • Specialized and surgical processing. to remove unwanted sounds and noises, such as case pops, rustling, wind noise, and the like, in Izotope RX.
   • Loudness control to create correct loudness and levels in Izotope RX.
     • -24 LUFS integrated loudness is the target with 2 dBTP as the maximum.
     • This is the BS.1770-2,3,4 specification and sets an international precedent for archival field recordings.
   • This final archive master gets an _RX added to the suffix of the name.
2. Creative Treatments: I add effects for my style within my DAW and build a track around the field recording.
   • Bring in the archive master recording on a channel.
   • Add enhancing effects to the field recording in the channel.
     • EQ – used creatively to bring out sounds.
     • Saturation – used to amplify and give warmth and character, including fullness.
     • Stereo widening – used to subtly enhance the width and depth of the recording.
     • Reverb – used sparingly to place the material more firmly in the setting and to give a bit of extra width.
     • Sampler and tape – further solidifying the character of the recording.
     • Add binaural beats to the field recording to induce relaxation and sleep.
   • Mix bus and master bus settings as normal for any recording.
   • Add instruments on a separate channel, usually with deep reverb or effects and also with the same reverb as on the field recording to place the instruments within the soundfield.

Creating the Archival Master

Gain (optional)

Some recordings are so low in level that I cannot hear what I am working with, so I need to raise the gain first. This preserves the dynamics and only raises it to a point where I can hear.

De-Hum (optional)

De-Hum is not always used – only if there is a humming noise from equipment and various other sources.

To remove noise from equipment running nearby, such as a hot tub or air conditioner, I use De-Hum in Izotope RX. This can also, strangely, remove the sound of traffic noise if you use the adaptive mode. I adjust my settings for this as needed, but usually use an adaptive mode as shown below.

Obviously, don’t take out the hum if that is what you are truly after in your recording, but removing unwanted hum can drastically improve recordings to the point where new details emerge.

De-Rumble via Equalization (optional)

Some field recordings need the low end removed. This is probably because of the microphones but can be any number of environmental factors as well. I don’t always do this and I find with some microphone setups I need this low end to give weight to the sound so I don’t do this. But, here is what I usually do if I have low rumble noise:

I try to do this one early in the process because the later processing modules like De-Noise and De-Wind will work faster and better if they are not working on the lower-frequency rumble noises.

I have found that I tend to get a lot of lower-frequency rumbling noises from wind and other incidental sources (not what I want to record). These noises do not sound natural. Yes, they may be there, but they are not at all what I hear when I am actually in the field.

I have a -6 dB low shelf at 90 Hz to remove the rumble. This almost always works to remove that pulsating low-frequency sound that can find its way into a recording.

I want to keep the low-frequency sound in there because it gives weight to the recording and grounds it. It lets your ears know there is a place, and that it is wide and spacious. If I take away the low end, the recording becomes too shallow, so I keep the lows in there for depth cues. But if there are distracting pulsations, I remove them with additional equalization.

On the opposite end of the spectrum (literally) are the highs. They give directionality to the recording and let you know where things are in space. This really is the essence of the binaural effect, so I never do anything with the higher frequencies at this point.

Spectral De-Noise (optional)

Noise can be reduced with Spectral De-Noise, but it is imperative to choose the right method here to avoid strange-sounding artifacts. Some low-noise microphones do not even need this, so apply only if needed.

I like to only reduce by 1-6 dB at a time (the preview is helpful), and use either learned or adaptive depending on the material. I find that learned works better most of the time.

To use learned, I get a noise profile from a section of my recording that does not have something interesting in it. For example, in between chirps of frog. It can be only a second or two, but this sets the level of noise to be reduced. This method is much more effective than the adaptive one.

De-Wind (optional)

Wind is prevalent in both indoor and outdoor recordings. More so in outdoor recordings, obviously, but nonetheless, there is some wind-type noise in indoor as well. De-Wind in Izotope RX cures this. I can often use low amounts of reduction if there is very little wind.

De-wind must be used carefully as it will remove low sounds from the recording. So always listen and compare before and after De-wind to make sure you’re not losing the intent or body of your recording.

It can take some time for De-wind to render the recording.

Higher De-wind Settings

Danger: Higher settings in De-wind can cause unwanted sounds, so listen closely.

Sometimes a higher amount is needed, but I must watch out for a hollow sound that can occur. Generally, a gentle breeze type of reduction works well for occasional noise, but even it can remove too much low end and make the recording sound less realistic.

I’ve found that for handheld phone recordings and others with high levels of wind noise, I need to increase the reduction in the De-Wind module settings, as shown below.

Specialized and Surgical Processing of Field Recordings (optional)

For my field recordings, I’ve used both the free Audacity program and the more expensive Izotope RX. Both can be used effectively, although Izotope RX offers much greater control and abilities. I use RX most often in my workflow.

Removing General Clicks and Pops

Clicks and pops inevitably occur whilst recording. Usually, they are caused by pressing the buttons on the recorder and occur at the beginning and end of recordings. These can be simply trimmed by cutting out the beginning or end of the recording. Often, I leave them in to add realism to my recordings and to offer a real-world approach by letting the listener know that this was recorded by someone.

Removing Equipment-Based “Case Pop”

Sometimes the equipment itself may make unexpected noises as the plastic cases change temperature and stresses are relieved, with pops out of nowhere. This happened to me with my DR-08 recorder, which was especially prone to it, but I find that all recorders do this, usually due to temperature changes during recording and the plastic case relieving stresses.

Below is an example of this “case pop,” as I call it. It is a distinctly plastic sound. Here, I used ambience matching in RX to remove it. Ambience matching is where I take a nearby segment and “learn” then select my pop region and render it there. The offending pop region then matches the surroundings, and the pop is effectively attenuated with little or no discontinuity.

Rustling Noises

I’ve found that the Spectral Repair module in Izotope RX works well at removing rustling-type noises in specific spots (not overall). I either attenuate or replace with a pattern using this module. I make selections very specifically by frequency and time, so I do not remove wanted items.

Wind Noise Removal (optional)

Wind noise hitting the microphones lives in an area generally below 500 Hz in most cases. If it is there, then you can remove it through this tedious process of selecting and repairing.

I use the Spectral Repair module to surgically remove it. I have to select each region with the noise to remove it. If I select the wrong area, such as a broad area, it will not work as well. See the video below.

Loudness Control and Optimization

Lastly, I run the Loudness Control module in RX to bring my field recording into a standard range. I choose the international standard, BS.1770-2,3,4 as it covers a broad usage. This standard sets the true peak at -2 dBTP and the integrated loudness at -24 LUFS.

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Export Formats

I export my finished WAV files in 32-bit float format because I expect to do further processing in a DAW, which preserves headroom and allows for further gain staging.

Post-Processing – Binaural “In Your Head” Effect

I never knew this until I read the book, “Wild Soundscapes” by Bernie Krause, but there is this effect with binaural recordings where the sound seems to come from inside your head when you play it back. To remedy this, I use a spatializer from thx that puts the sound a bit out in front of your head. This improves playback and takes the recording from inside your head to just outside of it.

It is a subtle effect and I only dial in about 20% of it if I use it at all. Subjectively, I think it degrades the binaural effect so I keep this out of my recordings. However, some may find it useful so I include it here as something to try out.