Izotope Rx 7 Best Acapella Method

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2. Izotope Rx 7 Best Acapella Method Review
3. Izotope Rx 7 Review
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2. Dec 18, 2018  iZotope RX Post Production Suite. Everything You Need for Post Production. RX Post Production Suite 3 is the flagship of the RX line and features four of iZotope’s most powerful tools for audio post-production – RX 7 Advanced, Insight 2, Neutron 2 Advanced, and RX Loudness Control.

In its time, iZotope RX3 Advanced offered the most comprehensive suite of noise-reduction software—available as a stand-alone application and as bundled plug-ins—for post-production sound, along with extensive metering, time- and pitch-shifting processors, resampling facilities and other invaluable tools. RX 4 Advanced ($1,199) adds several workflow accelerators used to comply with various loudness standards and to quickly adjust level, timbre and ambience in tracks.

What is RX 5 Audio Editor? IZotope's award-winning RX 5 Audio Editor is the industry standard for audio repair and enhancement, fixing common audio problems like noises, distortions, and inconsistent recordings.

I reviewed Version 4.0.1 of RX 4 Advanced (its plug-ins in AU format) using Digital Performer V. 8.06 and an 8-core Mac Pro running OS X 10.9.5. For a refresher on RX 4 Advanced’s legacy features, check out my review of RX3 Advanced in the May 2014, issue of Mix.

Streamlined Interoperability

RX’s Spectral Repair plug-in—which was a bit of a kludge in previous releases—has been discontinued, made obsolete by the new RX Connect plug-in and alternative DAW interoperability. Roughly half of leading DAWs use RX Connect as a synchronized bridge to the stand-alone RX 4 Advanced application; you first select in your DAW the audio clip you wish to process, then launch RX Connect. Other DAWs (including DP) use RX 4 as an external editor: In DP, for example, you choose the RX application as DP’s external waveform editor and then open a region in RX via DP’s Audio menu.

No matter which protocol your DAW uses, after the RX application opens you can edit the selected clip using any processing (not just Spectral Repair) it provides. Different (fast and simple) methods are used, depending on your workstation, to return the processed clip back to your DAW in perfect sync with the original clip. Because some DAWs (including Pro Tools) monopolize the system’s audio drivers, an additional plug-in dubbed RX Monitor is included to enable hearing the RX application’s output; RX Monitor interacts with your DAW like an instrument to play the RX application’s audio through the DAW’s driver.

The updated Remove Hum plug-in and module—all modules belong to the standalone application—include an Adaptive mode that analyzes your audio and automatically notches out fundamental hum-related frequencies that change over time (such as in audio for a scene that was shot in multiple locations).

The updated Time & Pitch module provides an option to run Radius processing in real time, for those tasks in which you need fast processing. The tradeoff is lower quality than with offline processing (which is still available).

New Modules

The new Leveler module uses a compressor with automatic makeup gain to curb fluctuations in signal level. Use its Target RMS slider to adjust the K-weighted RMS level of your clip. The Speed slider alters how quickly gain is adjusted. Drag the Amount slider to limit the maximum amount of gain (boost or cut) that can be applied, and raise the Noise slider to reduce potential pumping when breathing or other broadband noise occurs during gaps in dialog. You can view the gain changes that Leveler applies and edit them by dragging up and down one or more nodes at once on a graphical curve (dubbed the Clip Gain envelope; see Figure 1).

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The new Loudness module automatically applies a fixed amount of gain to your entire clip (or a selected region) to instantly make it comply with a specific standard, such as BS.1770, selected from a drop-down menu. Alternatively, you can use two sliders to manually set the desired loudness (in LKFS units) and maximum true peak level of the clip. A post-limiter is automatically applied as needed to meet the selected true-peak spec.

The new EQ Match module applies static equalization to purportedly make one region’s spectral balance conform to that of another. Simply select a region (such as a phrase in a VO track) that sounds great, click Learn, select another region that sounds bad, and click Process. EQ Match lets you save spectral profiles as presets, speeding your workflow.

The Ambience Match module does for noise what EQ Match does for timbre, with one caveat: It can’t decrease the amount of ambience that already exists in a selection; it can only increase it. This is an invaluable tool for matching an ADR track’s ambience to that of the recording being replaced. You simply make a selection of the noise in the live recording, click the module’s Learn button, make a selection in your ADR track where you want the same-quality noise added, drag the Trim control to adjust the level of the ambience to be added, and click Process. Noise snapshots can be saved as custom presets.

In Post-Production Sessions

I used RX 4 Advanced extensively while working on five video projects containing many dialog tracks, music and B roll. The new Leveler module gave me excellent results easily and exceedingly fast, smoothing levels no matter the track’s spectral balance. It controlled boomy-sounding peaks beautifully, often precluding the need to de-boom using multiband compression. With moderate settings—the Amount control set no higher than 4 dB—I got more natural-sounding results than when using my go-to compressors and limiters. After rendering the processing, I could mouse-drag one or more nodes at once in the automatically generated clip-gain envelope to alter Leveler’s gain changes in select spots (see Fig. 1).

The Loudness module conformed my mix to any of seven different loudness standards with just a couple of mouse clicks—a real timesaver. Using the Ambience Match module, I could capture the room tone on a dialog track and add it to another track that sounded too dead; a trim control let me adjust the level of the ambience ±6 dB without affecting the level of the dialog. Listening to the generated ambience in isolation, it was apparent it was synthesized. But in the mix, it worked inconspicuously if applied sparingly to tracks in select, short gaps.

