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iZotope RX 3 Help Documentation

1. Changing Spectrogram Colors RX s Spectrogram Display also allows you to choose from different color schemes To choose from different color presets go to View gt Spectrogram Set tings Spectrogram colors can be adjusted to different schemes including colors from iZotope Ozone and Iris and multicolor maps that help reveal frequency magnitude differences Vertical Rulers On the right side of the spectrogram waveform display are the amplitude ruler for the waveform frequency ruler for the spectrogram and color map for spec trogram The RX interface will automatically hide and show rulers depending on the spec trogram waveform transparency balance slider Amplitude Ruler You can right click on the spectral amplitude ruler to reveal a selection of amp litude scales dB shows waveform levels in decibels relative to digital full scale it is the most common type of scale used for spectrum analyzers Normalized shows waveform levels relative to the full scale level of 1 0 16 bit shows waveform levels as quantization steps of a 16 bit audio format 32768 to 32767 Percent shows waveform levels as percentage from full scale Frequency Ruler You can also right click on the frequency ruler to reveal a selection of different frequency scales Linear Linear scale means that Hertz are linearly spaced on a screen Mel default and Bark Mel and Bark scale are frequency scales com monly found in
2. Preview To hear and see the result of an item in the list select that item and hit Preview View Settings Shows the modules settings used for processing Remove Remove an item from the list Rename Allows you to rename items with more descriptive names Apply Apply the selected list item to the audio file Working with RX Plug ins RX plug ins share several common features and controls The plug in preset system uses the same presets in the RX application helping to provide a fluid workflow between environments Every control you move is kept in the plug in history and a flexible array of configuration options help you work the way you want to Presets Presets Sort name odified lt Current Settings gt cell phone buzz digital clicks Vinyl record History Presets Bypass Plug in Preset Manager From the Preset Manager you can select from default presets and presets you have saved To browse presets press the Presets button and click the name of any preset If you like what you hear press the Presets button Add Clicking this button adds the current RX settings as a new preset You can type a name and optionally add comments for the preset Note that a few keys such as or cannot be used as preset names If you try to type these characters in the name they will be ignored Note This is because presets are stored as XML files for easy backup and transferring Their file names are the same
3. gt Undo and Edit gt Redo commands the Undo Window allows you to see a time line of changes you ve made and non destructively revert back to earlier states lt Initial State gt Paste Insert 0 Spectral Denoiser 0 742489 Gain 0 742489 RX keeps a log of all your edits in the Undo History You can also rename items in the undo history by double clicking them Export History You can then use the Export History feature to save an xml file listing the entire Undo History for your particular file Autosave RX is always saving your editing session enabling you to pick up where you left off the next time the application is launched even in the event of an applic ation crash or power outage To keep you from losing any work pertaining to any audio file you currently have open RX will store every audio edit effect or algorithm that is applied your full edit history list and your last selection By default when the RX application is launched it will open the last editing ses sion and audio file that was in progress when RX was last quit Misc Session data folder Library Application Support iZotope RX 3 Time scale frame rate 29 97 fps Default full bandwidth paste mode Insert Default limited bandwidth paste mode Replace Resume last editing n when app starts Automatically open files ending with L and R as split stereo Recall selections during undo redo Play only selected ct Pre roll during preview ms
4. Capture Find the audio that needs to be repaired in your DAW and edit it into its own region Select only this region Keep this region selected until you are finished editing in Spectral Repair Open the Spectral Repair plug in as an offline plug in Enable the Capture mode and stream your audio region into the plug in by pre viewing the region through the plug in In some DAWs like Pro Tools the Cap ture button will automatically analyze your audio region and load it into the Spectral Repair editor Repair When you have some audio in the Spectral Repair editor use the selection tools to select audio problems in the spectrogram display For more information see the Selection Tools section of the manual Use the playback modes to alternatively listen to all of the audio when you pre view or just the selected audio In the settings window choose the mode of processing like Attenuate you would like to use Press the Repair button to process the selection You can always undo a repair if it doesn t work for you when you preview the change Continue processing throughout the audio region until you are ready to apply your changes to the file in your DAW Apply When you are finished editing the region hit Apply in your DAW The audio from the Spectral Repair editor will be seamlessly copied to your session For very long editing jobs requiring more repair than Spectral Repair alone can do consider loading the file
5. Selection The time averaged spectrum of the current selection Use selection tools in the spectrogram window to select a time and frequency range and the spectrum ana lyzer will automatically zoom to follow the time and frequency range selected Orange Playback Input The real time spectrum of audio as it plays back When Input Monitoring is enabled the spectrum will play the input signal Peak Finding A Anchor sample cm R election Tr Playback input cr 33 Hz 36 8 dB 42 1 dB 1042 Hz C6 7 23 4 dB o The Peak Finding feature offers a precise view of peaking frequency information The RX Spectrum Analyzer has a peak finding feature the will automatically find peaks in the spectrum data If you hover your mouse cursor near a peak in the spectrum a readout will appear displaying the exact frequency of the peak its amplitude and the closest musical note This peak finding readout can provide much higher accuracy than simply inspecting the graph by zooming in on the display and or increasing the FFT size in the settings window Zooming and Scale Selection Both the vertical dB axis as well as the horizontal Frequency axis can be zoomed in and out with the mouse wheel while the cursor is over either axis Once zoomed in click and drag on the rulers to pan the spectrum display left to right or up and down Double clicking on the rulers will reset the zoom to the their default value Right clicking on t
6. amp Plug ins Ai Declip ma Declick amp Decrackle pa Remove Hum H Denoise Spectral Repair A Deconstruct ADV hl Dereverb ADV Utility Modules E c r E an Channel Operations Time amp Pitch KALAY alh Spectrum Analyzer fei Plug in Hosting EA Resample E Dither Working with RX Application Modules Preview Bypass Compare Process RX modules share several common features and controls iZotope RX is designed to give you a range of processing options Most of RX s modules feature multiple processing modes that range from fast algorithms that sound great on most material to very time intensive algorithms for critical applic ations Understanding RX s Preview and Compare Settings modes will help you save time especially when taking advantage of RX s more powerful processing modes Common Controls Presets starting points or common settings for modules Preview plays back a pre rendered version of your current settings Bypass bypasses the preview Preview Options preview pre rendered buffer length settings Compare send the current settings of the module to the Compare Set tings window to audition against other settings Process applies the module s current settings to the audio file or a cur rent selection Presets From the Presets drop down menu you can select from default presets and pre sets you have saved Presets saved in the RX application can be open
7. cessing When this option is enabled formant frequencies can be shifted independently of other pitch shifting performed by Radius When Radius performs pitch shifting without Formant Correction it will shift these resonant frequencies along with the rest of the audio Strength Adjusts the amplitude strength of the formant correction filter Shift How much formant frequencies are shifted Typically this control can be set to 0 0 which leaves the formant frequencies unshifted during processing Adjust this control to fine tune the formant correction algorithm or for special effects Width Controls the bandwidth of the formant detection filter Smaller val ues of this control will offer more precise formant correction in the pro cessed audio Higher values will include a wider band of formant frequencies Pitch shifting single instruments especially bass instruments can benefit from some adjustments to formant correction Try enabling formant correction and moving the strength between 0 1 and 0 2 Move the Formant Correction semitones part of the way towards your pitch shift amount For example if you re pitch shifting 4 semitones move the Formant Correction Semitones between 2 and 3 This can help bring back subtle percussive elements in the original source material The formant frequencies of the human voice can actually shift slightly when we sing You can use the Formant Correction Semitones control to compensate for
8. for example a recording made from analog tape that is not pre cisely at its original recorded speed you may need to choose the Free Fre quency Type Selecting this option unlocks the Base Frequency control and allows you to manually find the Hum s root note With Preview engaged move the slider up and down until you find the point where the hum lessens or dis appears For even more precise settings use RX s Peak Finding feature in the Spectrum Analyzer window Simply single click to place RX s anchor sample on top of the hum you are trying to remove and then drag your mouse over the peaks that appear in the Spectrum Analyzer window to view the exact frequencies of your audio Attenuating Hum s Harmonics Because higher frequency harmonics often result from hum RX s Hum Removal module has control for attenuating these overtones Using the Number of Har monics control you can select up to 7 harmonics above the primary hum fre quency Again the spectrogram display in many cases makes it easy to identify the number of hum harmonics in your project After selecting number of har monics use the Harmonic Slope control to how aggressively the higher har monics are being cut The Filter Q control adjusts the width of the hum filters 60 Hz hum with harmonics Listening to Hum Only By selecting the Residual Output checkbox you can also hear the hum that is being removed This is useful for fine tuning your settings Play through a
9. this For example if pitch shifting a human voice by 7 semitones try setting the Formant Correction semitones between 0 and 2 for more natural results Pitch Contour The Pitch Contour mode of Time Pitch lets you change the pitch of a selection over time This can be used to quickly correct small pitch variations or gradual pitch drifts over time The Pitch Contour changes pitch by continuously changing the playback speed of the audio The effect is similar to speeding up or slowing down a record or tape deck while it is playing back Because the Pitch Contour uses resampling to synchronously change time and pitch it cannot be used to adjust pitch without also adjusting time Pitch Contour Controls Smoothing Pitch Contour The horizontal axis shows the length of your current selection If you have no selection the horizontal axis represents the entire length of your file The vertical axis shows the amount of pitch shifting that will be applied A curve through the top half of the display will create a higher shift in pitch and shorten the audio correspondingly A curve through the lower half of the display will cre ate a lower shift in pitch and lengthen the audio correspondingly You can correct a gradual pitch drift over time by adjusting the points at the far left or right of the display drawing a straight sloping line from the beginning of your selection to the end These points are locked to the vertical axis Cl
10. 32 bit VST DX or AU plug ins or if you have a 32 bit operating system In Windows run the iZotope RX not iZotope RX 64 bit shortcut from the Start Menu In OS X select iZotope RX in the Applications folder right click it and select Get Info You can use this menu to configure which mode RX runs in iZotope RX 3 Advanced Note This help guide is shared by both RX 3 and RX 3 Advanced When a fea ture or control is exclusive to RX 3 Advanced it will be noted in the doc umentation using the following symbol In addition to the standard version of RX 3 an extended application iZotope RX 3 Advanced offers even more precise control over RX 3 algorithms as well as including iZotope s critically acclaimed 64 bit SRC sample rate conversion and MBIT dither for professionals who want finer control over processing and deliv ery ADVANCED RX 3 Advanced Exclusives Dereverb reverberation control processor Dialogue Denoiser zero latency automatic denoiser Declipper Threshold unlinking independent threshold control for repair ing unbalanced asymmetric waveforms Advanced Declick tuning parameters to tackle problem clicks thumps and bumps Adaptive noise reduction and Advanced Denoiser settings with finer con trol over the noise reduction process Multi Resolution Spectral Repair modes for a wider range of processing possibilities Deconstruct independent gain control of tonal and noisy audio com ponents iZotope
11. Configuring resolution The Spectrogram Display can be configured to show a high level of detail for crit ical applications pmnp mejia 2 ot Er i A 4 1 a ae ae ies a o a a SC ie i m The same file with reassignment enabled in the Spectrogram Settings dialog In situations where you would like to see crisper detail go to the View gt Spec trogram Settings menu There are presets in this menu for some of the more use ful settings Waveform Overview An overview of the entire audio file s waveform will be displayed above the main Spectrogram Waveform display in order to provide a handy reference point when zooming and making audio selections in RX The Waveform Overview will always display the entire audio file and will also display any selections made in the main display When zooming in to your audio the currently visible audio region will also be highlighted in the waveform overview Click and drag on the highlighted region in order to scroll your main audio display left or right and click and drag on the edges of the highlighted region in order to make the zoom tighter or wider To zoom out fully simply double click on the highlighted visible region Note With your mouse hovering over the waveform overview you can also use the mouse wheel to scale the amplitude of the waveform display to provide a clearer overview This will not affect the amplitude scaling in the main RX spec trogram waveform display
12. Hum will use minimum phase IIR filters which are less accurate but are only susceptible to post ringing which is usually less noticeable than the pre ringing introduced by FIR filters High pass filter Allows high frequencies to pass while attenuating lower frequencies Frequency Hz sets the cutoff frequency for the filter Q sets the bandwidth of the highpass filter Low pass filter Allows low frequencies to pass while attenuating high frequencies Frequency Hz sets the cutoff frequency for the filter Q sets the bandwidth of the lowpass filter Num Harmonics Select the number of harmonics that need to be removed 1 8 Link Harmonics Links the gain of all of the filters none of the filters or odd even filters Slope When harmonics are linked this controls the slope of the gain suppression As the harmonic order increases the gain suppression level resolves closer to 0 dB Odd Even Slope When linking type is odd even this allows you to control the amount of gain sup pression for both odd and even harmonics Harmonic gains dB Gives numerical readout of gain settings in dB You can also manually type in your gain settings for any of the harmonics Filter DC Offset This removes the DC direct current offset that is caused by the imbalance that sometimes occurs in A D converters DC offset is exhibited by the waveform uni versally appearing above or below inf dBFS Output hum only Outp
13. Nodes If you find that audio you would like to remain unprocessed is getting processed try adjusting this control Reduction Provides control over the maximal depth of noise reduction in dB that will occur per frequency band while a signal component is below its threshold If you have your thresholds set properly and don t like the results you re getting try adjusting this control Metering The Input Spectrum meter shows the level of the signal at the input of the denoiser filters The Output Spectrum meter shows the level of the signal at the output of the denoiser filters The Gain Reduction Region is the area between the Input and Output Spectra and shows the amount of processing currently happening to your signal Automation Many Dialogue Denoiser controls including the Threshold Nodes are auto matable The Threshold Nodes controls are updated continuously in Auto mode or quickly with the Learn button It is possible to use your DAW s automation recording and editing modes to easily change how the Dialogue Denoiser is pro cessing throughout your session If you are recording the automation for the Threshold Node controls you can have very flexible control over the output of the Dialogue Denoiser in the following ways Writing automation in your DAW by adjusting the controls in real time while audio plays back Enabling Auto mode only during passages where the noise changes Revising settings later if nec
14. RX s blacklist of unsupported plug ins and res can all installed plug ins in case an RX update or an update from the plug in manufacturer resolves the issue
15. Radius world class time stretching and pitch shifting Pitch Contour variable resampling pitch remapper Azimuth adjustment for automatic and manual alignment of audio recor ded to tape Center extraction for recovery of mid or side channel information History export to keep track of your projects Working Inside RX s and pops way Spectral Repair 118212 12 Overview Design Philosophy RX is a visual selection based audio environment As such an integral part of the RX workflow most of the user interface is devoted to the Spec trogram Waveform Display The spectrogram waveform display has many fea tures 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 Each of RX s modules provide all of the tools necessary to clean up and enhance your audio many of which go beyond the realm of simple restoration tasks allowing for Plug in hosting Equalization Phase and Timing alignment and many more Each module provides the same set of Standard Controls which allow for dif ferent ways of applying or previewing the signal processing of that module to your audio selection Preview Bypass Compare Process Standard RX module controls let you preview changes in realtime compare settings for analysis and process when you re ready After processing your audio selection with RX s modules you can sav
16. alpha brightness over parts of the RX interface allowing you to make RX more readable on your specific display Floating window opacity Changes the opacity for RX s floating windows This can be useful if you wish to leave floating windows on top of the spectrogram and waveform without com pletely obscuring the display Keyboard Shortcuts Keyboard Preset Default Show commands containing Apply ChannelOperations Apply DeclickAndDecrackle Apply Declip Apply Deconstruct Shortcuts for selected command Command 0 Remove Press shortcut key Shortcut currently used by While RX includes default keyboard shortcuts you can customize them to your liking Presets Save groups of key assignments with this tool Show commands containing Lets you search by keyword for a command you want to assign to a keystroke Shortcuts for selected command Shows if there are any keystrokes assigned to the command selected in the above menu Remove Removes the currently assigned keystroke from a command Press Shortcut Key To assign a new keystroke to a command select the command from the menu then click in this field and press a key or combination of keys Assign Assigns the entered keystroke to the current command The shortcut will only be assigned to the current command if you press this button Shortcut key currently used by Lists commands that the current keystroke is assigned to Reset Ret
17. be unlinked to process above 13 dBFS on the positive side only The resulting waveform is drawn in blue above the grey sheared peak Suggest Suggests threshold values based on the levels in your current selection Quality Controls the interpolation processing quality There are three quality modes in RX s Declip Low Medium and High Low quality mode processes very quickly High quality mode processes slowly but is capable of achieving better results In many cases you will find that Low quality mode gives you great results To save time always start by previewing the Low quality modes first You can also use the Compare feature to try multiple modes and preview the results Makeup Gain dB Selects the gain to be applied to the selection after declipping The declipping process causes an increase in peak levels The makeup gain control can be used to prevent the signal from clipping after processing Itis also useful for matching the level after processing to unprocessed audio outside of the selection Post limiter Applies a true peak limiter after processing to prevent the processed signal from exceeding OdBFS Declipping usually increases signal levels by interpolating signal segments above the clipping point which can make the signal clip again if the waveform format offers no headroom above 0 dB FS If the post limiter is disabled the restored intervals above OdBFS can be safely stored even without makeup gain as l
18. in the RX Application to take advantage of its many powertul editing features Deconstruct Deconstruct lets you adjust the levels of tones and noise independently in your audio This module will analyze your audio selection and separate the signal into its Tonal and Noisy audio components The individual gains of each component can then be cut or boosted individually This can be especially powerful with a range of audio files and applications ran ging from increasing the breathiness of a flute to removing noisy distortion bur ied among tonal content The Deconstruct module may produce better results than the Denoise module when the noise is highly time variable such as resid ual vinyl noise after declicking decrackling has been applied As opposed to Denoise which separates signal from noise based purely on fre quency magnitude Deconstruct analyzes the harmonic structure of a signal independently of level It does not matter if a tonal signal like hum is quiet or prominent in a signal Deconstruct will always consider it tonal and adjust its gain accordingly An oboe recording with tonal and noisy components The noisy components of the recording including breath and reed noise The tonal components of the recording including the prominent harmonics that form the timbre of the instrument Deconstruct Controls Tonal gain dB Noisy gain dB 0 Tonal noisy balance Tonal Gain dB Adjusts the resultin
19. noise profile based on changes over time in the incoming audio In this mode RX to analyze incom ing audio for the specified learning time decide what is noise and what is desired audio material and adjust its noise profile accordingly Adapting noise profiles can work well with noise sources that are constantly evolving par ticularly in post production film settings or recordings from outdoor envir onments Threshold Noisy Tonal Controls the amplitude separation of noise and useful signal levels Higher threshold settings reduce more noise but also suppress low level signal components Lower threshold preserves low level signal details but can result in noise being modulated by the signal Threshold elevation can be done sep arately for tonal and random noise parts A good default is 0 dB If background noise changes in amplitude over time like traffic noise or record surface noise raise the Threshold to accommodate for the changes Reduction Noisy Tonal Controls the desired amount of noise suppression in decibels Denoise can automatically separate noise into tonal parts such as hum buzz or interference and random parts such as hiss The user can specify the amount of suppression for these parts separately e g in some situations it can be desir able to reduce only unpleasant buzz while leaving unobjectionable constant hiss Strong suppression of noise can also degrade low levels signals so it s recommended to apply
20. of this shaping ranging from None no shaping plain dither through Ultra roughly 14 dB of audible noise sup pression More noise shaping can cause slightly higher peaks in your signal even at high bit depths Dither Amount The dithering amount can be varied from None noise shaping only to High In general the Normal dither amount is a good choice No dithering or Low dither amount can leave some non linear quantization dis tortion or dither noise modulation while higher settings completely eliminate the non linear distortion at the expense of a slightly increased noise floor A dither amount setting of High with no noise shaping produces a standard TPDF dither a common white noise generation method with a triangular dis tribution of amplitudes between 1 and 1 of the Least Significant Bit LSB Auto blanking Mutes dither output i e dither noise when the input signal is completely silent 0 bits of audio Limiting of noise peaks Dither noise is random in nature and has a very low amplitude However after noise shaping especially in aggressive dithering modes like Ultra the high fre quency dither noise is significantly amplified and the overall dither signal can show spurious peaks up to 60 dBFS during 16 bit quantization If such high peaks are undesirable you can enable this option to effectively suppress the spurious peaks in the noise shaped dither Harmonics suppression If for some reason any dith
21. only as much suppression as needed for reducing the noise to levels where it becomes less objectionable Manual Adaptive Learn Reduction curve Input Output m Noise profile Residual noise em Curvy Threshold Reduction Noisy Tonal Artifact control 7 0 Advanced Settings Musical noise Gating The RX application Denoise module interface Note that the Reduction sliders have been unlinked to suppress the continuous tones separately from broadband noise Quality Affects the quality and computational complexity of the noise reduction This selection directly affects CPU usage RX s Denoise module offers four algorithms that range in processing time Ais the least CPU intensive process and is suitable for realtime operation It reduces musical noise artifacts by time smoothing of the signal spectrum B has more advanced musical noise suppression by using adaptive 2D smoothing both time and frequency It is more CPU intensive and has more latency but can still run in realtime on most machines C adds multi resolution operation for better handling of signal transients and even less musical noise artifacts It is a very CPU intensive algorithm and can only run in realtime on faster multi core machines D adds high frequency synthesis for reconstruction of signal details buried in noise The speed of algorithm D is similar to algorithm C Artifact Control Determines how much noise reduction will depend upon either s
22. perceived in relation to the direct sound A listener moving away from the direct sound in a space will eventually cross a threshold where the reverberant signal is perceived as prominently as the direct signal Dereverb processes audio according to the reverberant direct ratio aka wet dry ratio detected in the signal It needs to learn about your audio so it can suggest some frequency and decay time settings or you can estimate these yourself Dereverb has the effect of sharpening a signal in time You can notice this transition in the spec trogram reverberant audio looks blurred and cleaned audio appears more focused Here a record ing of a distant speaker left has had its long tails processed center before another Dereverb pass with shorter tail lengths to tackle the early reflections right Learning a Reverb Profile To find the best settings for your signal quickly find about five seconds of audio that starts with noise and has both direct signal and reverberant tails RX Dereverb can suggest some settings based on your signal Find five to ten seconds of audio that starts with noise and has both a direct sig nal and a reverberant tail Direct signal reverberant tail and noise are all important to help Dereverb understand your audio and set its controls appropriately It needs to understand the ratio of dry signal to reverberant signal how long reverb tails last and where the noise floor of your signal is to av
23. sounds dull This control can be set to its minimum setting to process early reflections Artifact Smoothing Controls the frequency accuracy of dereverb processing Because reverb is generally smooth across the frequency spectrum the default value of this control is very high However if you need more accuracy to address issues like resonant tones in a room you can decrease this control The tradeoff is generally more artifacts from strong processing so you may have to balance adjusting this and the Reduction control Enhance Signal Increases the level of the direct signal Boosting the non reverberant signal can help create more dynamic range in the signal and is a good option to try when working with voice or transient material Enabling Enhance Signal can also help prepare material for later denoising Output Reverb Only Changes the output of Dereverb from the processed signal to the wet rever berant signal This is useful for monitoring the processing to get better results Hearing just the reverb helps you understand the impact of controls like Reduc tion Reverb Profile Tail Length and Global Smoothing When this option is enabled the output may not sound much like reverb because it is the difference of processing against the original signal with some enhancement to expose more of the reverb apparent in the recording Utility Modules Gain The gain module is useful for bringing the level of your project up
24. undo any particular process will also bring back the previous audio selection exactly as it was before applying any pro cessing In order to make use of this feature be sure that Store Selections with Undo History is enabled inside of RX s Preferences gt Misc menu Seek Control Command Hold down Control Command to move the transport s playhead to any position without erasing your current audio selections This can be especially useful with previewing or comparing complex audio selections without having to remake these specific audio selections Grab Mouse Over After using any of RX s tools to select a portion of your audio when the mouse is subsequently placed on top of any selection a Grab and Drag hand cursor will be displayed automatically allowing you to change the position of that selec tion Channel Selection Control Command Shift L eft R ight B oth When working with a stereo file it can be necessary to only process the left or right channel of your audio file To do so simply make the selection that you wish to process and click on either of the channel selectors to the left of the spectrogram waveform main display This can also be used during playback in order to preview either the left or right channel Channels can be selected and played back independently using the channel selectors and key board shortcuts Find Similar Events Control Command F Control Command G Find Next Control Command Shif
25. with However using higher overlap together with the Reassignment option will increase the time resolution of a spectrogram letting you see transient events clearly Color Map RX s spectrogram display allows you to choose between several different color schemes There is no right or wrong color setting to use and we recommend you try them all Some times certain color modes will make different types of noise stand out more clearly Experiment High quality rendering Turning this control off makes spectrogram rendering slightly faster but you ll lose some detail and clarity in the spectrogram image Reduce Quality Above RX s spectrogram uses very accurate rendering letting you see audio problems such as clicks even at zoomed out state However performing such rendering for long files can be somewhat slow When the length of the visible spectrogram is above the specified number of seconds the spectrogram calculation is changed to a fast and less accurate preview mode When you zoom in the spec trogram calculation becomes accurate again Preferences Audio Audio Driver type CoreAudio ce Built in Input Output device Built in Output Channel routing Release when not in use 256 Volume dB Type Tone 1 kHz Audio Device Contains settings for your Audio Device and also includes a Test Tone gen erator Driver Type Allows you to select a sound card driver model to use for playback and recording
26. 0 00 Pitch shift semitones Mix Quality Max Solo gt Advanced Time Pitch uses iZotope s sophisticated Radius algorithm to give you inde pendent control over the length and pitch of your audio Itis useful for retuning audio to fit in a mix better or adjusting the length of audio to deal with BPM or time code changes Time Pitch s Pitch Contour can be used for faster pitch shifting with the ability to correct variations in pitch over time iZotope Radius iZotope Radius is a world class time stretching and pitch shifting algorithm You can easily change the pitch of a single instrument voice or entire ensemble while preserving the timing and acoustic space of the original record ing iZotope Radius is designed to match the natural timbres even with extreme pitch shifts Mode The most important choice you will make when using Radius is between Mix and Solo modes You should use Solo mode only when processing a single instrument with a clearly defined pitch The human voice is a good candidate for solo mode as are most stringed instruments brass instruments and wood winds For all other types of source material Mix mode will usually offer better results Also note that when a single instrument sounds more than one note at once for example during a chord on a piano or guitar mix mode is a better choice Solo mode is a time domain mode and runs quickly Mix mode is a frequency domain mode that requires
27. Input Output Device Choose the device sound card you want RX to use for playback and recording Buffer Size The total playback buffer size In general lowering these buf fer sizes will improve meter responsiveness and lower latency but increase CPU needs Raising buffer sizes will lower CPU cost but increase latency It s worth exploring these ranges to find values that work best on your system Num Buffers MME Only Number of playback sub buffers Channel Routing For ASIO and CoreAudio drivers click this button to choose which input and output channels RX uses Configure Driver Launches the manufacturer s driver configuration dia log Release when not in use Auto closes the audio device when playback in RX stops freeing it for use in other audio applications Disable this if playback from RX isn t responsive enough Test Tone The test tone generator is useful for testing your speakers audio hardware and listening environment Tones at set frequencies or at a custom frequency can be used as test tones as can white or pink noise In addition a Channel Iden tification mode will identify left and right speakers Enable Starts playback of a test tone Type Sets type of test tone to play Volume Sets volume of test tone Frequency Sets the frequency of the test tone Display Display coordinates in status bat eform Waveform interpolation order 33 default Brightness Floati
28. Our spectrogram has been designed to provide more sharpness and detail than other spectrograms To adjust advanced settings like FFT size frequency res olution window and colors go to View gt Spectrogram Settings Type select the type of spectrogram calculation algorithm Enable reassignment enables reassignment technique for spectrogram sharpening use together with time and frequency overlap controls FFT size sets FFT size for spectrogram calculation in samples Window sets FFT weighting window which addresses frequency smear ing Frequency overlap sets FFT zero padding which enhances frequency resolution Time overlap sets overlap of FFT windows which enhances time res olution Frequency scale sets frequency scale type for spectrogram display Color map allows for different color choices in spectrogram color map Show spectrogram color map this will display the spectrogram color map bar High quality rendering accurate max bilinear interpolation of a spec trogram recommended Amplitude range low sets spectrogram amplitude range lower bound dB Amplitude range high sets spectrogram amplitude range upper bound dB Reduce quality above seconds this reduces the spectrogram cal culation quality when its size is above a specified amount of seconds Cache size MB Limits the amount of memory used by the spectrogram Working with Selections b Selection Tools Below the Spectrogram displ
29. Post roll during preview ms 0 0 Selection feathering ms Cancel Note Saved session state recovery is ON by default The option to turn it offis located under the Preferences gt Misc tab as Resume last editing session when app starts In the event that RX crashes in the middle of a restoration session when RX is next launched you will be given the option to rebuild your session just before the crash RX detected that it did not shut down cleanly last time Would you like to recover your previous session ro E Backing up your work with RX Documents Save As ddogs SB921 rxdoc a COCA CEDC eee esas ga S 03 MA Stat normal wav A g A Applications ition Files gt RX Demo ptx g Audio 1_01 wav if 0 Session File Backups gt Audio 1 INVT_O1 wav Pe Desktop kdo r 2 WaveCache wfm g Audio 2_01 wav ha Documents bioc ann Audio 2_02 wav O Downloads X3 7 3 2013 gt g meyerson EEPE g meyerson iv edited R wav Library IN test wav JJ Music Pictures ple test wav Google Drive way i oise wav File Format New Folder Cancel Save Save a file using the RX Document file format to archive your edits RX Documents RX s session state can be stored in a portable document that includes your ori ginal file all the edits you ve made to it and your most recent selection and view state This document is useful for archiving your work The RX Document c
30. RX can try to build a reasonable noise profile out of your existing profile If you have an incomplete noise profile RX will ask you to if you want it to complete the profile For example if you can only capture a low frequency rumble below 100 Hz some broadband noise between 200 Hz and 5000 Hz and all the noise above 8000 Hz RX can fill in the gaps for you Residual noise lt gt 3864 Hz Inf dB Fen ail Noise profile is not captured at some frequencies Complete it Yes Output m Noise profile Residual noise C gt 14239 Hz Inf dB Building a profile from multiple selections gives you some flexibility and RX will guess any noise you missed SelectingaMode Alli RX Advanced users can select Adaptive mode in the Spectral Denoiser Adapt ive mode will track changes in the noise profile for a certain length of time This takes some more memory and computational power but is helpful for tackling noise that shifts slightly over time like the sound of street traffic or ocean waves For most stationary noise however finding a good noise profile manually will yield excellent results Using Manual mode gives you more control over what makes up your noise profile RX Advanced users also have access to the Dialogue Denoiser The Dialogue Denoiser is designed to produce good results quickly and features an Auto mode that reacts quickly to shifts in background noise but keeps spoken word intact The Dialog
31. Suggest Analyzes the selection for the ideal channel linked fixed phase for reducing overall peak levels of the signal Azimuth ADV 0 3 8 Adaptive matching Azimuth samples 0 0 0 0 Right samples ms 0 4 0 0 Adaptive azimuth alignment Suggest Provides control over left and right channel gain and delay Azimuth adjustment can help repair stereo imbalances and phase issues that can occur with improper tape head alignment or other speed related issues Level dB Adjusts the gain of the left and right audio channels Adaptive Matching Enables automatic time variable adjustment of the right channel gain in order to match the level of the left channel Delay samples ms Allows for manual adjustment over the delay in samples or milliseconds of the left and right audio channels For very accurate azimuth correction RX uses oversampling to achieve sub sample delays Adaptive Azimuth Alignment Enables automatic time variable adjustment of the right channel s sample delay in order to align the waveform with the left channel Suggest Analyzes the selection and determines the appropriate amounts of fixed gain and delay to apply in order to align the two channels Extract Center ADV Extract center Reduction strength Preserves or removes the center of a stereo file Extracting the center will retain the center of a stereo field and attenuate everything on the sides such as signals pann
32. T Bypass Plug in I O meters Each plug in features an input and output gain control and input and output metering In stereo plug ins the gain controls are linked stereo gains RX Plug in Options General General Authorization amp Updates Host Performance Check for updates Weekly y Check Now Latency Authorization RX 3 Advanced Maite Remove Authorization Host Sync Demo RX3 v3 00 626 CocoaIntel32 4U Tools for managing your authorization and troubleshooting DAW plug in issues live here Authorization amp Updates Check for Updates RX can check the iZotope download servers for program updates by clicking on the Check Now button or automatically upon launch of the application accord ing to the specified interval This option is initially set by the RX installer If you don t check for updates when you install RX will never check for updates again until you change this setting Authorization Shows the current state of your authorization If you need to authorize RX without restarting you can press Authorize to launch the Authorization Wizard again If you have upgraded to RX Advanced after owning the basic version you can press Remove Authorization After removing your authorization RX will enter its demo mode You can now re authorize the application using your new serial number by clicking the Authorize button Choose Demo Use this option if you are using the RX trial version and
33. ackle in several passes Manual Interpolation If problematic clicks still remain after running the other Declick modes Declick s Interpolate mode can be used to process a region less than 4000 samples in length To locate clicks for manual interpolation display both the waveform and the spectrogram by double clicking the spectrogram waveform transparency bal ance slider Clicks will be visible as bright vertical lines on the spectrogram To select a click precisely Zoom in and inspect the waveform While the spec trogram will help with finding clicks the waveform display will help you accur ately select click boundaries Use the spectrogram to spot clicks from a distance and the waveform to make an accurate inter polation selection Select the click and press Apply The click will be removed using kind of spec tral attenuation from the surrounding audio data Try adjusting the Interpolation Quality if your results are not satisfactory using the default settings If the click or pop is very long Interpolate may cause a short level drop In this case consider using the Spectral Repair tool instead of Declick Decrackle Declick Controls Algorithm Single band Sensitivity Click widening ms Algorithm Controls the interpolation processing quality and configuration depending on the type of clicks and pops in the audio Single Band Processes quickly and works well on very narrow digital clicks M band peri
34. ally based at either 50 Hz or 60 Hz depending on whether the recording was made in Europe or North America In RX s Spectrogram Display you will be able to see hum as a series of horizontal lines usually with a bright line at 50 or 60 Hz and several less intense lines above it at harmonics See below 60 Hz hum with 3 harmonics 60 Hz hum detail in the Spectrum Analyzer In situations like this example which has only a few harmonics RX s Remove Hum module is the best tool for the job Remove Hum lets you set the primary frequency of the hum and lets you control suppression of up to 7 harmonics above the low frequency Hum notched out with Remove Hum s filters In some cases the electrical noise will extend up into higher frequencies This will often manifest itself as a background buzz ill Tonal high frequency noises caused by interference or electrical problems can be handled trans parently with Denoise In situations like this example where the hum s harmonics extend into high fre quencies try using the Denoise module In the Spectral Denoiser unlink the Reduction slider to reveal the Tonal suppression control which can often con trol high frequency buzz and other persistent background tones more effectively than Hum Removal Interference and high frequency buzz Interference from GSM signals or very high frequency signals like fluorescent lights can make its way onto recordings Very often this inter
35. an also be simulated manually by holding Con trol Command to set the playhead to any desired position while preserving your audio selection Once the playhead is set clicking on Preview in the desired module will then start the Preview playback from the playhead s position Compare Preview Bypass Compare Process When you want to quickly try a lot of different settings use the Compare feature In some cases you might not know what settings of a module will give you the best most transparent results By hitting the Compare button instead of the Apply button you can audition multiple settings of the same module and then audition the results side by side While one group of settings is processing in the background you can return to the module and try a different group of settings Learning to use the Compare Settings tool can save you from having to apply and undo a process multiple times just to find the right settings making it a valuable time saving feature Another advantage to using the Compare Settings tool is seeing the effect your settings have on the spectrogram and in the spectrum analyzer Original audio Declick amp Decrackle Settings 1 Declick amp Decrackle singleband Declick amp Decrackle multiband Preview View settings Remove Process Process Comparison List Each time settings are sent to the Compare Settings window a new list item is created by default titled Settings 1 Settings 2 etc
