It’s easy to use and is great for fixing big problems, but it also makes good audio great. Imagine being able to have dry, clear and present dialogue without room noise or any other problems. Although it will help you out in a pinch, most will use it on everything to always have the best sounding audio. We absolutely recommend iZotope RX6.
- Izotope Rx 7 Automatically Normalizing Audio Free
- Izotope Rx 7 Automatically Normalizing Audio Problems
Customers who purchase RX 3 Advanced after August 7, 2014 will receive a free upgrade to RX 4 Advanced upon release. Special upgrade pricing to RX 4 and RX 4 Advanced will be available for all previous RX customers upon release. Sign up for the iZotope newsletter to be among the first to hear when RX 4 and RX 4 Advanced become. With RX 7, we've added the latest in machine learning technology, giving you the power to rebalance mix elements, strip away reverb, automatically repair issues, and more. RX 7 for music - RX 7 introduces new features and workflows that allow you to easily edit, repair, and restore musical performances. Thanks to innovations in source.
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.
RX 5 Advanced Audio Editor exclusives:
- 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:
Vocal Cleanup
One obvious application for both music and post is vocal cleanup; whether spoken or sung, vocal tracks often present a number of familiar problems that may need to be addressed, and RX has several modules that do just that.
The De-plosive module automatically detects and eliminates plosives—also known as p-pops—the annoying bassy thumps that can occur on certain letters, like P and B. Removing them by hand is easy enough, but it can involve some tedious manual editing, like cutting the Region at each offending pop and fading in over the plosives to tame them. After a couple of simple settings, De-plosive does this automatically, saving lots of time over the course of an afflicted track.
De-ess addresses the equally familiar problem of harsh sibilants—“S”-sounds—but offers an extra twist over conventional dynamics processors. Besides the usual filtered-sidechain method, De-ess includes an option that utilizes spectral shaping, for especially difficult or problematic situations.
The Breath Control module automates the process of removing breath sounds—or better, minimizing them without removing them entirely, for a more natural quality. Depending on the vocal performer and the mic setup/position, this might take a little experimentation to find just the right sensitivity settings to minimize breaths without softening some consonants too much, but if you don’t try to completely eliminate the breaths, it can work very well—again, saving a lot of time that would be better applied to more creative aspects of a mix.
RX offers no less than two de-clicking modules: the regular De-click, which is good for random clicks like from a vinyl record, and Mouth De-click, which is especially tuned for removing mouth clicks—those little lipsmacks that can be particularly difficult to edit out. This module does an exceptionally good job on these noises, without any noticeable adverse effect on the vocal itself.
Clipping
RX’s De-clip addresses the universal problem of clipped audio—nowadays that could be audio that’s been clipped at the ADC—Analog-To-Digital Converter—resulting in the typically unpleasant digital distortion that can ruin an otherwise good take, an occasional problem when performers get a little more intense in a recording session after the level check. I’ve always followed the traditional warning that digital clipping should be considered a potentially unrecoverable error to be avoided at all costs, but I’ve thrown a number of tracks at De-clip and it’s handled them all easily, restoring clean, usable audio to even some really harsh clipped vocal tracks.
RX’s De-clip module is capable of repairing clipped audio Audio example 1 A clipped vocal recording; the clipping repaired with De-clip
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Wet->Dry
In modern music sessions many, if not most, tracks are close-miked and fairly dry, with reverb and ambience added at the mix stage, to taste. But sometimes a track may be overly ambient, and may not blend in properly in a mix that’s going for a tighter, more “studio” quality; or a vocal may pick up a little too much room tone, making it recede excessively into the mix. It’s much easier to add reverb than to take it away, but De-reverb addresses this issue, with surprisingly good results.
De-reverb can remove excessive ambience from a recording
As with some of RX’s other processors, Re-reverb does best when it can “learn” the reverb signal, ideally from a section of just reverb (like a long tail that defines the spectral content of the reverberation/ambience), but it does a credible job even when this isn’t possible. There are a few more controls here than in some of the other modules mentioned so far, and it may take a little more experimentation to get the best results while avoiding any artifacts of the processing, but I’ve been able to remove a fair bit of unwanted ambience from various guitars and other tracks, with suitably clean results.
Guitar with excess ambience; the same track with the ambience reduced by De-reverb
There’s also a module that will try to match the sound of ambience in one track to that in another track; this is probably less commonly needed in music projects than in post-production, but it could conceivably come in handy as well.
