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Destructive Editing. Destructive editing refers to editing in which changes are permanently written to the original audio file. Examples include Adobe Audition’s Waveform Editor, iZotope RX Editor, and Audacity. Changes to volume from effects and processing is immediately visible in the waveform. Included in the standard RX 4, it’s clear that iZotope has priced the application competitively, making it a justifiable purchase for those who want to dabble in RX’s spectral-based audio editing. Even though the standard RX 4 misses out on many of the new modules there’s still a wealth of creative and technical possibilities that RX 4.

1. Improper labeling and management of noise-reduced files

Dialogue Isolate in iZotope RX 7 Advanced is designed to separate spoken dialogue from non-stationary background noise such as crowds, traffic, footsteps, weather, or other noise with highly variable characteristics. It can be particularly effective at increasing the level of dialogue in challenging low signal-to-noise ratio conditions. Sep 30, 2015  iZotope RX 4 - New Features Video Tutorial - Leveler Module (2/6). Non-destructive volume changes are easily applied. We’ll walk you through using the RX.

This is a nasty, potentially large problem masquerading as a minor hiccup. Any time you commit an audio-restoration tool to a track, be sure to do so only on a copy of that audio. Not just a copy within the DAW, but a whole new file. Never apply this processing to the original, and likewise, save the new track with a name that clearly indicates the processing you’ve applied (as in, File_Name.Date.RX_Dclick, File_Name.Date.RX_Dclick_Dnoised, etc).

It’s quite risky to do destructive editing on the original track since it’s possible you’ll have to revert to the original file later down the line: perhaps, in context, you’ve denoised too much and need to start again; maybe, after the mix is said and done, the sound design scheme doesn’t call for noise reduction after all; maybe certain phrases do, and other phrases don’t. All cases are possible, so it behooves you to give yourself the option.

Also if the tracks are not clearly labeled, you won’t know which is which, and you’ll spend lots of time auditioning files, guessing and second guessing which file is the appropriate one for the context. No. Better to save yourself the headache later on by being more organized throughout the whole process.

2. Over de-noising

This is the number one issue in audio restoration, I’d wager—especially for making speech sound more natural and presentable. Read these words carefully, and live by them: do not de-noise too much.

Too many podcasts, films, and other works of art are afflicted by over-denoising. How can I say this so cavalierly? Simple: I’ve heard the artifacts. I’ve heard them in TV shows, movies, on podcasts (the worst offenders), and in music. When you start to hear them, these artifacts are impossible to ignore. They are so weird that they have earned a nickname in the business: space monkeys.

/how-to-update-omnisphere-2-software.html. With Omnisphere, we've included a way to quickly check for updates directly from the plug-in. Simply click the Spectasonics logo to reveal the credits page. At the top left, select the button ‘Check For Updates’: Selecting it will compare the current installed versions on your system with the latest available updates on the Spectrasonics website. Jun 01, 2019  Run the software update one more time, when it ask you where to install the vst install it to the desktop, then move the plugin manually to your plugin folder. When it ask you do copy over the same file say yes. Then do the patching on all places one more time. Features of Spectrasonics Omnisphere 2.6.1 Omnisphere 2 Software 2.6.1e 5-6-19 Includes the following features and fixes: Fixes issue with ProVerb pre-delay parameter restoring incorrectly in some DAW projects; New Auto-Play feature enhancements: – Adds Auto-Play On/Off menu to all Browsers, located next to the Audition button. Spectrasonics Omnisphere 2.4.2c Free Download. Click on below button to start Spectrasonics Omnisphere 2.4.2c Free Download. This is complete offline installer and standalone setup for Spectrasonics Omnisphere 2.4.2c. This would be compatible with both 32 bit and 64 bit windows.

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Don’t afflict your dialogue track with space monkeys!

Here’s how you avoid the process: de-noise to a place where you notice significant artifacts, and then back off the reduction slider until you don’t hear the artifacts anymore. Then you should probably even back up some more!

Tune your ears: listen to sibilance, sounds that begin with a hard R, plosives, breaths, and fricatives; whooshing noises can be observed around these normal vocal phenomena. It’s not dissimilar to the ringing of a bad MP3 encoding.

You don’t want obvious artifacts in these signal because they belie the processing. Even to the lay-listener, they subliminally communicate a feeling of inferiority—a feeling of audio under construction. Such artifacts make you sound unprofessional, in other words. Also, they can objectively sound really, really bad, and might be an obstacle toward people enjoying your work.