36. an be adjusted to con trol zoom The vertical slider can be set to control either the waveform or the spectrogram their ranges can be controlled independently The currently selec ted mode for this control is shown with a light by the appropriate icon Timeline waveform and spectrogram zoom controls Dragging rulers and using the Mouse Wheel The rulers to the right and below the Spectrogram display can clicked and dragged to reposition the spectrogram and waveform to show a different time range amplitude range or frequency range In addition the range shown can be adjusted with your Mouse Wheel just place your cursor on top of a ruler and the mouse wheel will adjust the zoom for that ruler To reset any of the rulers to the default display range double click on the ruler Note All active selections will be accurately preserved and scaled when zoom ing the main display Selection and View Ranges The Selection and View range display gives you quick access to basic selec tion and view controls The time display shows the current selection and view s start and end position as well as length in the currently selected time format You can select a new time format by right clicking the time ruler under the spectrogram The frequency display shows the current selection and view s frequency bound aries and length Clicking on any of these fields will let you manually edit them Undo History In addition to the Edit
37. an only be opened inside RX If you need to save your file so it can be opened somewhere else like a DAW or media player you need to save it in another format like WAV or AIFF To save an RX Document select File gt Save RX Document and select where you would like to store the file You can also open File gt Save File As Con trol Command Shift S and select RX Document rxdoc from the File Format menu Keep in mind that the size of the RX Document file can be very large especially if your list of edits include multiple processes on the whole file Identifying Audio Problems RX has many different tools for analyzing and repairing audio To get started it is important to identify the problems in your audio and choose which RX tool or tools will give you the results you want Spectrum Analyze A x 06 declick de s Gzotope Preview View settings Remove Process nitial Stat 9 ate Declick 0 424434 ereo 32 bit float 44100 Hz RX s many tools will help you analyze your audio and find not only the problem but the best solu tion Get another view with the Spectrum Analyzer In addition to the spectrogram waveform display RX offers a highly configurable spectrum analyzer which displays the FFT information around your playhead or selection Use it to get a detailed side view of the spectrogram and get accur ate details about tonal peaks Watch your levels with Waveform Statistics W
38. anual mode unless auto mated by a host Use Manual mode if you feel Auto does not yield the results you would like or if you would like to write and read automation from a DAW Learn When the Dialogue Denoiser is set to Manual you can use the Learn button to set the noise threshold to a noise reference Find a passage of pure noise in your audio and use Learn to analyze it Longer selections of noise will set the Thresholds to more ideal locations We recom mend finding at least one second of pure noise The Learn function analyzes the audio passing through the plug in and adjusts the Threshold Node controls automatically This is useful when used on a sec tion of audio that is only like the noise you want to remove so you can geta more accurate result when removing noise from the rest of your audio Threshold Nodes The Threshold Node controls on the frequency spectrum display allow you to change the noise threshold curve which can be thought of as the noise profile These six points can be adjusted manually to suit the noise currently in your signal These controls can be automated to compensate for shifts in the audio s noise floor In Auto mode the Threshold Nodes are adjusted automatically In Manual mode more than one Threshold Node can be selected at a time by clicking and dragging anywhere on the interface Threshold The master Threshold control allows you to offset the noise thresholds plotted by the Threshold
39. as the name you give the preset for easy reference and therefore characters that are not allowed in Windows file names are not allowed in preset names Remove To permanently delete a preset select the preset from the list and click the Remove button Update When you click the Update button your current settings before you opened the preset window are assigned to the selected preset highlighted This is useful for selecting a preset tweaking it then coming back to the preset system and clicking Update to save your changes to the existing preset Import Imports an RX 2 or RX 3 preset into the preset folder Folder Opens a dialog that shows your current preset folder You can also select a new preset folder from this dialog Renaming Presets You can double click on the name of a preset to enter the edit mode and then type a new name for that preset Cancel Press Escape to close the preset system dialog and revert the settings back to the settings when you entered the preset system History procyuciivy SAC v u Frequen Frequen Frequen Frequen Quality Single band Quality M band random clic Sensitivity 3 5 Presets Plug in History window Selecting the History button opens the History window This view gives you a list of all of the actions you ve performed inside the plug in allowing you to step back to previous settings and undo changes Clear Resets the History list Input Output OU
40. aveform statistics are important for managing levels discovering amplitude irregularities honing in on distortions and ensuring compliance with modern loudness laws Get details about the peak and RMS levels of your selection as well as quick measurements of BS 1770 loudness statistics from this useful util ity window Clipping Clipping is a common problem that occurs when a loud signal distorts on input to a sound card converter mixing console field recorder or other piece of equip ment The result is overload distortion This clipping can usually be seen most easily from RX s waveform display As you will see in the image below the clip ping appears as squared off sections of the waveform Not all distortion is caused by clipping but almost all clipping causes distortion RX has a dedicated Declip tool which can in many cases rebuild the squared off peaks caused by clipping and restore the recording to a natural sounding state Distortion Not all distortion is caused by clipping If there is a distortion that can t be tackled with Declipper try looking for a bright region of noise obscuring tones in the middle of the spectrogram You can also hunt for it by making a frequency selection from 500Hz to 5kHz After you make the selection play back your frequency selection Move it around or adjust the top and bottom of the selection until you hear exactly where the distortion is located Once you have the distort
41. ay is a Selection Tools menu that gives you sev eral options Time Time amp Frequency Frequency Lasso Brush Magic Wand Zoom and Grab tools One of the key benefits of RX is that it allows many options for selecting audio not just by time but also by frequency This allows you to do work with sounds that fall in only part of the frequency range at a given point in your project This is very helpful for isolating and repairing a variety of audio problems including intermittent background noises This selection by time and frequency isolates a background noise for processing a The Time Selection tool T allows you to select a range of time within the file horizontally within the spectrogram EJ The Time Frequency Selection tool R allows you to make rect angular selections in the spectrogram display to isolate sounds by time and fre quency The Frequency Selection tool F lets you select by just frequency vertically in the spectrogram i pP The Lasso Selection tool L lets you use your mouse to outline a freeform selection in time and frequency in RX s spectrogram F The Brush Selection tool B lets you draw a freeform selection using a defined brush size in time and frequency in RX s spectrogram e The size of the Brush Selection tool can be adjusted by clicking and holding on the Brush Tool icon Note With the brush tool selected you can also hold Control Command and move the mouse wheel to make the br
42. ble resources for opening files Win dows native formats like WMA and WMV may not open in OS X and Quick Time formats like AAC MOV and M4V may require installing QuickTime on Windows and running RX in 32 bit mode Close Control Command W Closes the current file If you close a file that has uncommitted changes rep resented by a dot or asterisk next to the file name in the tab display RX will ask you if you want to save the file RX does not ask about saving files when the application is quit because your changes are retained in its session data Close All Control Command Shift W Closes all open files quickly If you have any uncommitted changes in open files RX will prompt you to save for every unsaved file Save Control Command S Go to the File menu and select Save to save the changes to the file overwriting the originally opened file Save RX Document Alt Option S Saves the current file as an RX Document in the desired location Save As Control Command Shift S To save a file as a copy or in another format go to File Save As Con trol Command Shift S You can also select just a portion of your project and export that segment as a new file by going to File Export Selection or Con trol Command Shift E Output Options Click the Output Options button from the Save File As menu to access export options Note When saving a file with File Save or by pressing Control Commanda S the last se
43. d remove clicks and pops For audio files that have clicks pops or crackle throughout the file these modes are the best choice as it will save you a lot of time If there are a few hard to fix clicks left over after running the Declick Decrackle processes Interpolate is useful giving you more precise control over repairing clicks Interpolate processes must be performed on each event indi vidually however Start by choosing the desired Algorithm type for your Declick module Single band mode works very well with narrow digital clicks and has the advantage of having a much faster processing time The M band multi band options work well for wider vinyl clicks or thumps and perform great on very uneven audio material such as old recordings Hit preview to hear the result of your settings As audio is playing back fine tune the Declick Sensitivity slider to increase the sensitivity of the click detector or the Decrackle Strength slider to increase processing strength and remove more clicks pops and crackle The ideal setting should remove the most clicks without damaging transients or the general integrity of the program material To better hear what is being removed toggle the Clicks Crackle Only control dur ing preview playback This will let you hear what is being removed from the audio allowing you to fine tune your settings Note For material with crackle clicks or pops of very different sizes and lengths try running Declick Decr
44. d would like the full version you can purchase RX or RX Advanced direct from the iZotope online store http www izotope com rx Once your purchase is complete you will be sent an email confirmation and a full version serial number that can be used to fully authorize your current install ation of RX iZotope Customer Support Policy iZotope is happy to provide professional technical support to all registered users absolutely free of charge We also offer valuable pre sales technical support to customers who may be interested in purchasing an iZotope product Before con tacting iZotope support you can search our Product Knowledgebase to see if the solution to your problem has already been published How to contact iZotope for Technical Support For additional help with RX please check out the support pages on our web site at http Wwww izotope com support or contact our customer support department at support izotope com iZotope s highly trained support team is committed to responding to all requests within one 1 business day and frequently respond faster Please try to explain your problem with as much detail and clarity as possible This will ensure our ability to solve your problem accurately the first time around Please include all system specs and the build version of RX that you are using Once your support request is submitted you should automatically receive a con firmation email from iZotope support If you do not rece
45. de the automatic settings and correct the noise threshold by hand Under the hood is a series of 64 psychoacoustically spaced bandpass filters which act as a multi band gate to pass or stop a signal based on user defined threshold values Ifa signal component is above the threshold for the filter it will be passed If a signal component is below the threshold for the filter it will be attenuated Dialogue Denoiser Controls Auto Manual Input Output Threshold Auto While in Auto mode the Dialogue Denoiser will analyze the incoming signal and adjust the noise threshold automatically to compensate for changes in the noise floor This can be useful for removing noise from recordings with variable noise floor and continual noisy sections and works well for almost any record ing of dialogue and spoken word If you would like to use the Dialogue Denoiser on musical material the Manual mode is recommended Auto is the default mode of the Dialogue Denoiser plug in and is available as an option in the RX Application Please note that the noise threshold settings in Auto mode may be different from the settings set using only the Learn function in Manual mode Because the adaptive noise threshold is continually being adjusted it is set lower to prevent artifacts from occurring during processing Manual In Manual mode the Threshold Nodes are set by hand or with Learn feature Once set Threshold Nodes don t change position in M
46. directory for this module in order to refresh the available preset list By default your presets are located at the directories below Windows Users C Documents and Settings lt your username gt My Documents iZotope RX 3 Pre sets Mac Users lt username gt Documents iZotope RX 3 Presets Preview Each RX module features a preview button that allows you to audition the mod ule s effect on the selected audio or project By using preview you don t have to apply the process to the file to hear the result you can click Preview and adjust parameters as audio is playing back allowing you to fine tune module settings without having to apply and undo them multiple times By making a selection in your project you can preview just that selection If no selection is made playback will start from wherever you have placed the play head cursor in the project s timeline While in preview mode you can also have RX loop through a selection of audio by turning on the loop feature on RX s transport Preview Bypass Compare Process Preview Shift Space Plays a pre rendered preview of the module s current settings on the selected audio During preview module settings can be adjusted Adjustments will be heard within the length of the current preview buffer for most modules about halfa second Preview Bypass h Compare Process Bypass Shift B Bypasses the preview This feature is useful for A B comparisons be
47. e RX UI 3 In OS X drag a file from Finder to the RX icon in the Dock x APOSZS5SARABK RX supports having up to 16 files open at once To navigate between files cur rently open in RX either click on the file s tab at the top of the RX UI or use the Control Tab and Control Shift Tab keyboard shortcuts If you right click on a file tab you can see some more options for managing tabs and finding files on your hard drive x 09 The Pearls Acet Close Close All 3 W Close Others Show in Finder If you have a lot of files open you can access extra tabs through the arrow but ton that appears next to the file tabs x APO WAV W Supported Audio Import Formats WAV Broadcast WAV AIFF MP3 WMA AAC SD2 Note Mono audio files with L and R or 1 and 2 extensions can also be opened as either mono files or split stereo See Preferences gt Misc to control this behavior Importing Audio From Video RX can import the audio directly from a number of video formats saving you the step of extracting that audio in a separate application Once you ve worked with the audio in RX you can export that audio and re assemble the video in your video editing program of choice RX requires having QuickTime to open QuickTime formats like MOV Quick Time support is limited to 32 bit RX Supported Video Formats AVI MPEG Windows Media Video MOV M4V File Format Support Note RX uses your operating system s availa
48. e and export your audio or make use of RX s Batch Processor in order to organize and save your files RX also features iZotope s 64 bit SRC and MBIT dithering modules to further prepare your files enabling you to deliver the highest audio quality possible Interface Here is a general overview of RX s main workspace It s a good idea to famil iarize yourself with this window before moving on RX s interface is designed to give you a full range of tools for repairing audio In addition to its processing modules RX provides a range of tools for selecting isolating and viewing audio and an environment that will help you get the best results easily izotope 3 N Spectral Repair 118212 122 16 File Tabs Waveform Overview Help and Settings Spectrogram Waveform display Playhead with Seek handle g ewo N a COON O Brush Cursor Time Selection Freeform Brush Selection Amplitude Frequency and Spectrogram Color Map scales Spectrogram Waveform Transparency Balance slider 11 12 13 14 15 16 Zoom Tools and Selection Tools Zoom Sliders Transport and Current Time Display Selection and View Ranges Module List Undo History File Opening amp Playback Opening Audio Files There are many ways to open a file in RX 1 From the File menu select Open and select the files you want to open 2 Drag and drop a file from your operating system into the RX UI 3 In OS X drag a file from Fi
49. e curve is the composite of all EQ bands while the dark blue curve shows the EQ curve of the selected band Table If you d rather use numbers as opposed to visual EQ bands we have also provided a table view of the EQ band settings You can enter values for the EQ bands directly in this table You can also disable bands with this table by click ing on the check box above the band Channel Operations Channel Operations contains tools for quickly adjusting the amplitude time and phase qualities of any channel in a file Many restoration tasks require a simple re balancing of levels Channel Oper ations corrects a number of issues with the stereo relationship of two channels including variable level problems phase imbalance timing and stereo noise in an otherwise mono signal Mixing Mixing Left output mix Right output mix Provides specific control over both left and right signal and balance levels This simple operation can be used to downmix stereo material into mono invert waveforms transcode left right stereo into mid side subtract a center channel and much more Left Output Mix Allows you to define how much of the current selection s left and right channel signal will be present in the new target left channel Right Output Mix Allows you to define how much of the current selection s left and right signal will be present in the new target right channel Phase Phase Adaptive phase rotati
50. e this are often unpredictable they usually need to be removed manually RX s Spectral Repair tool provides a number of different modes that allow you to select and remove intermittent noises and replace them with re synthesized content based on the surrounding audio lak OM ez ee TN ee ee e oa ey H T Tt oer ees D ew Spectral Repairs Attenuate mode will transparently remove the crowd noises from our recording often with the default settings Gaps and dropouts Sometimes a recording may include short sections of missing or corrupted audio These are usually very obvious to both the eye and the ear 1 half second of missing audio from a vocal performance with vibrato and a change in pitch in the orchestra RX s Spectral Repair can be used to resynthesize gaps in audio sometimes of up to a half second long or more by using information around the gap to fill in the missing information using patterns and advanced re synthesis Spectral Repairs Pattern mode copies a vibrato section and Partials Noise evens out the orches tral transition Reverb Reverb is the echoing decay of a sound in a space The right amount of reverb in a recording can make a sound feel like it s sitting in a natural space Too much reverb in a recording however can interfere with intelligibility Reverb can interfere with other processing as well including dynamics and mixing Zz C The reverberant vocal performance top ca
51. ectrogram Settings Control Command Shift Presets Default Type Auto adjustable STFT Enable reassignment Amplitude range low dB 120 0 Window Amplitude range high dB Hann 0 0 Color map Frequency scale Reduce quality above s Cyan to orange Mel 90 Show spectrogram color map Cache size MB High quality rendering Spectrogram Type RX offers some different methods for displaying time and frequency information in the spectrogram RX s advanced spectrogram modes allow you to see sharper time horizontal and frequency vertical resolution at the same time There is always a trade off of display quality versus processing time so keep in mind that some modes will take longer to draw on the screen than others STFT short time Fourier transform This refers to the method that s used to transform the audio data into the spectrogram display This type of spec trogram is the most common one and can be found in other editors It has a fixed uniform time frequency resolution This is the simplest and fastest drawing mode in RX Auto Adjustable STFT This mode automatically adjusts FFT size i e time and frequency resolution of a spectrogram according to the zoom level For example if you zoom in horizontally time you ll see that per cussive sounds and transients will be more clearly defined When you zoom in vertically frequency you ll see individual musical notes and fre quency events will appear m
52. ed in the RX plug ins and vice versa Preset Keyboard shortcuts Individual presets and modules can be assigned to a keyboard shortcut in order to recall and apply different modules and settings instantly Simply select the Set Preset Shortcut option from the Preset drop down list in order to assign that module and settings to a key Once the Preset is linked to a keyboard shortcut you can make select the audio you wish to process with that Preset and simply press the shortcut key to apply the presets module and settings to your selection This can maximize your workflow and provide incredibly quick and powerful ways to work with RX s processing modules These presets can also be applied to any external plug in in RX Advanced allowing you to assign a plug in and settings to any particular key fom Add Preset Threshold dB Quality RNAAR ae Low seh Makeup g Import Preset Reveal Presets in Finder Reload Presets Module Preset menu Add Remove Preset create a new preset Remove Preset remove a preset from the drop down list Rename Preset change the name of a preset Set Preset Shortcut Create a keyboard shortcut for any preset in order to recall and apply different module settings quickly Import Preset import a preset saved by another user or on another com puter Explore Preset opens a new window displaying your xml preset files for that particular module Reload Preset rescan your preset