I tried a couple dozen times to use EQ Match to smooth spectral balances on dialog tracks, but I always found I got better (and more predictable) results using a combination of static and dynamic equalization plug-ins.

Any editing performed on tracks in the RX application is destructive once sent back to DP (overwriting the original file everywhere it occurs in DP), a disadvantage compared to working with RX 4 Advanced’s nondestructive plug-ins. Overwritten files initially played back as—and looked like, in DP’s Sequence Editor—full-scale, broadband noise in DP; rebooting DP would always permanently restore pristine playback, but I’d sometimes also need to bounce the file to a new track to restore proper waveform display. This appears to be a bug in DP, not in the RX application.

Izotope Rx 7 Best Acapella Method Review

On startup, the RX application would often arbitrarily reroute consistent output assignments to different MOTU I/O boxes or banks—sometimes to those disabled in the MOTU PCI Audio Setup utility. And I often heard distracting crackling noises and clicks while working with the application, especially while previewing a module’s processing. (An associate of mine confirmed hearing the same artifacts using RX 4 with a different system.) Thankfully, the artifacts did not print when files were overwritten back to DP; nor did they ever occur when using the RX plug-ins.

Purchase in Advance?

iZotope also offers a less-expensive “standard” version, which doesn’t include the Dereverb, Deconstruct, Leveler, Loudness, EQ Match, Ambience Match, Radius RT (Time & Pitch) and Insight (metering suite) modules and plug-ins. It also lacks the center-channel extraction and azimuth alignment features for the Channel Operations module and some extra controls for Denoiser, Spectral Repair and Declick. Many of these additional features included with the Advanced version have proven to be indispensible in my work; they are well worth the extra cost.

If you work in post-production sound, restoration or audio forensics and don’t already own RX3 Advanced, buying RX 4 Advanced is an absolute must—if only for its incredible legacy plug-ins. If you can tolerate the RX application’s intermittent routing and monitoring problems, the Leveler and Loudness modules make an upgrade from RX3 Advanced worthwhile.

Mix contributing editor Michael Cooper is a recording, mix, mastering and post-production engineer.

TRY THIS

DP can send only one region at a time to an external editor such as RX 4 Advanced. If you want to send an entire track containing non-contiguous soundbites, first make a time-range selection in DP for the entire track and select Merge Soundbites (option-shift-M).

What is RX 5 Audio Editor?

Overview

iZotope's award-winning RX 5 Audio Editor is the industry standard for audio repair and enhancement, fixing common audio problems like noises, distortions, and inconsistent recordings. Post production professionals, audio engineers, and video editors alike use RX to transform previously unusable audio into pristine material.

RX 5 Audio Editor’s suite of automatic, intelligent modules reduce manual tasks in your audio production workflow, freeing you up to focus on creative experimentation. And for professionals who need to quickly deliver quality results, RX 5 Advanced Audio Editor offers even more specialized post production tools.

Design philosophy

RX 5 Audio Editor is a visual selection-based audio environment. Most of its user interface is devoted to the Spectrogram/Waveform display, an integral part of the RX editing workflow. The Spectrogram/Waveform display has many features that enable you to refine and visualize your audio, allowing for better recognition and selection of problematic areas of audio, ultimately providing a higher quality, more transparent result.

RX 5 Advanced Audio Editor

In addition to the standard version of RX 5 Audio Editor, an extended application, RX 5 Advanced Audio Editor, offers even more precise control over the RX algorithms as well as including some additional, critically acclaimed Modules and Plug-ins.

Izotope Rx 7 Review

RX 5 Advanced Audio Editor exclusives:

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• Ambience Match, for automatically filling any holes in the natural ambience caused by edits, gaps or dropouts.
• Azimuth adjustment*, for both automatic and manual alignment of audio recorded to tape.
• Center extraction*, for recovery of mid or side channel information.
• Deconstruct*, for incredible simple yet powerful independent gain control of all tonal and noisy audio components in an audio signal.
• De-click (advanced settings), for detailed dialogue edits and restoration tasks, tuning parameters to tackle problem clicks, thumps, and bumps.
• De-clip threshold unlinking, for for repairing clipping in unbalanced, asymmetric waveforms with independent threshold control.
• De-noise (advanced settings), for finer control over the noise reduction process, including Adaptive noise reduction mode, for accurately tracking a changing noise spectrum.
• De-plosive, for instantly and transparently eliminating any plosive or mic bump present in a dialogue recording.
• EQ Match*, for giving clips recorded differently the same sonic feel as one another.
• History export*, for detailed record keeping of any audio edits specific to a project.
• iZotope Radius*, industry leading time stretching and pitch shifting.
• Leveler*, for quickly smoothing any volume related inconsistencies by creating clip gain envelopes in your project.
• Loudness*, for adjusting the True Peak and Integrated LKFS level of an audio clip.
• Pitch Contour*, for remapping pitch inconsistencies using variable resampling.
• Spectral Repair multi-resolution modes*, for better sounding results on high bandwidth edits.

*indicates feature is available in the standalone Advanced Audio Editor only, and not the realtime plug-ins.

This help guide is shared by both the RX 5 and RX 5 Advanced Audio Editors. When a feature or control is exclusive to RX 5 Advanced Audio Editor it will be noted in the documentation using the following symbol: