Izotope Rx 6 Advanced Phasing Fix Youtube

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Producer Joshua Casper shows us round the new features of iZotope’s RX6 audio repair software. About iZotope RX6 Advanced. RX 6 Advanced is the flagship of the RX family of products, the industry standard audio repair tool that’s been used on countless albums, movies, and TV shows to restore damaged, noisy audio to pristine condition. The latest version of iZotope's RX restoration suite does more than before — and does it faster! One of the benefits of the massive processing power now available in modern computers is the ability to manipulate data in ever-more impressive ways, and with ever-greater simplicity and speed. Producer Joshua Casper shows us round the new features of iZotope’s RX6 audio repair software. About iZotope RX6 Advanced. RX 6 Advanced is the flagship of the RX family of products, the industry standard audio repair tool that’s been used on countless albums, movies, and TV shows to restore damaged, noisy audio to pristine condition.

In this video, I’m going to cover how to use the brand new De-Bleed module in RX 6 in a music production context using a vocal sample.

Once you’ve downloaded the test files, one called “Vocal Production_Active Bleed” and the other, “Vocal Production Click Track (Source)” for the tutorial from the RX web page and opened it in RX by clicking and dragging them into the RX application window, or by opening RX and pressing Command+O or Control+O on a PC, your RX window should look like mine, with the files, “Vocal Production_Active Bleed” and “Vocal Production Click Track (Source)” side-by-side in tabs on the top-left hand side of the screen.

So, De-Bleed reduces the leakage of one signal into another, such as when vocals bleed into a guitar microphone, or when a click track is fed into headphones, and then that bleeds into an open mic, and that’s exactly what I have here for this sample.

So in the recording I’m about to play, we’re going to hear a male vocal that has a faint clicking sound on it. Let’s see if you can hear it.

[vocal sample with click bleed]

So to reduce the sound of the clicking that we’re hearing, I’m going to use the De-Bleed module. I just want to point out one thing before I do though, and that’s if I slide this back to the waveform and spectrogram view, we can’t really see those clicks, can we? In fact, if I go all the way to the x-axis here, we just see the waveform. I can’t see those clicks, but if I slide all the way over to the spectrogram view, I can see them. They’re sort of perforated going up and down the screen. There’s one very pronounced here on the right, so it’s a really handy thing to be able to visualize audio in this way to be able to see and detect those clicks.

So let’s get on to the De-Bleed module. I’ll find that up here, it has a little microphone next to it. So there’s a few things to remember before using De-Bleed. The first is that it requires two files, a source and an active file to be open in the RX audio editor.

Now, we’ve already done that, right? We have our active bleed track here, and our vocal production click track source side by side.

The next thing is that the sample rate of the source and active files must match. If they don’t, that’s okay, we can use the resample module right here to correct the sample rate differences between the files.

The next thing is that the De-Bleed source and active files must be time aligned within a few milliseconds of each other, and this means that if the two audio files were played back together, they would sound in sync, so if the same audio events are occurring at the same points in the timeline for both the source and active tracks, this means they’re time aligned.

If the two tracks aren’t synchronized to within a few milliseconds of each other, we can cut out part of the track or add silence to a track to put the two tracks in sync with each other. We can adjust the length or timing of the files, for example, by using the cut edit operation, so I’ll click and drag to show you. I can go Command+X or Control+X on a PC to cut that file. I’ll Command+Z to get back. Control+Z on a PC. Or I can insert silence using the signal generator down here to adjust the length of the file.

Now let’s go into the De-Bleed module and learn a little bit about it. So I want to make sure that my active track, the name that’s displayed here, Vocal Production_Active Bleed is the one I want to attenuate the bleed from. In this case, it is, right? I played it a moment ago. This is the one that has the vocal and the click track on it. Have a listen.

[vocal sample with bleed]

So that’s good.

The next thing I want to make sure is that the source track from the source track dropdown menu is indeed the click source. In other words, we’re being asked where the bleed is coming from. In our case, that’s the click track, which is this track right here. I’ll play a little bit of that.

[click track]

So now, I’ll return to my active bleed tab. So now, in the active file tab, which is the tab that I’m on right now, we have to make a selection as to where the bleed is most obvious. In my case, the bleed occurs throughout the vocal, so I’m going to click Command+A or Control+A on a PC to highlight the entire track.

Next, I’ll click the learn button in the De-Bleed module. This analyzes the general relationship between the bleed source and the active track.

After a learned pass is complete, we can process the track with a couple of parameters here. Let’s go through them.

The reduction strength control determines the amount of bleed reduction applied during processing. So I don’t want to push this too hard, in case it might eliminate audio I want to keep from the active track, so I’ll keep it at its default setting of one.

Artifact smoothing can help to reduce or eliminate the under-watery sort of noise that we might incur from the processing that powers the De-Bleed module. Again, I’m going to leave it here at its default setting of five and make changes if I need to after I’ve pressed process. And speaking of which, let’s process.

Let’s hear the results of our processing with the De-Bleed module.

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[vocals after processing]

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I can’t hear the click track at all. Let’s go back to the before just for context. So here is before we used the De-Bleed module to attenuate that click.

[vocals before processing]

And here’s after we used De-Bleed.

[vocals after processing]

The differences there are pretty dramatic.

So for more information and to download your own samples to use with RX 6, visit izotope.com/RX.

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.

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).

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.

Izotope Rx 6 Advanced Phasing Fix Youtube Video

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 6 Advanced Phasing Fix Youtube Full

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.

Izotope Rx Tutorial

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.

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Izotope Rx 6 Advanced Phasing Fix Youtube Screen

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

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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).

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