53. ed to the left or right Center channel extraction will preserve a stereo image if the side channels are retained This can make it more desirable in some cases than Mid Side encod ing which would sum left and right hard pans into one channel It is often a good idea to make sure stereo channels are balanced by running Azimuth correction before using Extract Center Keep Center When the signal you want to preserve is even in both channels and noise is uneven between channels extracting the center can remove a lot of noise For example a mono record transferred to a stereo tape would have side chan nel noise that would be suppressed by extracting the center channel Keep Sides If you want to preserve the wide stereo information and remove the center inform ation you can keep the sides of the signal instead This is useful for karaoke style removal of vocals from a song especially because the process results in a coherent stereo image Two different algorithms can be selected True phase cancels the center with phase information and retains the ori ginal panning of the sides Pseudo pan extracts the side information and artificially stereoizes it into two channels Reduction Strength Controls the level of the preserved signal Smaller amounts will keep more information larger amounts will discard more information Time amp Pitch ADV Stretch amp Shift Stretch ratio From BPM To BPM 109 7 120 69 11
54. efault full bandwidth paste mode This controls RX s behavior when pasting a full bandwidth audio selection Insert will move aside existing audio Replace will overwrite existing audio and Mix will add to existing audio Default limited bandwidth paste mode Similar to the full bandwidth paste mode this controls RX s behavior when past ing a limited bandwidth audio selected Resume last editing session when app starts On RX s startup the last audio file will be reloaded along with full history list of any edits made Automatically open files ending with L and R as split stereo Mono audio files with L and R as well as 1 and 2 extensions will be opened as split stereo when this option is enabled Recall selections during undo redo When this is enabled RX will recall the selection used for an item in the undo history When browsing the undo history the selected region will be restored along with the audio Sometimes it is useful to turn this off if you need to compare undo history items and not break your current selection like a useful loop Play only selected channels If only a single channel of audio is selected and this option is enabled all other channels will be muted during playback Pre and Post Roll during preview ms When Previewing audio processing in any module the specified time amount will be added to the beginning and end of the previewed selection in order to provide contrast being un proces
55. ent location of the cursor playhead or a new region if an entire selection is currently highlighted Edit Cursor Mode Select the behavior of the cursor to select by time and or frequency or to zoom These modes can also be selected from the Cursor Mode buttons Select Time T Makes a time selection Select Time Freq R Makes a rectangular time and frequency selection Select Freq F Makes a frequency selection Lasso L Selects everything in a freely defined area Selection Brush B Selects everything in a pre defined radius Selection Wand W Intelligently selects material similar to whatever is under your cursor Zoom Time Z Zooms in time Zoom Time Freq Shift Z Zooms in time and frequency Zoom Freq Alt Opt Z Zooms in frequency Grab Time G Grabs and drags the view in time Grab Time Freq Shift G Grabs and drags the view in time and fre quency Grab Freq Alt Opt G Grabs and drags the view in frequency Preferences Control Command Shows the preferences dialog Transport Input Monitor Alt Option l Enables input monitoring When input monitoring is enabled the input signal of RX will be routed to the output signal of RX Arm for Recording Record Stop Recording Alt Option Space Runs the next possible step for recording If you have not opened a new file Arm for Recording will open the New File dia log for you Rewind Return Sets the playhead to t
56. erence for setting levels for recording g Record Begins recording into a new file One click puts recording into an armed state for safely setting input levels The next click begins recording A third click stops recording If you already have a file open hitting Record will prompt you to create a new file for recording K Rewind Return Brings you back to the start of the file G Play Spacebar Starts and stops playback Starts or stops recording if Record is armed i Play selected When you ve made a selection of a time range frequency range or both this but ton auditions just the selection useful for isolating intermittent noises and apply ing spectral repair etc EJ Loop Control Command L Enable this switch to loop the selected audio Recording Recording Audio RX supports recording up to two channels ata time To record into RX create a new file Press the Record button once to enable Record Arm The level meters will show the level of the signal coming into RX Verify that your input source is not clipping and that you have enough headroom to accurately capture the entirety of your recording Adjust the gain coming into your sound card if necessary You can also enable Input Monitoring to hear the input source without arming record When your input levels are perfect press Record again to begin recording When you are ready to stop recording press Record a third time Your recorded file
57. ering noise is undesirable simple truncation remains the only choice Truncation results in harmonic quantization distortion that adds overtones to the signal and distorts the timbre In this case you can enable Suppress Harmonics option to slightly alter the truncation rules moving the harmonic quantization distortion away from overtones of audible fre quencies This option doesn t create any random dithering noise floor Instead it works more like truncation but with better tonal quality in the resulting signal This option is applicable only in the modes without dithering noise and without aggressive noise shaping Application Menus File New Name 072114 Transfer 7 Sampling rate 48000 Cancel Creating a New File Control Command N To create a new file in RX open the File menu and select New You will be prompted for the name sample rate and channel count of the file you would like to create New from Clipboard Control Command Shift N If you have existing audio data in your clipboard for example if you have copied a selection from an existing file in RX you can open the File menu and choose New from Clipboard A new file will be created with the correct sample rate and channel count Opening Audio Files Control Command O There are many ways to open a file in RX 1 From the File menu select Open and select the files you want to open 2 Drag and drop a file from your operating system into th
58. essary by switching to Manual mode and edit ing the automation information in your DAW To get the most out of Dialogue Denoiser and your DAW s automation features try recording automation with Latch mode Make sure Dialogue Denoiser is set to Manual mode so it can read back the automation you ve recorded Spectral Repair Spectral Repair intelligently removes undesired sounds from a file with natural sounding results This tool treats areas selected in spectrogram waveform display as corrupted audio that will be repaired using information from outside of the selection When used with a time selection it is able to provide higher quality processing than Declick for long corrupted segments of audio above 10 ms When used with a time frequency lasso brush or wand selection it can be used to remove or attenuate unwanted sounds from recordings such as squeaky chairs coughs wheezes burps whistles dropped objects mic stand bumps clattering dishes mobile phones ringing metronomes click tracks door slams sniffles laughter background chitchat digital artifacts from bad hard ware dropouts from broken audio cables rustle sounds from microphone move ments fret and string noise from guitars ringing tones from rooms or drum kits squeaky wheels dog barks jingling change or just about anything else you could imagine Spectral Repair can also repair gaps or replace audio intelligently by using advanced resynthesis techni
59. ew file from clipboard Control Command Shift S Control Command Alt Option S Control Command Shift E R Time Frequency selection tool L Lasso selection tool Control Command Mouse wheel Adjust Brush size with brush tool selected Create multiple independent elections with any Shift hold with selection tool Alt hold with selection Remove the current Alt selection area from any previous selection Control Command D Deselect breaks your current selection Reselect recovers a previously broken selec tion Control Command Shift l Invert entire selection Control Command Y Redo Alt Option V Paste invert amp Mix Control Command Alt Option Shift V Alt Option Shift V Paste to Selection Delete time selection Silence other selec tions Control Command A Select all Shift 0 through 9 Shift Alt 1 through 4 Paste Replace Show hide processing modules Control Command 0 through 9 Control Command Alt 1 through 4 Apply processing modules to the current selec tion Control Shift 4 PC Train Denoiser with current selection Command Shift Option 4 Mac Alt Option R Show hide spectrum analyzer panel Alt Option D Show waveform statistics window Control Shift 0 Toggle floating window opacity Control Command Shift Zoom out full Hyphen RX Modules and Plug ins RX includes many audio restoration and repair modules designed to do spe cialized tasks Repair Modules
60. ference is rep resented on the waveform by a series of impulses You might have to zoom in on the waveform a lot to see them This waveform detail shows that the bright harmonic buzzing of GSM noise is caused by rapid impulses interfering with the desired signal Declick s M Band modes can help you tackle short bursts of loud interference and take quiet continuous interference out of a signal A quick Declick pass removes much of the interference improving the intelligibility of the audio Hiss and other broadband noise Unlike hum and buzz broadband noise is spread throughout the frequency spectrum and not concentrated at specific frequencies Tape hiss and noise from fans and air conditioners are good examples of broadband noise In RX s Spectrogram Display broadband noise usually appears as speckles that sur round the program material Noise appears as speckled static on a spectrogram RX s Denoise module is the go to tool for removing noises of this type After denoising the background noise in the file appears darker Intermittent noises Intermittent noises are different than noises like hiss or hum they may appear infrequently and may not be consistent in pitch or duration Examples include coughs sneezes squeaks footsteps car horns cell phone rings etc Find noises like coughs left or dishes rattling middle and select them with the Time Frequency Lasso or Brush tools Because noises lik
61. g Gain of Tonal components of the signal Noisy Gain dB Adjusts the resulting Gain of Noisy components of the signal Tonal Noisy Balance Balances Deconstruct s separation algorithm between tonal and noisy audio content Balance towards tonal will make Deconstruct consider some noisy audio to be tonal and apply gains accordingly and vice versa Dereverb ADV Dereverb gives you control over the amount of ambient space captured ina recording It can make large cathedrals sound like small halls and make roomy vocals sound like they were recorded in a treated space Reverb is the ambient sound of audio energy as it loses power in a space We can think of a sound in a room as having two components the direct sound and its reverberant tail The reverberant tail decays in power over time depending on various factors like the size of the space the materials in it and the geometry of its construction Reverb tails also have an important time components early reflections Early reflections are the rapid echoes of a direct sound from a nearby surface They are often distinct from the rest of a reverberant tail because they have a lot of energy but end quickly Early reflections typically comprise the first 5 to 100 mil liseconds of a reverb tail If a listener or a microphone is close to the source of a direct sound the direct sound is perceived more than the reverb Ifa listener is farther away from a dir ect sound more reverb is
62. ger portion of the screen given to the overall Spectrogram Waveform display LEZE Collapsing the module panel gives you more room to edit and analyze your file You can quickly col lapse the module panel by clicking on the triangle at the top right of the module panel Time Format RX s time ruler and playhead location counter can be set to show different time values Decimal Shows time in hours minutes seconds and fractions of seconds Samples Shows time by the number of individual samples Frames Shows time by frames Set Frame Rate This will take you to the Preferences menu where you can set the frame rate for the current file Snap Control Command Shift This will cause selections to be snapped to the variables listed below in the Snap To list a Markers Ruler Coarse Fine Zero Crossings All None Effect Overlays This allows you to turn on off special display features for the Declip and Spec tral Repair modules For an overlay to be visible you need to have the option selected in the view menu and the corresponding effect UI needs to be open Declipper Threshold When the waveform is visible the threshold set tings and controls appear as white lines within the display This display can be used to adjust the declipper threshold settings Spectral Repair Source Regions When this feature is selected the sur rounding region is displayed as a dotted line Changing settings
63. ggest button You can also set the Clipping Threshold from the RX waveform display By default Declipper Threshold is enabled in the Effect Overlays section of the View menu When this option is enabled you can see the relationship of the Declipper Clipping Threshold settings to your file s waveform and make adjust ments to the setting by clicking and dragging on the red threshold line If you would like greater control resolution or need to apply Declipping to a dif ferent amplitude range you can adjust the amplitude range of the waveform dis play by using the zoom control clicking and dragging the amplitude ruler or using your mouse s scroll wheel over the amplitude ruler Threshold Link AVS Toggles the ability to adjust positive and negative clipping thresholds independently When this option is enabled you can adjust the positive and negative Clipping Threshold controls independently This is useful in cases where more clipping is occurring on one side of your waveform You can also set asymmetric declipping thresholds directly from the waveform by toggling the lock box between the threshold controls on the waveform dis play Threshold dB This problematic waveform grey shears off around 13dB on only the positive side of the wave form the histogram on the right shows the extra positive energy of clipped audio Extra processing of the negative side would be unnecessary so the Threshold controls can
64. gnificant leakage of the 1kHz tone into side lobes but the cos 3 window does not They all display the same peak information for the 1kHz tone Channel Mode Controls how multiple channels of audio are displayed RX can display stereo spectra individually Multichannel display a maximum of two spectra Max or display the spectrum of a signal downmixed to mono Aver age Reset Resets spectrum analyzer to default settings Plug in Hosting RX supports the use of AudioUnit AU VST and DirectX plug ins To enable the use of Plug in hosting open the Plug in module You can run RX in 32 bit mode if you need to use 32 bit VST DX or AU plug ins In Windows run the iZotope RX not iZotope RX 64 bit shortcut from the Start Menu In OS X select iZotope RX in the Applications folder right click it and select Get Info You can use this menu to configure which mode RX runs in Selection Based Processing With a plug in loaded into RX s Plug in module you can make use of the same audio selection tools and Preview and Compare options that are available for other RX modules This can allow for very detailed processing and greater accuracy when working with your existing plug ins giving you audio selection options unavailable in a traditional DAW setup Plug In Presets Only one plug in may be loaded at a time However with the use of presets mul tiple settings and presets may be recalled quickly in order to move be
65. he beginning of the file Play Stop Space Starts or stops playback If Input Monitoring is enabled starting playback will temporarily suspend Input Monitoring Loop Playback Control Command L Toggles playback looping If nothing in the file is selected the end of the file will loop back to the beginning Playhead Returns on Stop Control Command R Toggles the behavior of the playhead on stop If this is enabled the playhead will return to the anchor sample the position before playback began This is useful for comparing processing If this is disabled the anchor sample will be set to the current playhead position This is useful for moving through a file while listening for irregularities Follow Playhead Control Command P Toggles whether or not the current view follows the playhead position during playback In Page mode the view will follow the playhead one view length ata time In Continuous mode the view is centered on the playhead as it moves across the file Window This menu displays a list of your currently open files Clicking on any of them will bring you to that file Next File Control Tab Changes RX s current file tab to the next file in the window order Previous File Control Shift Tab Changes RX s current file tab to the previous file in the window order View Collapse Expand Module Panel Collapses the right side panel of RX into a row of icons This can allow fora much lar
66. he horizontal and vertical ruler will also allow you to change the displayed scale of each ruler respectively Frequency scales Linear Mel Bark Log Extended Log Magnitude scales Decibel 90 dB Inf 120 dB Inf Spectrum Analyzer Settings FFT size 8192 _ V Time overlap 4x Window cos Ch mode Multichannel Analyzer settings can be shown or hidden with the wrench icon in the upper right corner of the Ana lyzer window FFT Size Sets the FFT size for spectrogram calculation in samples A higher FFT size provides greater frequency resolution but requires a longer segment of the audio signal to be analyzed A smaller FFT size provides better time resolution but individual frequency components in the signal will become less distinct Time Overlap Sets FFT overlap for the spectrum analyzer in real time playback mode Enhances time resolution but also affects the spectrum update rate during play back as well as CPU consumption Decay Sets the decay rate or fall time of the real time spectrum Window Sets the FFT weighting window which addresses frequency smearing Fre quency smearing is the leakage of a signal from one FFT band into another Different FFT windows represent different mathematical interpretations of FFT information They are different views of the same information 4096 Hamming A 1kHz sine tone viewed through Bartlett cos 3 and Hamming analysis windows Bartlett and Hamming display si
67. he signal and noise This slider controls the sharpness of the gating knee in the denoising process With higher values transitions in the denoiser are more abrupt and can become prone to errors in the detection of the signal with respect to the noise When the sharpness is reduced the denoising becomes more forgiving around the knee and applies less attenuation to signals that are only slightly below the threshold This may result in a lower depth of noise reduction but can also have fewer arti facts Release ms Selects the release time of sub band noise gates in milliseconds Longer release times can result in less musical noise but may also reduce or soften the signals initial transients or reverb tails after the signals decay Note The Release control is only available when the Simple Algorithm is selected Dialogue Denoiser ADV The Dialogue Denoiser is a simple no latency denoiser ideal for achieving basic high quality denoising on a variety of material with the minimum amount of time spent tweaking controls The amount of denoising is determined by the noise threshold curve A higher threshold generally means more noise reduction The noise threshold curve is determined by the positions of the six threshold nodes The RX Dialogue Denoiser can intelligently analyze the signal and determine the best noise threshold for your signal In a DAW this feature can be used to write automation in case you need to overri
68. here there is broadband elec trical and intermittent noise and allows you to isolate audio problems easily by sight RX features an advanced spectrogram display that is capable of showing greater time and frequency resolution than other spectrograms allowing you to see an unprecedented level of detail when working with audio Transparency Balance The same audio file shown as its waveform its waveform and spectrogram and its spectrogram The transparency balance of the waveform and spectrogram can be adjusted with the transparency slider to the lower left of the display The Spectrogram Display features a transparency slider that lets you super impose a waveform display over the spectrogram allowing you to see both fre quency and overall amplitude at the same time This can be invaluable for quickly identifying clipping clicks and pops and other events Zoom To the lower right of the display you will find horizontal and vertical sliders The horizontal slider will affect how much of the time ruler is represented on the screen The vertical slider controls the frequency range shown in the spec trogram or the amplitude range of the waveform display You can choose which range this zoom affects with the toggle switch next to the slider You can also zoom by placing your mouse cursor over a ruler and moving your mouse wheel You can always zoom the time ruler by using the mouse wheel on the spec trogram waveform display
69. iZotope RX Reference Manual RX 2001 2013 iZotope Inc All rights reserved iZotope iZotope com the iZotope logo and RX are either registered trademarks or trademarks of iZotope Inc in the United States and or other countries Portions of this software are copyright 2013 The FreeType Project www freetype org All rights reserved 1Zotope www izotope com Authorization Launching the Authorization Wizard The first time you open RX the Authorization Wizard will appear You can choose to either authorize RX or use it in Trial mode for evaluation purposes Please use your supplied RX serial number to fully authorize your product Trial and Demo Mode For the first 10 days after installation RX will run in Trial mode which offers full functionality with the exception of saving and batch processing After 10 days RX will revert to Demo mode In Demo mode RX is limited to 30 seconds of con tinuous playback iLok Support RX supports iLok authorization Our plug ins will be able to detect iLok keys and assets if you already use iLok and PACE software on your system If you don t already have PACE or iLok we will not install any PACE or iLok software to your system and iLok authorizations will be unavailable Help We have created an online article to help with common questions about our authorization system Customer Support How to purchase the full version of RX If you are using the demo version of RX an
