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IZotope RX6 advanced is a strong tool that can repair just about every audio problem a video producer will face. It’s easy to use, but at $1,200 dollars, it’s a bit pricy. RECOMMENDED USERS.
Joe starts the course with an in-depth look at the standalone RX 7 application where you learn to navigate and customize its unique spectrogram view and user interface. Then, you learn how to load the RX modules right from your DAW, and how to transfer audio back and forth between your DAW and RX using the convenient RX Connect plugin.
In the next sections, Joe dives into the heart of iZotope’s RX with a thorough description and practical demonstration of every module. He shows you how to de-clip, de-plose, de-ess, de-click, de-crackle audio in every possible way. You learn to clean up your voice recordings by instantly removing lip smacks, mouth clicks, and breath noises. You discover how to remove low-end rumble, hum, wind noise, and more. Using lots of in-action audio examples, Joe explains exactly how to use RX powerful modules to surgically repair any kind of audio issues.
And after looking at all repair tools, Joe covers other processing modules, including EQ Match, Time & Pitch, Loudness, Leveler, the brand new Music Rebalance (which lets you isolate and rebalance individual elements from a full mix) and Dialog Contour. Joe concludes the course with a look at Repair Assistant, a new AI module introduced in RX 7 which lets you automatically analyze and fix audio with the press of a button.
So join expert audio engineer Joe Albano in this comprehensive course, and learn everything you need to know about audio restoration with iZotope RX 7!
The latest version of iZotope’s premier audio repair application, RX7, introduced a number of new modules offering useful and often cutting-edge processing options—the new Music Rebalance module is a good example of the latter. Music Rebalance is capable of isolating three audio stems in a full mix—drums/percussion, bass, and vocal—leaving everything else in the mix as a fourth stem.
Audio separation has been around for a while now, but it remains a work in progress. It’s still not possible to completely separate all the tracks or stems in a finished stereo mix file, and tracks and stems that are extracted are often accompanied by noticeable audio artifacts—a telltale “watery” sound consisting of bits of the surrounding audio that couldn’t be fully isolated from the desired signal. The flip side of extracting individual tracks or stems is the ability to remove a particular part from a finished stereo mix, and this is also sometimes possible, but again, often with a certain amount of artifact, in the form of a ghostly trace of the removed part.
iZotope’s Music Rebalance module can do a surprisingly good job of both extracting and removing parts at times, keeping in mind that—with all implementations of this technology—success is heavily dependent on the particular stereo mix audio file.
The Music Rebalance setting used in Audio example 2
Audio example 1 A stereo mix file with a vocal
Audio example 2 The same mix with the vocal removed by the Music Rebalance module
But what Music Rebalance consistently does extremely well—with clean, fully natural-sounding results—is allow the user to remix the available stems, which is in fact is its intended purpose.
Here’s an example—a mix where the drums are a bit too loud and the vocal is slightly buried at times, and a little rebalancing is needed—a typical scenario for mastering engineers.
If a mastering engineer came across this file and wanted to try to fix these imbalances, he traditionally might turn to tricks like M-S processing, which can provide some degree of isolation between the center and sides of a stereo mix. But in this situation, both the drums and vocal are centered in the mix, so an M-S solution isn’t really in the cards.
But RX7‘s Music Rebalance module is perfectly suited to the task. It’s very simple to operate—the sliders adjust the level of each stem, all the way down to 0 for removal. The Sensitivity controls let you dial up a tradeoff between the isolation of a particular stem and the amount of artifact that may be heard; they really only need to be used for more aggressive level changes—for subtle level adjustments the default setting (5) usually seems to work best.
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For this example, modest changes in level are all that’s needed to get the vocal and drums to sit in the mix in better balance.
The Music Rebalance settings used in Audio example 4
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Audio example 4 The Music Rebalance module remixing the vocal and drums in the song