Comfort noise
In the world of radio and wireless communications, comfort noise is the term used to describe a subtle background noise intentionally added to modern digital systems. Turns out listeners don’t like it when systems go completely silent in between program material.
When I had my first recording experiences on 4-track as a teenager in the early 90s, hiss (and sometimes lots of it) was unavoidable, and it became part of how I experienced music and the recording process. The hiss that preceded the music was like an invitation into the world of that recording. The day I made my first digital multitrack recordings I was astounded to hear guitars and drums roar at full volume out of utter silence, and yes, it made me a little uncomfortable.
I never forgot that experience, and many years later (and also somehow many years ago) I made a recording of the tape hiss from all 16 tracks of a 2” machine, my own comfort noise to add as a bed to multitrack projects that were feeling a little too clean.
I shared these files around a bit, and even made up a little doc full of flowery blather describing how to use them:
What is it?
A stereo mix of all 16 channels from a pristine 2" 16-track analog tape machine. The tape has been recorded with no input (blank - just ultrasonic bias), under the exact same conditions as tracking to the tape itself. The 16 tracks have their volume and panning set to simulate a typical 16 channel analog mix.
How do I use it?
Add the hiss track as a separate stereo track in your DAW mix. Start with the existing level, then adjust to taste relative to the mix. You'll hear it when the level is right.
What does it do, and why does it work so well?
The hiss does not change your mix itself, but it does change the way the ear interprets and reacts to it.
The 16 tracks have their volume and panning set to simulate a typical 16 channel analog mix. This panning reveals subtle frequency dependent phase shifts from channel to channel (which is normal with tape but non-existent in the DAW), lending an increased sense of width and depth.
The hiss provides a fixed foreground for the recording, allowing the instruments to fall into perspective relative to this, resulting in an enhanced sense of front to back depth.
The high frequency content in the hiss is like bias for the ears, and it enhances the perception of the high frequencies in the recording, allowing you to achieve a smooth, warm, yet clear high end without needing as much high frequency eq as with an all digital recording.
Low frequency modulation noise causes subtle L/R phase differences in the low frequencies, resulting in a wider sounding low end.
Enjoy!
Funny stuff. But sometimes a little comfort noise is exactly what you need.