70. icking on the contour display will create a new pitch node You can create up to 20 pitch nodes to achieve very complicated pitch shifts Clicking and dragging a pitch node to move it around will change the pitch curve Double clicking on a pitch node will set its value to 0 no change at that point Right clicking on a pitch node will delete it Holding control command while dragging will give you fine control over a pitch node s position Smoothing Larger values create a smoother pitch curve when multiple pitch nodes are present This is useful when correcting a non linear change in pitch Reset Clears all pitch nodes and returns the Smoothing control to its default value Spectrum Analyzer The spectrum analyzer shows an important analytical view of audio A spectrum analyzer uses a fast Fourier transform FFT to extract frequency information from a waveform Depending on the size of the FFT the signal energy of thousands of frequency bands can be visually represented on a graph The RX Spectrum Analyzer will show the momentary spectrum of audio around the current playhead position the average spectrum of a selected time and fre quency range or the real time spectrum of the audio at the output of RX s play back imple TR election P Playback input 7 Anchor 3304 Hz 90 4 dB 3515 Hz A7 2 76 3 dB Blue Anchor Sample The momentary spectrum of the audio around the playhead Yellow
71. ion and the original anchor playhead position Delete Selection Delete on a time selection Deletes selected audio and closes the space with audio from either side of the timeline Silence Selection Delete on a frequency time frequency or freeform selec tion Deletes selected audio and replaces it with silence Trim to Selection Control Command T Deletes all audio except for selected audio Find Similar Event Control Command F The Find Similar Event tool lets you choose a selection in RX s Spectrogram Display and automatically finds similar events before or after that event Controls Similarity Lower values will find more events The higher the value the more similar an event must be to the original event for it to be detected Search Duration How many seconds along a file s timeline the Find Similar Event tool will spend searching for events Number of Bands The number of frequency bands the tool uses to find events In general more bands allows the tool to be more pre cise in frequency but less precise in time Search using previous undo level Uses the audio under the selection from the previous undo level as the basis for comparison If you are repairing a repeating sound with Spectral Repair or Declick enable this option repair the event in your selection and then use Find Similar Event to find the next similar problem Add Marker or Region M This will create a new marker point at the curr
72. ion in your signal selected use the Deconstruct tool Deconstruct separates the file into tones and noise then gives you independent gain control over those parts of audio Ps gt gt as ices Epas J ha Se a a S LN EE sii Spay PARA RIE 7 hha md oe web UNG Distortion before and after Deconstruct takes the edge out Because distortion is like noise try adjusting the noisy gain of your selection by 3dB or 6dB Play the file to hear your changes and adjust the gain further if necessary Clicks pops and other short impulse noises Clicks and pops are common on recordings made from vinyl and can also be introduced by some kinds of digital errors including recording into a DAW with improper buffer settings These short impulse noises appear in RX s spec trogram as vertical lines The louder the click or pop the brighter the line will appear Clicks and pops from a vinyl record RX s Declick includes both automatic and manual tools for removing clicks and pops Crackle and mouth noise A continuous stream of quiet clicks is called crackle Crackle ranges from the quiet but pervasive crackle of old degraded recordings to the smacks and clicks present in close miked vocals Decrackle can easily remove continuous clicks running through a recording Hum and buzz Hum is usually the result of electrical noise somewhere in recorded signal chain It can usually be heard audibly as a low frequency tone usu
73. ions will be shown with a dotted line surrounding your selected region This dotted line is directly con trolled by the Surrounding Region and Before After Weighting controls inside of your Spectral Repair modules and provides a visual representation of your set values The surrounding region is the region that RX uses for interpolation of the selec ted region The data from the surrounding region is used to restore the selected region Spectral Repair Controls Attenuate Bands 512 Multi resolution Strength Direction 1 0 Horizontal Surrounding region length Before after weighting 100 Number of bands Selects the number of frequency bands used for interpolation A higher number of bands can provide better frequency resolution but also requires wider sur rounding area to be analyzed for interpolation A lower number of bands is ideal for processing short selections or transient signals Multi Resolution AVY The Multi resolution mode enables multi resolution mode when better frequency resolution is used for interpolation of low frequency content and better time res olution is used for interpolation of high frequency content The Multi Resolution processing option is available for each of the Spectral Repair modes individually Surrounding region length Defines how much of the surrounding content will be used for interpolation Before after weighting Gives more weight to the surrounding audio before or after the se
74. is now ready for editing inside RX Until you save the file your recorded audio data is stored in the RX 3 Session Data folder You can set this folder s location in Preferences gt Misc If you are recording into RX often it is important to set this folder to your drive with the most available free space Troubleshooting Recording If you are having trouble recording in RX try the following 1 Enable Input Monitoring and look for activity on RX s level meters 2 Close other audio applications and DAWs open on your computer to make sure no other program is usurping the sound card 3 Open Preferences gt Audio and make sure the correct device is listed in Input Device Also check in the Channel Routing dialog to make sure the correct inputs are selected 4 Check your input source Make sure the hardware connections between whatever you re recording from and the inputs on your audio interface are fine Spectrogram Waveform Display About the Spectrogram Display The spectrogram and waveform display window combines an advanced spec trogram with a transparency feature to allow you to view both the frequency con tent and amplitude of a file simultaneously The spectrogram shows a range of frequencies lowest at the bottom of the dis play highest at the top and shows how loud events are at different frequencies Loud events will appear bright and quiet events will appear dark The spectrogram can let you see at a glance w
75. istogram runs as a realtime meter The histogram s range can be scaled if you need a better view of your signal Use the and buttons to scale your display and value resolution for the dec lipper module These buttons reduce and or expand the range of the threshold slider and histogram You may want to extend the histogram range when your clipping point is lower than what you can see on a histogram or if you don t see anything on the histogram If you are using the declipper control overlay on the waveform display you can use the mouse s scroll wheel on the waveform amplitude scale to adjust the threshold control resolution Threshold dBFS Selects the clipping level used for detection of clipped intervals Generally this should be set just below the actual level of clipping Note Adjusting the Clipping Threshold will display a blue line within the his togram and a grey line on the waveform itself This red line shows the level on the waveform above which the declipper algorithm will process the audio file All sections of the waveform above this level will be regarded as clipping Within the histogram itself the elements of the file that will be processed above the red line will appear white To set the threshold move the Threshold slider until it lines up with the place in the histogram just below where clipping is concentrated In the RX Application you can set the Threshold slider automatically with the Su
76. ith repeating parts Partials Noise The advanced version of Replace mode It restores harmonics of the audio more accurately with control over the Harmonic sensitivity parameter This mode allows for higher quality interpolation by explicit location of signal harmonics from the 2 sides of the corrupted interval and linking them together by synthesis Partials Noise is able to correctly interpolate cases of pitch modulation includ ing vibrato The remaining of non harmonic material residual is interpolated using Replace method Processing Limitations Depending on the mode and settings Spectral Repair will have varying limits to the amount of audio that can be processed in your selection Unlimited Attenuate when in Vertical mode only 10 seconds Attenuate Horizontal or 2D Replace modes 4 seconds Pattern Partials Noise modes Longer selections will automatically adjust processing to use the correct mode Applying Spectral Repair To start working with Spectral Repair switch to the spectrogram view by drag ging the spectrogram waveform transparency balance slider to the right Next identify the unwanted event on a spectrogram and select it using a selection tool You can audition this selected time frequency tile by pressing the Play selection button in the RX transport Select the noise you want to repair and Spectral Repair will reduce it to the level of the noise floor replace it with audio from a
77. ive this email within a few minutes please check your spam folder and make sure our responses are not getting blocked To prevent this from happening please add sup port izotope com to your list of allowed email addresses Thank you for using RX iZotope RX 3 RX 3 is designed to be the complete toolbox for cleaning and repairing audio RX 3 is ideal for audio restoration and archiving recording and mastering broadcasting and podcasting sample library creation video production forensics and any application that demands spotless audio iZotope RX 3 is the result of years of audio signal processing research and fea tures the most advanced spectrogram available as well as convenient workflow and selection features designed to make the process of audio restoration easier and your results better e090 dithermoduledefauls wav zotopa ADVANCED lt Initial State gt We hope you enjoy using RX 3 We think it will not only breathe new life into your noisy and damaged recordings but also make the process of restoring audio easier and yes even enjoyable 32 or 64 bit RX 3 is available as a 32 and 64 bit application and suite of plug ins The qual ity of processing in both is the same but 64 bit applications can access a higher range of memory than 32 bit applications If your computer has more than 4 GB of RAM it is recommended that you use the 64 bit application You can run RX in 32 bit mode if you need to use
78. k This is useful for diagnosing problems like audio dropouts or rare problems caused by inconsistent buffer sizes Host Sync Shows information reported from the host program about playback location loop and transport state tempo etc when applicable This is useful for diagnosing some rare DAW timeline related problems Denoiser Plug in Options Enable Multicore C D Enabling this option lets RX process Denoiser Quality Modes C and D more effi ciently by spreading its processing across multiple computer cores Spectral Repair Plug in Options Suppress Stream Inconsistency Warning Disables the warning that appears when the audio under the playhead in a DAW doesn t match the originally captured portion Most users will want this on as a safety but this message will also be triggered if you process with Spectral Repair and then hit undo in your DAW If this is the way that you prefer to work enable this option I O Input Output Meters I O Meter Display Controls A Enable I O meters Peak hold ms 5 dia j a A Show peak hold Integration ms 10 PPM Readout Max Peak v3 00 626 CocoaIntel32 AU Reset Fine tune your metering here Meter Display Controls Options for the combined RMS and Peak meter The RX I O meter displays a lower bar representing the average level RMS and a higher bar representing peak level There is also a moving line above the bar representing the most recent peak level o
79. l Command This reduction curve helps tame a persistent high frequency noise without touching the rest of the file aE mE z me eS EO E OO OO O E O See Se eT ee ee SS ae ee A noisy vinyl record before and after processing with the above reduction curve Only the high band of hiss has been attenuated and a new noise profile should now be trained to address the rest of the background noise Scrolling and Zooming By grabbing and moving the horizontal and vertical rulers you can adjust what part of the graph is shown In addition holding the pointer above a ruler and using your mouse wheel will Zoom the display in and out Attenuating Noise After the noise profile is captured select the whole file that needs to be denoised You can also make a time frequency selection using the lasso brush or magic wand tools to denoise only certain frequency regions of the file A file before and after denoising Denoise Controls This section refers to the Spectral Denoiser and RX Denoiser plug in controls For Dialogue Denoiser controls see the Dialogue Denoiser Controls section Manual Adaptive Learn Reduction curve Input Output 4 Noise profile Residual noise Thresholds Reduction Quality Artifact control B C j Musical noise Gating The RX Denoiser plug in interface Manual Adaptive ALM RX Advanced users can chose between Manual or Adaptive mode Adaptive mode will allow the Denoise module to adjust its
80. lection Direction In Attenuate mode Direction determines whether material to the left and right Horizontal above and below Vertical or both horizontal and vertical 2D is used in repairing the selection Modes other than Attenuate all use Horizontal mode and do not display this option Strength Adjusts strength of attenuation in Attenuate mode Search Range In Pattern mode selects the length of the audio segment used in a search for a suitable replacement interval For example setting it to 5 seconds will allow search within 5 second range from the selection Harmonics sensitivity Adjusts amount of detected and linked harmonics in Partials Noise mode Lower values will detect fewer harmonics while higher values will detect more harmonics and can introduce some unnatural pitch modulations in the inter polated result Suppress Stream Inconsistency Warning In the RX Spectral Repair plug in options you can enable this option to dismiss the warning that appears when the audio under the playhead in the DAW is dif ferent from the original audio in Spectral Repair s captured buffer Using the Spectral Repair Plug in in a DAW There are three steps to the Spectral Repair process in a DAW 1 Capture 2 Repair 3 Apply Very detailed directions for using Spectral Repair in your specific DAW are avail able from inside the plug in but here are some good general guidelines for using the Spectral Repair plug in
81. lied sequentially to each file in the Input Files area above Use the drop down menus to select which module you wish to use and click the and buttons on the right to add more steps to your processing chain For each module you can use a specified preset or custom settings by clicking the View button Once you have the module settings the way you would like click on the Record button to save the settings into your processing chain Running a Batch Process Once you are satisfied with the batch processing chain the options at the bot tom of the window will allow you to specify the destination directory file naming behavior timestamp information as well as the output file bit depth and dither ing options When you are ready to run your Job click the Process button You will see a pro gress dialog corresponding to each audio file while RX runs each Job You can cancel processing on an individual file by pressing the X next to the file while it s processing To cancel the whole Job s processing click the Cancel button that replaces the Process button You can run more than one Job ata time if necessary Note RX s batch processor will continue to run in the background allowing you to continue working with RX If you want to stop the Batch Processor from running to free up some CPU but want to continue your job later you can use the Pause All button to suspend all running Jobs By clicking on the Duplicate Processing Step
82. like Sur rounding Region Length or Before After Weighting will have a visible effect so you can see how those controls work The data from the surrounding region is used to restore the selected region Waveform Statistics Alt Opt D Left Right True peak level 11 32 dB 11 90 dB Sample peak level 11 37 dB 11 96 dB Max RMS level 21 50 dB 21 44 dB Min RMS level 48 72 dB 48 68 dB Total RMS level 28 87 dB 28 77 dB ily clipped samples 0 0 DC offset 0 000 0 000 ax momentary loudness 20 8 LUFS Max short term loud 5 24 7 LUFS Integrated loudness 25 3 LUFS Loudness range LRA 4 1 LU The Waveform Statistics window shows information about the waveform inside your current selection This information can help you find and fix problems like clipping more easily Itis also useful for comparing two similar selections or files RX treats your selection as a full bandwidth time selection when cal culating these statistics Waveform statistics automatically update to your current selection Using the cursor icon next to an item will move the playhead to the place where the level was detected True peak level The highest level detected including signal levels between samples so called ISPs or Intersample Peaks True peak reflects the expected peak level of the analog waveform after digital to analog conversion In practice itis calculated by oversampling of the digital waveform according to BS 1770 3 standa
83. ltering during resampling can change the peak level of a signal Note The Aliasing portion of the curve displayed in red shows the reflected fre quencies during downsampling or imaged frequencies during upsampling both due to aliasing Dither Dither is a necessary process when converting from a higher bit resolution to a lower bit resolution Dithering is used to tame the quantization distortion that happens when con verting between bit depths due to requantization Dither also preserves more of the dynamic range of a signal when converting to a lower bit depth The Dither module applies iZotope s MBIT dithering and noise shaping tech nology to maintain the highest audio quality possible when you are converting to 24 20 16 12 or 8 bits MBIT uses psychoacoustic methods to distribute dithering noise into less aud ible ranges The result is a more pleasing sound and smoother fades Dither Controls New bit depth White TPDF dither 4 iZotope MBIT 16 10884 Hz 0 00 dB Noise shaping Moderate Dither amount Low Auto blanking Limit noise peaks New bit depth This sets the target resolution bit depth of the audio file Noise shaping Chooses the aggressiveness of dither noise shaping Itis possible to provide more effective and transparent dithering by shaping the dithered noise spectrum so less noise is in the audible range and more noise is in the inaudible range You can control the aggressiveness
84. material such as drum loops or rhythmic audio Solo Designed for monophonic pitched material such as a stringed instru ment or human voice Quality Mix mode only Controls the algorithm s processing quality Advanced Transient Sensitivity Mix mode only Determines the algorithm s handling of transient material Higher values will res ult in better preservation of individual transients after processing When stretching percussive material you usually want transient sensitivity set to its default value of 1 If transients in your audio are being smeared a higher value of 2 will tighten up transience at the expense of incurring heavier pro cessing on non transient audio Bowed instruments such as the violin and cello are especially affected by the transient sensitivity setting in Mix mode If you hear a stuttering artifact lower the transient sensitivity to eliminate it Noise Generation Mix mode only Helps noisy material like sibilance or snare drums that sound more natural when processed This control will generate noise instead of stretching the noise that is already present in the signal and creating new tones Higher values of the noise gen eration parameter will cause Radius to generate noise more often but can cause some phase artifacts Pitch Coherence Mix mode only Controls the preservation of the natural timbre of the processed audio The Pitch coherence control in the Radius control panel help
85. more time but is more versatile Mix In Mix mode the transient sensitivity can be adjusted to get ideal results The default value of 1 0 is good to try first If the transient sensitivity is too low then attacks become smoothed out or muffled If the transient sensitivity is too high then you will hear a stuttering sound especially in lower frequencies Solo In Solo mode the adaptive window size can significantly affect the quality of Radius s output If the adaptive window size is too small you will hear a squeak ing noise which sounds like the pitch of the audio is changing very rapidly If the adaptive window size is too large then the sound will become grainy as you will begin to hear portions of it being repeated A good approach is to start with the default window size of 37 ms If the results are unsatisfactory increase the window size until the squeaking noise described above does not occur If you cannot get the distortion to disappear switch to Mix mode for processing Lower pitched instruments and voices may require a longer adaptive window size than the default but very long adaptive window sizes can cause audible repeating slices of audio Formant Correction Formants are the resonant frequency components of voice that tend to be per ceived as characteristics like age and gender You can shift formants inde pendently of pitch and time by enabling Shift Formants Typically you will leave the Formant Shift Stre