Auto-EQ
On occasion in a mix session, it may be necessary to apply EQ to a recording to match the overall tonal balance of another; a common application for this in mixing might be when comping a final track from multiple takes. It’s not unusual for the tone to change noticeably over the course of recording several takes of the same part—a vocalist may shift position on mic, or a guitarist may fiddle with pickup selection or the amp’s tone controls for example. When the comp is made, some sections that are chosen may stick out due to these small tonal variances, and it can be a bit of a pain to get the tone to match closely enough so that the different edits in the comp won’t call attention to themselves.
RX’s EQ Match module is designed to make short work of this. Once again, there’s a learning process employed—the module first “learns” (analyzes) the tonal signature of the target file, then also analyzes the audio to be EQ’d, and applies EQ to it to match the desired tonality. It’s all automatic, but there is a control for determining the amount—the strength—of the applied EQ curve, which can be a great help in smoothing out what could otherwise be an overly sharp tonal change.
EQ Match generates a curve automatically to match the tone of one piece of audio to that of another
Spectral Processing
The most well-known of RX’s processing tools has always been its Spectral Repair module - actually there are several modules that can be used to remove unwanted sounds buried within an audio recording. Once again, this is a universal problem—in music projects it might rear its ugly head as a siren that leaks into a vocal mic, a snare that shows up a little too strongly in a piano recording, or the cross-bleed between the vocal and acoustic guitar tracks of a singer who needs to play and sing together. There are also more ambient sounds that may compromise a recording, like the hum of an air-conditioner.
Several modules in RX can be applied to these common problems: De-hum selectively filters out AC hum—up to eight harmonics’ worth—even on bass tracks, without a noticeable thinning of tone. And the Spectral De-noise and Voice De-noise modules both learn the spectrum of the unwanted noise—like the whiny whoosh of a window AC unit—and then remove it seamlessly from the track; Voice De-noise is specifically tuned to removing such noises from vocal tracks.
For more difficult problems, the main Spectral Repair module provides a full Spectrogram display, and lets the user draw out unwanted sounds graphically. Obviously this will likely be a bit more time-consuming, but it can often salvage a track that would otherwise be ready for the trash. When the unwanted sound is less-correlated—i.e. noiselike—than the main audio, the Deconstruct module may be able to handle it more automatically.
Fig 5 RX’s Spectral Repair lets the user draw out unwanted sounds embedded in the audio
A squeaky piano bench removed by spectral processing
Bleed
Finally, a potential issue for any music session is headphone bleed. As performers record with a mix of the track in their headphones, the familiar tst-tst-tst of sound leaking out of headphones not adequately sealed over the ears (for whatever reason) might be picked up by a close mic and intrude to an unacceptable degree on the recording. While a number of RX’s modules could try to address this, RX has one specifically geared to this exact problem—De-bleed.
The De-bleed module can eliminate problematic headphone leakage
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Izotope Rx 7 Automatically Normalizing Audio Free
To make this work better than other modules that might attempt the same thing, De-bleed needs you to have access to the track that bled into the mic—that is, the track the performer was monitoring in the headphones that leaked into the recording. Ideally this would be applied while that exact headphone mix is still dialed up in the mixer, so De-bleed can learn it and then apply that to the task of removing it from the main audio in the recording.
However, I’ve tried it even well after the session, by approximating what I thought would have been in the monitor mix at the time the leakage occurred, and letting De-bleed learn that approximation, and it still worked quite well. You have to make sure that the reference track is more or less time-aligned with the leakage in the main track, which might involve doing a quick trim/edit to a copy, but this will help the process work much more effectively.
A vocal recording with headphone leakage; the same track after processing with De-bleed
Izotope Rx 7 Automatically Normalizing Audio Problems
Final Word
RX has even more modules that might be pressed into service in a music session in special circumstances, but the ones described here could end up being mainstays for recordists and mixers who frequently need to clean up their tracks before delving into the creative aspects of the mix. Besides RX Advanced, which includes all the modules I’ve described here, iZotope has a couple of smaller bundles that make some of these modules available at a lower price point. Either way, with a few exceptions most of these processes won’t be found in your DAW, and they can sometimes save the day when technical problems threaten to get in the way of a great mix, so this kind of processing is definitely worth a good look.