Can I ask how you found the click at it’s unnormalised level that we can’t hear? Please don’t take this the wrong way, but you appear to be hyper sensitive to things we can’t even hear, let alone consider a fault? I used to tell my students that if you have 48 thousand samples every seconds, it’s amazing they all make it through. The reality is if you have a recording and there is a full scale one bit sample at odB fs, then edit it out, you’ll never notice. A low level spike that can’t be heard is too trivial to waste time searching for. In sound forge that I use to tweak my Cubase mixes, you can search for clipping. Then fix them. Your click would not be found. If that’s a mic, then the click might actually be a real click in the room.
I’m not saying you are wrong, but I am saying that it’s poor use of your skills and time to get anxious over this kind of thing. I never look for faults like this, if I hear them in the mix or on an individual track l fix them, but usually my errors are timing, random levels of notes, pitching and thumps, or breath noises. I’m sure if I looked for single sample clicks I’d find them.
I think we are all very surprised at your posts here. The first audio file that troubles you we couldn’t hear, and then the normalised one is very similar. I think our suggestions about your delivery going from excellent to those staccato weird ones are where your efforts need to go. Your capture and voice are fine, and it’s these people hear, not these tiny things, that frankly would fail the business test.
let’s say you were doing a commercial and you supplied the file at the price and they were happy and paid. If you had offered them a new versions with these tiny spikes removed for an extra hundred dollars, what do you think they’d say? That’s the difference between business and a big name going through a track second by second, demanding sonic perfection and not being interested in the people getting rich in the studio time invoice.