86. n have its lingering frequencies curtailed with Dereverb below Dereverb gives you control over the amount of reverb in your audio You can use it to subtly push reverb lower remove it completely or even enhance it Batch Processing Resample to 44 1kHz CD Resample to 48kHz DVD Input files Track 1 aif Tonal Add files Remove all Processing steps Apply Resample with preset Copy results to batch and modify file name Add text DEST after name Output in sample format 16 bit and convert using noise shaping dither MBIT Remove Pause All Duplicate Processing Steps Process A simple common batch process Batch Processing allows you to automate processing on groups of files or apply multiple modules to files Job based Batch Processing You can view the batch processing window at any time by selecting File gt Batch Processing Each process in RX s Batch Processing window is split into individual Jobs on the left If there are no Jobs when the Batch Processing win dow is first opened one will be created automatically You can add a new Job by pressing the Add button You can remove the currently selected Job by pressing the Remove button To add files to a Job click the Add Files button in the Input Files section of the Batch Processor window or drag and drop in files from Windows Explorer or OS X Finder Processing Steps In this area you can define the specific processing chain that will be app
87. nder to the RX icon in the Dock RX supports having up to 16 files open at once To create a new file in RX open the File menu and select New After you select this you will be prompted for the sample rate and channel count of the file you would like to create If you have existing audio data in your clipboard for example if you have copied a selection from an existing file in RX you can open the File menu and choose New from Clipboard A new file will be created with the correct sample rate and channel count To navigate between files currently open in RX either click on the file s tab at the top of the RX UI or use the Control Tab and Control Shift Tab keyboard shortcuts Configuring Audio Settings If you re using more than one soundcard or are experiencing unpredictable play back or no audio be sure to check your Audio Hardware settings under the Preferences menu Make sure you have selected the sound card or audio device you want to output to and that the buffer settings are high enough for your computer s processing capabilities Supported Audio Import Formats WAV Broadcast WAV AIFF MP3 WMA AAC SD2 Note Mono audio files with L and R or 1 and 2 extensions can also be opened as either mono files or split stereo See Preferences gt Misc to control this behavior Importing Audio From Video RX can import the audio directly from a number of video formats saving you the step of extracting that audi
88. ng window opacity Show tooltips When enabled hovering your cursor above RX features will give you a short description Display cursor coordinates in status bar When this is enabled the time coordinate of the cursor is shown in the status bar at the bottom of the RX main window The amplitude of the audio at the cursor position and the frequency at the cursor position is also shown Show analog waveform When digital audio is played back it gets converted to analog The peak values in the analog waveform can be larger than the peaks in the digital waveform leading to clipping on the output of a digital analog converter When Show analog waveform is enabled RX will compute an analog waveform in the back ground Any peaks will be highlighted in red on top of the existing digital wave form At very small zoom levels RX always displays an analog waveform Offload waveform calculations When this is enabled RX s waveform display will be computed in the back ground This allows very large files to be loaded very quickly but it slows down RX s waveform displays Waveform interpolation order If you zoom into the waveform so that individual samples become visible RX will display an upsampled analog waveform as well as the individual digital samples The interpolation order controls the quality of upsampling Higher val ues yield more accurate analog waveforms at the expense of CPU usage Brightness Adjusts the amount of
89. ngs C and D can take advantage of multicore processors to provide fast high quality offline processing If you still hear undesirable artifacts in your results you can try adjusting the Arti fact Control slider If you hear a musical noise artifact the watery digital space monkey artifact common to FFT based denoisers move the slider more to the right away from Musical noise If you hear a gating artifact like pumping or surges of background noise move the slider more to the left away from Gat ing Shaping the Reduction Curve If you need to improve your results you can make adjustments to the amount of noise reduction across the frequency spectrum This helps improve clarity in higher frequencies aggressively address low frequency rumble or otherwise tailor the processing to your audio You can create a useful Reduction Curve by creating a couple of points on the spectrum and then adjusting their positions Lower points push the noise floor down Higher points bring the noise floor up The smoothness of the curve can be adjusted with the Smoothing control For example if you wanted to reduce some low HVAC rumble but preserve some energy in higher frequencies you could drag the curve s leftmost point down a little bit then create a point around 5kHz and drag it up a bit Note You can axis lock reduction curve points by holding Shift while dragging them and get very fine control over positioning by holding Contro
90. ngth set to 1 0 full strength and the Formant Shift Semitones set to 0 0 If you hear what sounds like an EQ adjustment to your audio you can try lowering the strength to reduce this arti fact To achieve special effects for example to change the perceived gender of a human voice try adjusting the semitones away from 0 0 Time Pitch Controls Stretch amp Shift Stretch ratio From BPM To BPM 109 7 120 69 110 00 Pitch shift semitones Mix Quality Max Solo Y Advanced Transient sensitivity Pitch coherence 1 4 Noise generation Phase coherence 0 2 alal Shift formants Strength Shift semitones 0 5 Stretch Ratio Determines how much the resulting audio will be stretched in time Values between 12 5 and 100 will cause the audio to speed up without affecting pitch resulting in a shorter audio file Values between 100 and 800 will cause the audio to slow down without affecting pitch giving you a longer audio file BPM Calculator If you are using Radius to process audio for a tempo change you can also adjust the stretch ratio with the BPM Calculator Pitch Shift Controls the amount of pitch shifting up or down that will be performed to the audio Mode Radius features two modes of operation designed for completely transparent operation on a wide variety of source material a Mix Designed to work well with polyphonic material such as mixes with more than one instrument as well as non harmonic
91. nt of the sig nal This is done to minimize the smearing of transients and at the same time achieve high frequency resolution where it is needed Note The FFT size control does not have any effect in multi resolution mode as the FFT resolution is selected automatically The noise profile does not need to be re learned when switching to Multi resolution mode Algorithm Selects the smoothing algorithm for the removal of random ripples that can occur in the spectrogram when processing your audio These sounds are referred to as musical noise and can be described as sounding watery The strength of smoothing is controlled by the Musical noise smoothing slider The Simple algorithm performs independent noise gating in every fre quency channel of FFT Release time of sub band gates is controlled by the Release control This is a fast algorithm with small latency that is suit able for real time operation Advanced and Extreme algorithms perform joint time frequency analysis of the audio signal which results in better quality and less musical noise artifacts These algorithms have higher latency and computational com plexity Smoothing Controls the reduction of musical noise artifacts which can be a result of heavy denoising Musical noise is caused by random statistical variations of noise spectrum that cause random triggering of sub band gates These artifacts are sometimes described as chirpy watery or space monke
92. o in a separate application Once you ve worked with the audio in RX you can export that audio and re assemble the video in your video editing program of choice RX requires having QuickTime to open QuickTime formats like MOV Quick Time support is limited to 32 bit RX Supported Video Formats AVI MPEG Windows Media Video MOV M4V File Format Support Note RX uses your operating system s available resources for opening files Win dows native formats like WMA and WMV may not open in OS X and Quick Time formats like AAC MOV and M4V may require installing QuickTime on Windows and running RX in 32 bit mode Transport Controls The transport is located below the spectrogram and can be used to monitor the input signal begin recording start and stop playback rewind to the beginning of a file or play back a looped region within a file Playhead To place the playhead single click anywhere in RX s main spec trogram waveform display To play back audio while positioning the playhead grab the seek handle at the top of the playhead or hold Control Command while clicking on the spectrogram waveform display Current Time Indicator The numeric value near the transport controls indicates the current position of the playhead Depending on how your display is configured this value is shown in hours minutes seconds time code or samples E Input Monitoring Streams the signal from your selected soundcard input as a ref
93. odic clicks Multi band processing for removing regularly repeating clicks with a wider spectrum or regular clicks that have con centrated low or high energy like thumps or optical soundtrack perforation noise M band random clicks Multi band processing for wider vinyl clicks and thumps and has a protective algorithm for preserving periodic audio ele ments characteristic to certain instruments such as Brass or Vocals Click Type Changes the Declicker controls to address specific kinds of clicks a Click The default setting of Declicker Optimised to handle most clicks Thump Skews the click detector frequency response toward lower fre quencies to tackle thumps Discontinuity Widens the click processing range to smooth out clicks caused by waveforms that change suddenly in amplitude Custom Any settings that aren t covered by the other click types Sensitivity Controls the sensitivity of the click detector Low values of this parameter will remove fewer clicks while higher values can repair too many intervals which can result in distortion Frequency Skew Tunes the frequency response of the click detector Lower values will tune Declick to handle low frequency thumps High values will tune Declick to pro cess clicks with no low frequency content Click Widening ala Controls the processing region around each detected click Increase this to cleanly repair clicks caused by discontinuities or other digital wa
94. oid excessive processing If you are having trouble finding a good portion of audio to help Dereverb learn a good reverb profile try running the Learn feature on any transient audio where both the direct signal and reverberant tail are apparent Complicated Reverbs If the audio you are working with has a very complex reverb such as a reverb with apparent early reflections you may get better results trying a few passes of Dereverb First start by training the Dereverb and set the Reduction amount to a value that yields good results on the long reverberant tail After processing that Learn a new reverb profile and try reducing the level of early reflections set the Tail Length control to 0 5 Artifact Smoothing around 3 0 and increase Reduction A combination of Dereverb and Denoise can be used to tame very reverberant signals It does not matter whether you process with Dereverb or Denoise first Dereverb Controls Output me Boost eductior Eo lt lt VAA i Aa d A Reduction Reverb Profile Low mid High mid S 6 4 Tail length s 16 3 Artifact smoothing Enhance dry signal Learn Teaches Dereverb how much reverb is in your signal The Learn feature analyzes the signal and determines the wet dry ratio per fre quency of your signal as well as the overall rate of decay of reverb When the Learn operation completes the Reverb Profile and Tail Length con trols will be set to their ideal values The Learn o
95. oints or selec tions in time for your particular audio file All markers and regions that are cre ated will be saved along with your audio file when exporting pswooshes Adding Markers and Regions You can add a marker or region at the current location of the playhead by press ing the M key or selecting Add Marker or Region from the Edit menu Markers and regions can also be created from the Markers and Regions dialog Name Start a End Length Comment swooshes 00 03 12 493 00 03 14 298 00 00 01 804 thump 00 03 15 179 training really bad one Remove Selected Select All Select None Import Export Play Begins playback from the left most start point of your marker or region Find Moves the playhead to the exact position of your marker but will not begin playback If you have defined a region Find will select all fre quencies over your defined time Add Creates a new marker point at the exact current position of the play head Remove Selected Deletes the desired marker or region The check boxes to the left of your Marker list designate your selection Select All Selects all of the shown markers and regions Select None Removes the selected checkboxes from all shown markers and regions Import Opens saved marker information from another file or RX ses sion Export Saves markers and regions in a tab delimited text file that can be opened and used in another file or session of RX Sp
96. on Left rotation Right rotation 90 90 Suggest Balances asymmetric waveforms by rotating signal phase Rotating the phase of a signal changes its peak values but doesn t change its loudness and oth erwise has no audible effect on the signal Asymmetric waveforms can occasionally occur in audio such as dialogue voice and brass instruments Making the waveform more symmetrical gives the signal more headroom By rotating the phase of a waveform you change its amplitude characteristics Phase rotation does not result in a time shift Because the range of rotation is from 180 to 180 degrees the Phase tool can be used for more utilitarian purposes such as inverting signal polarity The waveform on top is a trumpet signal with higher peak values on one side of its waveform The lower waveform has been rotated in phase by 72 degrees to distribute its peak samples more evenly Adaptive Phase Rotation Continuously analyzes the audio selection and applies the time variable phase rotation to both left and right channels resulting in a symmetrical waveform with minimal signal peak levels Adaptive phase rotation is best used on vocal material as it can occasionally yield pitch artifacts on musical material Rotation deg Rotates the channel s phase by the specified degree When a waveform s phase is rotated every frequency is rotated equally Rotat ing phase by 180 degrees inverts the waveform
97. on recording or cutting distortion over tones to increase the intelligibility of a voice EQ Controls EQ type Linear phase FIR 186260 Hz Freq Hz 44 8 Gain dB 0 0 1S To adjust the EQ curves grab an EQ node and drag it to a new point on the grid When a node is selected handles on either side of it appear which can be dragged together or apart to control the bandwidth of the node Alternately you can enter precise EQ settings by typing values into the table below the main EQ grid EQ type Options include Analog and Linear Phase Analog IIR A non linear minimum phase EQ Linear Phase FIR A linear phase EQ FFT size This controls the number of bands i e frequency resolution vs time resolution for the FIR filter Increase this to gain steeper slopes and better low frequency resolution at the expense of filter ringing Frequency and Gain The white circles mark each filter band You can adjust an EQ band by clicking on a circle and dragging it to change the frequency and gain of the band You can click and drag to select multiple filter bands Q Bandwidth If you move the mouse over the white bracket handles on the side of the band you can adjust the Q or bandwidth of the EQ by dragging with the mouse and widening the band You can also adjust the selected Q of selected filter with the mouse wheel as well Visuals As you adjust a band you will see two EQ curves The bright blu
98. ong as the file is saved as 32 bit float Intervals above OdBFS will clip when played back through a digital analog con verter Declick amp Decrackle Declick Declick is useful for restoring old vinyl and other degraded recordings that are riddled with clicks pops and crackles Declick s sophisticated algorithm analyzes audio for amplitude irregularities and smooths them out This means that you can use Declick to remove a variety of short impulse noises including clicks caused by digital errors mouth noises interference from cell phones or any other audio problem caused by impulses and discontinuities in a waveform A noisy record before and after click removal Decrackle Typically the duration of a single click and pop will not go beyond 10 ms Decrackle is designed to handle a more continuous stream of irregularities in your audio that become blended together at lower amplitude levels resulting in what we hear as crackle Decrackle is designed to tackle problems that Declick can t handle If a problem can t be fixed with Declick try processing with Decrackle In addition to crackle from degraded audio media like vinyl or lacquer discs Decrackle can also fix problems like clicks from dry mouthed spoken word or reed noise from woodwind instruments A recording before and after crackle removal Finding Clicks and Crackle The Declick and Decrackle modules can look at a whole file or a selection and detect an
99. or down Gain can also be applied to a specific time frequency selection allowing you to manu ally attenuate or boost selections in the Spectrogram window Controls for common tasks like normalization and fades are also in the gain module Gain Controls Gain Boosts or cuts the level of the signal by the designated decibel amount Normalize Normalize Target peak level 0 50 dBFS Applies enough gain to set the peak level of your signal to the specified Target Peak Level Fade Fade in Type Fade out Equal power Applies a gradual increase or decrease to gain throughout your selection Different amplitude curve options are available in the Fade Type menu For in phase tonal material a Cosine fade curve will work well while the Equal Power fade type can be more effective on noisy material Fade Type Log provides a logarithmic fade type for general use Linear provides a linear fade type for general use a Cosine for use on in phase tonal audio material Equal Power most effective on noisy audio material EQ RX includes a 6 band parametric EQ module with 4 adjustable notch filters and 2 adjustable pass filters The EQ is useful for manually shaping the overall sound of a file or selection EQ can often be a simple first step to preparing a file for restoration and can be used for cutting harsh high frequencies removing rumble from dialogue steeply high passing out wind noise from a locati
100. ore clearly defined Multi resolution This mode calculates the spectrogram with better fre quency resolution at low frequencies and better time resolution at high fre quencies This mimics psychoacoustic properties of our perception allowing the spectrogram display to show you the most important inform ation clearly Adaptively Sparse This mode automatically varies time and frequency resolution of a spectrogram to achieve the best spectrogram sharpness in every area of a time frequency plane This often lets you see the most details for a thorough analysis but it s the slowest mode to calculate FFT size FFT is a fast Fourier transform a procedure for calculation of a signal frequency spectrum The higher the FFT size the greater the frequency resolution i e notes and tonal events will be clearer However choosing a larger number here will make time events less sharply defined because of the way this type of pro cessing is done Choosing Auto Adjustable or Multi resolution modes allow you to get a good combination of frequency and time resolution without having to change this setting as you work Enable reassignment This control enables a special technique for spectrogram calculation that allows very precise pitch tracking for any harmonic components of the signal When used together with Frequency overlap Time overlap controls this option can provide virtually unlimited time and frequency resolution simultaneously fo
101. otope Ozone iZotope Ozone 5 Dynamics iZotope Ozone 5 Equalizer iZotope Ozone 5 Exciter iZotope Ozone 5 Imager e 5 Maximizer iZotope Ozone 5 Reverb Group plug ins by name in plug in menus To discard information about unsup your system for plug ins cl rescan Reset yported plug ins and Rescan ick the Rescan button Cancel OK Use these options to manage your third party audio processing plug ins VST AudioUnit DirectX plug ins These areas show what plug ins are available for the specified format You can also enable or disable every plug in for the specified format using the Enable Disable button VST plug in folders Lets you add or remove custom VST plug in folders RX uses the system VST plug in folder by default If your VST plug ins do not show up try using this option to add the directory where they are kept RX will also scan the first level of subfolders in this folder If some of your plug ins do not show up when you scan them and you know they re in a subfolder of your plug in folder try moving them up one directory level Group plug ins by name in plug in menus When enabled the RX plug in menu will group plug ins by common first words usually the manufacturers name When disabled the RX plug in menu will appear as a single alphabetically sor ted list Rescan If RX detects that a plug in is unstable it will blacklist and prevent it from being opened This option allows you to clear
102. pectral sub traction or wide band gating With lower values noise reduction will rely upon spectral subtraction which can more accurately separate noise from the desired audio signal but can yield musical noise artifacts resulting in a chirpy or watery sound during heavy pro cessing With higher values the noise reduction will rely more heavily upon wider band gating which will have fewer musical noise artifacts but sound more like broad band gating resulting in bursts of noise right after the signal falls below the threshold Output Noise Only Outputs the difference between the original and processed signals suppressed noise Noise Spectrum Display The Noise Spectrum display shows useful information during both playback and when the noise reduction process is being applied Color Legend Grey Input spectrum of input audio signal White Output spectrum of the denoised output audio signal Orange Noise Profile the learned noise profile plus offset from the threshold elevation control Yellow Residual Noise desired noise floor after denoising can be controlled by Reduction Blue Reduction Curve manual weighting of the noise reduction across the spectrum Reduction Curve Shaping Reduction Curve This feature allows for fine tuning of the reduction spectrum with up to 26 edit points This enables the user to customize the amount of noise reduction being applied across different frequenc
103. peration can be performed on any reverberant audio We strongly recommend using the Learn feature on a selection of audio that starts with some noise floor or room tone is several seconds long and includes both the direct signal and its reverberant tails Try to find a good five second slice of reverberant audio If you can find enough direct signal and reverberant tails to fill the Dereverb signal trace meter while using Learn you will probably get a good reverb profile If you have trouble getting good results from using the Learn feature you can try learning on transient broadband audio like drums claps or coughs learning on any audio that is obviously reverberant learning for a longer amount of time most reverb can be analyzed in a few seconds but some reverbs can require up to 10 seconds of analysis Metering The top meter shows a comparison between the input and output signal energy over the past five seconds of playback The bottom meter shows the amount of reverb reduction over time It is the dif ference between input and output plotted on a flat line Both of the meters together give you an idea of what Dereverb considers reverb and help you refine your settings Reduction Controls the amount of dereverb effect applied Larger amounts mean more reverb is removed Smaller amounts perform less processing This control represents the target wet dry ratio for processing In other words if itis set ve
104. port your current spectrogram waveform display as a PNG image file This can be very helpful for archiving any restoration process or forensic documentation Width 400 Height 300 Maximum ima ge compression slower When clicking on Export Screenshot from the File menu your current spec trogram waveform view will be used for adjusting your screenshot size and pos ition Note The spectrogram waveform transparency balance must be set before selecting File gt Export Screenshot as this cannot be changed in this window To define the size of your screenshot simply click and drag in order to enlarge or shrink the screenshot window The dimensions of your resulting screenshot will update automatically however these can also be entered manually by click ing once in either Width or Height Note The max resolution attainable for your screenshot will be limited by the individual computer s screen resolution When you are finished changing the dimensions of your screenshot click on the Save button to name and save your PNG screenshot to your chosen directory To save screenshots faster at the expense of having a larger file on disk dis able Maximum image compression Export History For forensic and archival purposes it is often useful to have an official readout of all edits that were made to any particular file When exporting your history the following information will be stored into an XML file RX Version numbe
105. primary frequency For hum that has many har monics that extend into higher frequencies often described as buzz try using RX s Denoise module For tricky hum problems RX Denoise features tonal noise reduction controls that can make short work of any extra harmonic hum and buzz Some very high frequency buzz can also be removed with the Declick module Previewing the Hum To begin find the section of your audio where the hum is prominent Sometimes there will be silence or near silence at the beginning or end of the program material that will contain noise but not any other audio Otherwise try choosing a quiet passage of the recording where hum is obvious Finding the Hum s Frequency When attempting to remove hum you first need to find the hum s primary fre quency The Remove hum module can also automatically locate the root fundamental of any hum in your audio Simply make a selection containing the trouble fre quencies and click the Learn button This will automatically set the Base Fre quency to the result of the Learn calculation RX can analyze any audio with prominent hum if you don t have a passage of pure hum This is however less reliable than learning from only hum The two most common base frequencies that cause hum are 50 Hz Europe and 60 Hz U S Under the Frequency Type field in the Hum Removal module choose the appropriate frequency and then hit Preview to hear if this has an effect In some cases
106. psychoacoustics i e they reflect how our ear detects pitch They are approximately linear below 0 5 kHz and approximately log arithmic above that Mel scale is reflecting our perception of pitch equal subjective pitch increments produce equal increments in screen coordin ate Bark scale is reflecting our subjective loudness perception and energy integration It is similar to Mel scale but puts more emphasis on low fre quencies Log In this mode different octaves occupy equal screen space The screen coordinates are proportional to the logarithm of Hertz down to 100 Hz Extended Log This extends the logarithmic scale down to 10 Hz so that it puts even more attention on lower frequencies Piano Roll Overlay A representation of how specific frequency ranges correlate to the western musical scale can be displayed by right clicking on the frequency ruler and selecting Show Piano Roll If you would like to hide the frequency indicators so they don t obscure this piano roll you can disable Show Frequencies and Ticks which is enabled by default Color Map Shows what color represents what amplitude in the spectrogram The range of this display is the dynamic range of the RX spectrogram You can click and drag the map to change the range and use the scroll wheel to make the range larger or smaller This is useful for seeing very quiet noises without using gain to change the level of your audio Advanced Spectrogram Settings
107. ques Attenuate Bands 512 Multi resolution Strength Direction 1 0 Horizontal Surrounding region length Before after weighting 100 Spectral Repair has several tabs representing its different processing modes Attenuate This mode removes sounds by comparing what s inside a selection to what s outside of it Attenuate reduces spectrogram magnitudes in the selected area to match mag nitudes from the surrounding area resulting in the removal of the sound without leaving an audible gap behind Attenuate does not resynthesize any audio It modifies dissimilar audio in your selection to be more similar to the surrounding audio This mode is suitable for recordings with background noise or where noise is the essential part of music drums percussion and should be accurately pre served It s also good when unwanted events are not obscuring the desired sig nal completely For example this mode can be used to bring noises like door slams or chair squeaks down to a level where they are inaudible and blend into background noise Replace This mode can be used to replace badly damaged sections such as gaps in tonal audio It completely replaces the selected content with audio interpolated from the surrounding data Pattern This mode finds the most similar portion of the surrounding audio and uses this to replace the corrupted audio Pattern mode is suitable for badly damaged audio with background noise or for audio w
108. r Time and Date Corrected File Number of Channels Sampling Rate Bit Depth Edits History Parameters and Selections Edit Undo Control Command Z Reverses the last action taken Redo Control Command Shift Z Control Command Y Cancels the undo Note RX features an Undo History window which logs a detailed list of all actions taken and lets you navigate through them Cut Control Command X Removes the currently selected audio and stores it temporarily on the Clip board Copy Control Command C Makes a copy of the currently selected audio and places it on the Clipboard Paste Control Command V Places audio that has been copied or cut to the Clipboard at the current cursor point Paste Special Provides additional options for placing the Clipboard data Insert Control Command Alt Opt V Inserts the audio from the Clipboard and moves audio in the project does not overwrite Replace Control Command Alt Opt Shift V Replaces audio in the pro ject with audio from the Clipboard Mix Shift V Combines the audio from the Clipboard with audio in the pro ject Invert and Mix Alt Opt V Inverts the audio in the Clipboard and then mixes it with audio in the project This is useful when you want to compare the difference between two signals To Selection Alt Opt Shift V Pastes audio from the clipboard only into the selected space regardless of the copied audio s length If the copied audio i
109. r peak hold Peak hold time If peak hold is on you can choose different peak hold times The choices are 250 ms 500 ms 1000 ms 5000 ms and infinite If set to infinite the peak value will be held until you click on the current peak display Integration time Specifies the integration time for RMS calculation In most RMS meters the integration time is set to around 300 msec which makes the RMS meter similar in ballistics to VU meters Readout Allows you to control what level value is displayed on top of the meters peak or actual real time If set to Max Peak the display will show the highest peak level If set to Current the display will reflect the meter s current value Enable I O meters Turns the level meters on or off Show peak hold Turns the peak hold display for the level meters on or off Repair Modules amp Plug ins Declip Declip repairs digital and analog clipping artifacts that result when A D con verters are pushed too hard or magnetic tape is over saturated Declip can be extremely useful for rescuing recordings that were made ina single pass such as live concerts or interviews momentary overs in perfect takes and any other audio that cannot be re recorded Declip will process any audio above a given threshold interpolating the wave form to be more round Generally the process is as easy as finding the clipping you want to repair then setting the threshold just under the level whe
110. r sig nals consisting of tones Window The Window control lets you choose different weighting windows that are used for the FFT analysis This gets into some complex mathematics but trying each of these will have different spectrum smoothing properties and prevent spectral leakage in different ways Frequency Scale Using different frequency scales can help you see useful information more eas ily Different scales have different characteristics for displaying the vertical fre quency information in the spectrogram display Linear this simply shows frequencies spread out in a uniform way This is most useful when you want to analyze higher frequencies Logarithmic this scale puts more attention on lower frequencies Mel the Mel scale derived from the word Melody is a freqency scale based on how humans percieve sound This selection is one of the more intuitive choices because it corresponds to how we hear differences in pitch Bark the Bark scale is also based on how we percieve sound and cor responds to a series of critical bands Frequency overlap a k a Zero padding factor Controls the amount of oversampling on the frequency scale of spectrogram When used together with the Reassignment option it will increase the res olution of the spectrogram vertically by frequency Time overlap This controls the time oversampling of the spectrogram In most cases overlap of 4x or 8x is a good setting to start
111. rd Different software may measure true peak levels slightly differently because the standard leaves some freedom in choice of oversampling filters Sample peak level The maximum level of digital samples in your selection Max RMS level The highest RMS level detected in the selection RX measures RMS using 50 ms windows more specifically a Hann window with a 100 ms period and references levels using a full scale square wave 0 dB RMS method Other software may display RMS levels 3 dB higher Min RMS level The lowest RMS level detected in the selection Total RMS level The RMS level of the entire selection Possibly clipped samples The number samples where a signal exceeds 0 dBFS true peak DC offset The amount of DC offset in percent of the full scale Hover this value with your cursor to see this level in decibels Max momentary loudness and Max short term loudness The maximum levels of momentary loudness and short term loudness as defined by BS 1770 Momentary loudness is computed on a K weighted audio signal using 400 ms windows Short term loudness is using 3000 ms windows Integrated loudness Displays the integrated loudness level as defined by BS 1770 2 Loudness range LRA Displays the loudness range as defined by BS 1770 2 This value reflects the dynamics of audio levels in the selection Markers and Regions Control Shift M Markers and regions will allow you to define and save particular p
112. re the sig nal clips You can find clipping by either listening for the distortion that clipping causes or finding the high harmonic overtones of distortion in the spectrogram Vim ravine A waveform before and after clip repair The after example bottom shows the original repaired waveform faded and the post limiting waveform bright Declip Controls Threshold dB Quality Low Makeup gain dB 0 0 Suggest Post limiter Waveform Levels Displays waveform levels for the current selection as a histogram The histogram meter helps you set the Threshold control by displaying the audio level where the waveform s peaks are concentrated This usually indic ates at what level clipping is present in the file A histogram is an analytical tool that displays how many samples are present at a given signal level over a window in time The longer the line for the histogram is the more energy is present at that amplitude If alot of energy tends to collect near the top and bottom edges of a waveform that waveform is probably clipped and distorted Clipped peaks in waveform with histogram from selection In the RX Application select a section of the recording where clipping is prom inent and Declip will analyze the levels of the program material If clipping is present in the selection it will usually appear as a horizontal line in the his togram that extends all the way across the meter In the RX Plug in the h
113. rol the steepness of the SRC filter cutoff The white line is representative of an Ideal filter Higher filter steepness means better frequency performance of the filter wider passband retains more useful signal stronger stopband attenuation provides better rejection of aliasing At the same time higher steepness of frequency response requires a longer filter which produces more ringing in time domain and energy smearing near the cutoff frequency Cutoff shift SRC filter cutoff frequency shift scaling multiplier Allows shifting the filter cutoff frequency up or down to balance the width ofa passband vs amount of aliasing Pre ringing SRC filter pre ringing amount in time domain 0 for minimum phase 1 for linear phase Adjusts phase response of the filter which affects its time domain ringing char acteristic The value of 0 minimum phase filter which has no pre ringing but maximal post ringing The value of 1 selects a linear phase filter with a sym metric impulse response the amount of pre ringing is equal to the amount of post ringing Intermediate values between 0 and 1 produce so called inter mediate phase filters that balance pre and post ringing while maintaining lin ear phase response across a possibly wider range of frequencies Post limiter Keeps all output signal levels below 0 dBFS to prevent any clipping from occur ring This option is important when resampling signals very close to 0 dBFS because fi
114. round the selection or generate entirely new audio to fit the selection Note Some unwanted events consist of several separate regions on a spec trogram In some cases it s possible to achieve more accurate results by repair ing several smaller selections one by one instead of one large selection Also you can use the Find Similar Event tool to save time when searching for and fix ing many similar events in large files Once you ve found the event s to repair select the appropriate Spectral Repair mode from the tabs at the top of the Spectral Repair settings window Some times it s worth trying several different methods or number of bands to achieve the desired result A higher number of bands doesn t necessarily mean higher quality We encourage you to use the Compare Settings window to experiment and find the best settings for the project at hand Common parameters for many modes include Surrounding region length that determines how far around the selection Spectral Repair will look for a good sig nal Before after weighting allows you to use more information from either before or after the selection for interpolation For example if your unwanted event is just before a transient such as a drum hit in the audio you may want to set this parameter to use more of the audio before the selection to prevent smearing of the transient into the selection Surrounding Region Shading When using the Spectral Repair module your select
115. ry high it will treat the signal as though it has more reverb and pro cess it more If the output of Dereverb sounds unnatural after Learning try slowly turning this control down first Negative reduction will increase the amount of reverb in the signal Reverb Profile Controls the amount of dereverb effect applied per band These controls are set automatically by the Learn feature If a group of reverberant tones are more prominent in a signal increase the con trol for that band Generally you want to set these controls to match the reverb originally present in your signal For example if reverb takes longer to decay or is more present in a particular band set that control higher These controls can also be used to address more prominent ringing or resonant groups in signals For example increasing the profile control for low fre quencies can remove muddiness from a resonant bass guitar while increasing the high band control can curtail ringing sibilance in live vocal recordings Tail Length Controls the decay of dereverb processing This control is an approximation of RT60 the rate of time it takes for a rever berant signal to decrease in amplitude by 60 dB This is automatically set by the Learn feature Increase this control if you reverb tails returning after processing or if early reflections are too apparent Decrease this control if reverb tails and noise floors sound over processed or if processed audio
116. s button you can create new Jobs based on similar processing chains of modules in RX Each Job will also be stored inside of RX independent of the audio files you are working with allowing you to save time by having pre defined workflows and processing chains to be re used for any future projects Keyboard Shortcuts RX features many default keyboard shortcuts to make editing and workflow easier RX keyboard shortcuts can also be customized from the Preferences gt Keyboard menu Keyboard Preset Default Show commands containing paste Edit Paste Edit PasteInsert Edit PasteMixInvert Shortcuts for selected command Command V Press shortcut key Shortcut currently used by Cancel Keyboard shortcuts can be edited easily by searching for the command you want and assigning a new shortcut Move the control focus to the next control Toggle buttons and check boxes On or Off select items from lists Left Right Arrow Increase and decrease value of control Up Down Arrow Navigate Up and Down in menus Page Up Down Move controls by a large amount Shift Hold while adjusting parameters to move controls by a larger increment Control Command Hold while adjusting parameters to move controls by asmaller increment for greater precision Mouse Wheel Used to increase or decrease the value of a con trol Can also be used with Control for more pre cision Control Command N New file Control Command Shift N N
117. s longer than the new selection the audio will be cropped to fit If the new selection is longer than the copied audio silence will be inserted to fill the remaining space Deselect Control Command D If audio is selected unselects it and places the anchor sample at the start of the selection Reselect Esc Restores the last selection if you have no current selection Select All Control Command Shift D Selects the entire open file Invert Selection Control Command Shift l Selects everything that isn t currently selected Invert Selection Frequencies Control Command l Selects everything in the current time range that isn t selected This is useful for refining processing by first selecting what you don t want to process then invert ing the selection frequency Select Harmonics Control Command Shift H Refines the current selection to include more harmonics For this feature to work well try with a simple selection that includes only the fundamental har monic of what you are trying to select You can also use the Magic Wand tool to automatically refine a selection to include the appropriate harmonics Begin Selection at Playhead during playback only If audio is currently selection this will automatically adjust the selection to begin at the current playback position End Selection at Playhead during playback only Automatically create a selection in between the current playhead post
118. s preserve the timbre for pitched solo voices such as human speech saxophone or vocals While traditional vocoders can smear these signals in time and randomize phase the pitch coherence parameter of Radius preserves phase coherence for these signals High values of pitch coherence will avoid phasiness in Radius s output at the expense of roughness modulation in processed polyphonic recordings Try turning this up for better results if you re processing a solo voice or a small group of related instruments Phase Coherence Mix mode only Preserves the coherence of phase between the left and right channels of the pro cessed audio This should be increased if there s any change in the perceived stereo image after using Radius It can be decreased when processing a multichannel signal where different channels contain completely different instruments Adaptive Window Size ms Solo mode only Adjusts the window size in milliseconds of Radius Solo algorithm If the adaptive window size is too small you will hear a squeaking noise which sounds like the pitch of the audio is changing very rapidly If the adaptive win dow size is too large then the sound will become grainy as you will begin to hear portions of it being repeated Increase this if you have trouble getting good results pitching or stretching low pitched instruments or voices Shift Formants Processes formant frequencies independently of other pitch and time pro
119. sec tion of your file where the hum is mixed with other material and select Residual output mode and then hit Preview Now you can adjust parameters like the Filter Q width control and the Har monic Slope control to maximize hum removal while minimizing the affect on the program material A file before and after Remove Hum s notch filters are applied Remove Hum Controls Base frequency 60 Hz High pass filter Filter Q 1000 Linear phase filters 0 0 Number of harmonics Linking type All 1 2 3 Harmonic gains dB 60 0 v Filter DC offset Base Frequency Sets the base frequency of the hum to be removed The two most common base frequencies that cause hum are 50 Hz Europe and 60 Hz U S You can manually specify a base Notch by choosing the Free option Note When the Remove Hum module s Base Frequency is set to Free you can use the Spectrum Analyzer under View gt Spectrum Analyzer and it s peak readout display to help find the exact peak frequency of any unwanted hum Learn Analyzes the current audio selection in order to automatically locate and set the base hum frequency Filter Q Controls the bandwidth of filters for base frequency and harmonics Linear phase filters Enables linear phase FIR filters with a high FFT size Remove Hum s linear phase filters have a very accurate frequency response at the expense of latency and filter pre ringing When this is disabled Remove
120. sed and preview processed audio Selection Feathering ms This control allows for spectral blending of processed and un processed audio when processing If you need to make more precise edits set this to 0 Authorization amp Updates Auth amp Updates Authorization RX Advanced Remove authorization Check for updates Daily Check now Use the authorization menu to remove your current RX authorization for example if you have upgraded to RX Advanced and have already installed the basic version You may also need to de authorize RX if you are using the RX trial version and wish to try the RX Advanced trial version After removing your authorization RX s authorization screen will pop up when you restart the program Now you can re authorize the application using your new serial number Check for Updates Lets you change how frequently RX automatically checks for updates RX can also check the iZotope download servers for program updates by clicking on the Check Now button This option is initially set by the RX installer If you don t check for updates when you install RX will never check for updates again until you change this setting Plug ins Audio Units Apple Apple Apple Apple Apple Ap Apple Disable AUBandpass AUDelay AUDistortion AUDynamicsPro AUFilter AUGraphicEQ AUHiahShelfFilter VST plug in folders Library Audio Plug Ins VST Plug ins VST plug ins Disable iZ
121. t G Find Previous Sometimes you may have many events to manually repair throughout your file that are similar In cases like this manually selecting and processing each event can be time consuming RX includes a Find Similar Event tool which will take your selection and move it to the next or a previous similar event This is especially useful in conjunction with the Spectral Repair tool allowing you to process many events without having to manually select each event To open the Find Similar Events window go to Edit gt Find Similar Event Then make a selection in the Spectrogram Display and select Find Next to move to the next similar event to the current selection Similarity Search duration s Bands 256 Search using previous undo level Reset Find previous Find next If you are spot repairing a similar event with Spectral Repair or Declick searching with the previous undo level will look for something like the event you just repaired Zooming From RX s main window you can zoom in horizontally and vertically on both the waveform and spectrogram views Zoom Tools Zoom in zoom out zoom to selection zoom to whole file zoom to left side right side of selection The zoom tools allow you to zoom in or out horizontally zoom all the way out zoom to the current selection or zoom to the left or right edge of the current selection Zoom Sliders The slider controls to the lower right of the spectrogram c
122. te is half of the sampling rate and is known as the Nyquist frequency When reducing the sampling rate or downsampling it is crucial to remove the frequencies that cannot be represented at the lower sampling rate Leaving fre quencies above this point causes aliasing Aliasing can be heard as the fre quencies in an inaudible range are shifted into an audible range causing distortion and noise With iZotope SRC s steep low pass filter users can com pletely avoid the common aliasing artifacts while maintaining the maximum fre quency content You can also engage the Post limiter option in order to limit the output level of your signal to below OdbFS to prevent any clipping from occurring Resample Controls Presets 48kHz SRO Bii 7 New sampling rate Ideal filter m iZotope SRC Aliasing 48000 Change tag only Filter steepness Cutoff shift Pre ringing Post limiter New Sampling Rate This setting chooses the sampling rate you want to convert to Choose a sample rate from the drop down list or click on the field to type in another arbitrary sample rate Change Tag only Changes the declared sample rate of the file in the file s properties without res ampling the file effectively changing the playback rate and pitch of the file This feature is useful if the sample rate tag was damaged by a previous audio editing process and the file is playing back incorrectly Filter steepness This allows you to cont
123. ttings selected in the Output Options dialog will be applied and over write your original file To prevent overwriting use File Save As Con trol Commana Shift S Sample format 16 bit Preserve non audio data Cancel Sample Format Choose the sample format bit depth you wish to export your file to from this drop down menu Dithering Dithering is used to attain higher quality when exporting to a lower bit depth This option is grayed out when it is not applicable to avoid unnecessary dither ing for example if you are exporting to the same sample format as the current file Dither Modes None Truncate converts to a new bit depth without applying dither instead truncating or removing the extra bits White Noise TPDF standard quality dithering MBIT iZotope s proprietary noise shaping method for improved quality If you want to custom tailor your dither to your project use the Dither module to adjust your bit resolution and add dither Preserve Non Audio Data When enabled this feature preserves additional data in your audio file such as cue points or ACID ized WAV information Export Export Selection Control Command Shift E This option will allow you to export only the audio that is contained within your current selection as opposed to the entire audio file When exporting you will be able to define the output file name directory and bit depth Export Screenshot RX allows you to ex
124. tween plug in instances When your plug in is configured the way you would like it select Add Preset from the small Preset drop down arrow Assign Presets to Keyboard Shortcuts Once your preset is named and saved you can then assign that plug in and pre set to a keyboard shortcut with the Set Preset Shortcut feature This keyboard shortcut will recall not only the plug in settings but the plug in instance itself As such if a preset is saved with Plug in 1 and Plug in 2 is cur rently loaded into RX s plug in window pressing the preset keyboard shortcut will re instantiate Plug in 1 and recall the exact settings when the preset was made This can allow for very quick editing processing and recall of plug in instances and settings providing a quicker workflow than traditional DAW track mixer environments Resample Resample allows you to convert an audio file from one sample rate to another Sample Rate Conversion SRC is a necessary process when converting mater ial from one sampling rate Such as studio quality 96kHz or 192kHz to another rate such as 44 1kHz for CD or 48kHz for video Itis common to record and edit in high sampling rates since higher rates allow higher frequencies to be represented For example a 192kHz audio sample can represent frequencies up to 96kHz whereas a 44 1kHz audio sample can only represent frequencies up to 22 05kHz The highest frequency that can be rep resented accurately by a sampling ra
125. tween the original signal and the processed preview Preview Options e Preview Buffer Size determines how long playback will be buf fered before starting Buffering Playback For more CPU intensive settings like Denoise s highest quality algorithms and the highest quality Declick settings RX can buffer playback to allow you to pre view these slower than real time processes To adjust how long the buffer is the menu next to the Preview button opens the Preview Buffer Size control As audio plays back in preview mode audio that is being processed will be tinted red showing you how far ahead of playback processing is happening Pre and Post Roll When previewing an effect it is often very helpful to hear a small portion of the unprocessed audio before hearing your processed selection This can provide a much clearer comparison and allow you to more easily discern whether or not the current processing settings are producing the desired effect By default RX will play back 1 second of unprocessed audio before and after the current selection when previewing your processing The Pre and Post roll times can be defined in the Preferences gt Misc window RX can play up to 10 seconds of audio before or after the previewed selection Pre and Post Roll will also occur when previewing a looped region of audio Note To turn OFF Pre or Post Roll simply set the times in the Preferences gt Misc tab to 0 TIP Pre and Post Roll c
126. ue Denoiser s Manual mode lets you make refinements to the detected noise profile and works well for cleaning up busier audio like musical recordings Reducing Noise After you have a good profile adjust the Reduction slider until the noise in your signal is at the desired level Start with as little reduction as possible and slowly bring the Reduction level up until the noise floor is at an acceptible level This is a good time to play with the Output noise only feature to hear what you re removing If the type of noise in your signal is more tonal than noisy like hum or whine you can unlink the Reduction slider Having independent control over reduction for different types of noise lets you achieve better results when processing com plicated noise profiles Refining Your Results Once you have a good amount of reduction you may want to adjust the Threshold slider While adjusting the Threshold listen for artifacts like pumping dramatic changes in audio level or gating bursts of noise remaining after use ful signal Lower Thresholds will treat more signal like useful signal and are useful if you need to preserve audio material that descends gradually into quiet noise like orchestral tails Higher Thresholds are useful for achieving more reduction on transient material like drums or voice If your resulting audio sounds like it is missing some life or body you can try increasing the Quality setting Quality setti
127. uplicate your current selection to include harmonics above it Start by selecting the fundamental frequency of audio with harmonics then add or remove harmonic selections with this tool before processing Selection Modifiers PC Mac Add Shift Hold down shift after making one selection in order to add another separate selection If any part of the new selection overlaps any other the selections will be grouped into one This can be especially powerful when combining multiple selection tools to cre ate multiple selections of different size and shape Rectangular time and freeform selections Subtract Alt Option Holding down Alt Option will allow you use the currently chosen selection tool to remove or erase any portion of an existing audio selection This can be espe cially useful with the Lasso or Brush tools allowing you to edit or refine any piece of an existing selection Holding Alt Option effectively turns the Brush tool into a selection eraser for broad refinements and Lasso into a selection exacto knife for detailed selec tion revision This is also useful for refining complicated freeform selections First make your lasso brush or magic wand selection and then hold alt while using the time fre quency or time and frequency tools to exclude entire time and frequency ranges from processing Selections refined to perfection using the alt key modifier Note Using Control Command Z to
128. ure prevents any signal processing in these regions This potentially reduces amount of processing done to the signal and may positively affect over all signal integrity The position of the slider controls the influence of psy choacoustic model on suppression levels Note When this slider is set to 0 the feature is turned off and the amount of noise suppression is uniformly governed to the yellow curve in spectrum ana lyzer more precisely by the difference between the yellow curve and orange curve Whitening Shapes the noise floor after processing to be more like white noise Whitening modifies the amount of noise reduction shown by yellow curve applied at different frequencies to shape the spectrum of the residual noise When residual whitening is zero the suppression is uniform at all frequencies as controlled by Reduction tonal broadband sliders and the suppressed noise has a similar spectral shape to the original noise When residual whitening is maximal the desired shape of suppressed noise floor is made close to white so that residual noise has more neutral sound Changing the noise floor balance with Whitening can help prevent gaps from over processing but an unnaturally white noise floor can introduce problems like noise modulation when editing or mixing with other noises from a unique space like a set location Dynamics Characteristics Knee Controls how surgical the algorithm s differentiation is between t
129. urns settings to the default state Note On Windows systems by default Alt a letter will open the cor responding menu for your currently open application Alt V for example will open RX s View menu drop down By default none of RX s shortcuts should conflict with these keyboard shortcuts however if you wish to assign Alt V to another operation it will take precedence over the View menu Miscellaneous Misc Session data folder Library Application Support iZotope RX 3 Time scale frame rate 29 97 fps Default full bandwidth paste mode Insert Default limited bandwidth paste mode Replace Resume last editing session when app starts Automatically open files ending with L and R as split stereo Recall selections during undo redo Play only selected ct Pre roll during preview ms Post roll during preview ms 0 Selection feathering ms Cancel Session data folder Allows you to choose a different folder to save RX s temporary session data These files are created to allow actions to be undone and sessions to be recalled in RX Because these can be very large it is best to set this to the drive on your computer with the most free space Time scale frame rate This sets the frame rate used to draw the time ruler when RX is set to display frames see View menu or right click the time ruler to change this setting Choose from a list of standard frame rates or click in the combo box to define a custom frame rate D
130. ush size larger or smaller The Magic Wand Selection tool W will automatically select sim ilar harmonic content surrounding the selected material e Click on spectrogram The Magic Wand tool will automatically select the most prominent tone under the cursor e Click on existing selection The Magic Wand tool will auto matically select the overtone harmonics or related audio com ponents of your current audio selection You can use the Brush or Lasso tools first to broadly define a sound and then use Magic Wand to refine your selection to include relevant harmonic material EJ The Zoom Selection tool Z when enabled zooms into time and frequency selections as you make them Zoom Button Toggles zooming mode When in zooming mode you can zoom in to time time frequency and frequency areas Hold the alt key and click to zoom out IT Ki The Grab and Drag tool G allows you to move around your view of the spectrogram when zoomed in Ea The Invert Selection button allows you to invert your entire selec tion This lets you select audio you want to preserve then invert the selection and apply processing to everything else in the file The Invert Frequency Selection button will invert only the fre quency content of your selection This lets you select audio you want to pre serve then invert the selection and apply processing to other frequencies in the time range of your selection The Select Harmonics tool will d
131. uts the difference between the original and processed signals suppressed hum Denoise Denoise gives you control over the level of stationary noise in a recording Stationary noise does not significantly change in level or spectral shape through out the recording Stationary noise can include tape hiss microphone hum power mains buzz camera motor noise fans highway traffic HVAC systems The RX Denoiser is a flexible tool that can be used to quickly achieve accurate high quality noise reduction It also gives you the control necessary to tackle problematic noise with separate controls for tonal and broadband noise man agement of denoising artifacts and an editing interface for controlling reduction across the frequency spectrum RX uses a Spectral Denoiser It builds a spectral footprint of noise then sub tracts that noise when a signal s frequency drops below the threshold defined by the spectral footprint RX Advanced includes a Dialogue Denoiser The Dialogue Denoiser is a zero latency denoiser optimised for fast high quality automatic removal of stationary noise like commonly found in location recordings Learning a Noise Profile Denoise needs to learn the type of noise you want to remove from the recording to give you the best results To train the Denoise module identify a section of the recording that contains only noise without any useful audio signal Often these places are at the beginning or end of a file but ma
132. veform prob lems Clicks only Outputs the difference between the original and processed signals suppressed clicks Decrackle Controls Quality Amplitude skew Medium Strength Quality Controls the attenuation processing quality Low quality offers fast processing Medium quality will remove periodic quickly repeating clicks and High quality will help preserve the tonal qualities of a signal Strength Controls the amount of crackle that is detected and repaired Amplitude Skew Skews the processing toward higher or lower amplitude crackle If the crackle level in the signal is overt set this control more to the right If the crackle is subtle set this control more to the left Crackle only Outputs the difference between the original and processed signals suppressed clicks interpolate Controls Quality Defines the interpolation order which controls how complex the synthesized sig nal will be Changing this control can help interpolated audio fit into its sur roundings Remove Hum Remove Hum is designed to remove low frequency buzz or hum from your audio file Hum is often caused by lack of proper electrical ground This tool includes a series of notch filters that can be set to remove both the base frequency of the hum usually 50 or 60 Hz as well as any harmonics that may have resulted Note The RX Hum Removal module is effective for removing hum that has up to seven harmonics above its
133. wish to try the RX Advanced trial version or vice versa Host Performance Latency Some of the processing modes in the RX plug ins are very CPU intensive and result in a delay of the signal That is RX needs some time to work on the audio before it can send it back to the host application That time represents a delay when listening or mixing down Most modern DAWs and NLEs provide delay compensation a means for RX plug ins to tell the application it has delayed the signal and the host application should undo the delay on the track usually by adding compensating delays to other tracks in realtime processing or by adjusting the rendered file after pro cessing in offline processing When Enable Delay Compensation is enabled in the Latency menu we will report our latency to the host application If your application doesn t support it or skips stutters with this option on you can always manually correct the delay offset in the host application manually edit out the short delay of silence To help you perform manual correction the delay RX introduces is shown below Total System Delay in both samples and mil liseconds Disabling delay compensation can help prevent this delay when processing off line in some older applications Freezing our reported latency value may help with delay compensation prob lems during realtime processing in some older applications View Buffers Shows buffer information from the host s trac
134. y sounds left behind during the noise reduction process Noise Floor Synthesis Synthesizes high frequency material after denoising When Synthesis is set to a value greater than zero signal harmonics are syn thesized after denoising The synthesized harmonics remain at the level of the noise floor and serve to fill in gaps in high frequencies caused by processing Increasing Synthesis can increase the sense of life and air in processed audio Too much Synthesis may cause apparent distortion in the signal Enhancement Enhances signal harmonics that fall below the noise floor Enhancement predicts a signal s harmonic structure and places less noise reduction in areas where possible signal harmonics could be buried in noise This aids in preserving high frequency signal harmonics that may be buried and not detected otherwise It can make the resulting signal brighter and more nat ural sounding but high values of harmonic enhancement can also result in high frequency noise being modulated by the signal Masking Reduces the depth of noise reduction where you wouldn t perceive any effect from it If you need to cut very high inaudible frequencies set this to 0 Otherwise leave this at 10 Masking enables a psychoacoustic model that dynamically controls sup pression amount to facilitate the use of softer suppression where noise is sub jectively inaudible When noise in certain regions is calculated to be inaudible this feat
135. y regions Higher curve values mean less reduction lower curve values mean more reduction Add an edit point Left click displayed as gray box along envelope curve Remove an edit point Right click Control click on Mac or drag it out side the screen Reset This will remove all edit points Smoothing This controls the amount of interpolation between your reduc tion curve points allowing for sharper or more gradual edits Advanced Controls Alay Algorithm Behavior Noise Floor Dynamics Synthesis Multi res Algorithm Enhancement Extreme Masking Smoothing Whitening Algorithm Behavior FFT size ms Selects the time and frequency resolution of the processing Higher FFT sizes give you more frequency bands allowing you to cut noise between closely spaced signal harmonics or cut steady state noise harmonics without affecting adjacent signals Lower FFT sizes allow for faster response to changes in the signal and produce less noisy echoes around transient events in the signal Note Whenever the FFT size is changed it is recommended that the Denoiser s Learn feature is run again because the old noise profile was taken at a different FFT size and therefore becomes inaccurate Multi resolution Enables multi resolution processing for the selected algorithm type When you select the Multi resolution checkbox the signal is analyzed in real time and the most appropriate FFT size is chosen for each segme
136. y also be during pauses or breaks in speech Select the longest section of noise you can find ideally a few seconds then hit the Learn button This will teach the Denoise module the noise profile of your file Note You can use keyboard shortcuts Control Shift 4 on a PC or Command Shift Option 4 on a Mac in order to train RX s Denoiser based on your current selection Learning a Noise Profile From More Than One Selection In the RX standalone application it is possible to create a noise profile from mul tiple isolated selections This is useful if you have a file where it s impossible to select enough audio where only noise is present to build the profile For example if you are trying to restore a file where someone is speaking over noise you can select noise in frequencies where none of the voice is present at any given time If you select enough of this noise with the Lasso or Brush selec tion tools you can create an accurate noise profile that will let you get good res ults with the Denoiser You can create more than one selection at a time by holding Shift and making a selection Select noise anywhere you can to build a better noise profile This feature is only available in the RX standalone application because it requires using RX s spectral selection tools as well as accurate calculation of the time and frequency of the selected areas If you are unable to create a full noise profile with multiple selections

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