Feel free to listen to the noise-only output of the module as a starting point, as it will give you a good idea of what you’re taking out. However, pair monitoring the noise-only output with the method mentioned above to make sure you’re not inducing artifacts.

If you’re unsure how to go about eliminating noise issues tastefully, RX 7 gives you a handy new Repair Assistant, which, among other things, provides three processing intensities (light, medium, or aggressive). This is an excellent shortcut for tuning your ears to what needs to be done within reason.

Tutorial on Commonly Used Modules

This is our 3rd article on iZotope’s audio repair tool RX 7.
We will continue to look at editing using different modules.
Though many modules are included, I have chosen a few which I find personally useful and common to take a look at.

iZotope RX 7 Tutorial ③ – Video Access

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De-hum

First take a listen to this sample.
https://sleepfreaks-dtm.com/wordpress/wp-content/uploads/2020/03/Hum_Crackle_pre.mp3

We can hear a low humming noise as well as a constant crackling sound as well.
Lets try to get rid of these.

We will be using De-hum to remove the hum noise.

Hum noise is usually based around low frequencies in the 50-60Hz range, and is a noise that contains a number of harmonics.
We could select 50 or 60Hz from Base Frequency, but if you want AI to make the choice for you, click the Suggest button at the top.

This will analyse the sample and Free mode will allow it to set a more accurate frequency.

The hum noise can been reduced greatly but if the voice has been negatively effected as well, we can lower the number of harmonics down right on the brink of effecting the main sound. We can do this from the Number of harmonics fader.

Next lets adjust the amount of cut. You can make changes from the screen, but the frequency points can get shifted in free mode so we’ll enter numerical changes below.

Find a point where the noise isn’t noticeable yet the vocal remains clean.

For the low end, you can cut up until the point where it starts effecting the vocal. We will turn the High-Pass Filter on and cut under 100Hz.

Though you most likely won’t be using the Low-pass-filter, it may be necessary depending on the type of noise present.

If we want to make more detailed edits on the harmonics we can choose a different Linking Type.

For the default ALL setting, moving the slider here will have a slope effect on all frequencies.
By selecting Odd/even you can control the odd and even harmonics separately.
The Slope slider will help lower the reduction effect on higher frequencies.
When None is selected the link is removed, allowing you to control the Gain of individual harmonics.

De-Crackle

Next lets look at getting rid of the crackling pop-like noises.
We will be using De-crackle.

• Quality：Low will work faster, while High will provide a better sound quality. Medium may yield better results than High depending on the situation, so its best to listen and compare this settings.
• Strength：Determines the strength of the effect, and a higher setting will get rid of more noise but can negatively effect the vocal sounds. Use “Output crackle only” to hear just the crackle sounds and find the right setting.
• Amplitude skew：Allows you to determine the amount of noise editing by the volume of the input signal. Turning it to the right focuses on the louder areas, while turning it to the left will do the opposite. We can set this higher if dealing with clipping noise, but for small detailed crackling noises such as this, it is best to set this parameter on the lower side.

For noise that couldn’t be completely removed, we can try using Spectral De-noise which we took a look at in our previous article.
https://sleepfreaks-dtm.com/wordpress/wp-content/uploads/2020/04/Hum_Crackle_processed.mp3

As you can hear, we have been able to clean up the audio.

De-reverb

Now lets change the sample audio and take a look at the unique De-reverb.
As the name implies, this helps remove reverb and room reflections in a recording.
First lets hear the sample for this example.
https://sleepfreaks-dtm.com/wordpress/wp-content/uploads/2020/04/Reverb_pre.mp3

We can clearly hear the reverb in this sample.
We will be using De-reverb on this audio.

Though all of these parameters may seem confusing, we can utilise RX 7’s special feature here and get some automatic settings using the Learn button.

To dive a little deeper into the editing, we can leave the Reverb Profile frequency settings set by Learn as is, and adjust the Reduction and Tail length to yield big results.

• Reduction： Increases the amount of reduction of reverb. We want to raise this higher but it will cut out vocal frequencies if set too high, so its best to adjust it to find the right balance.
• Tail length：The further right its pulled the more it works on longer reverb tails. If you get unnatural changes in the vocal sound, be sure to pull this back a little to the left.
• Artifact smoothing：Adjusts the frequency detail of noise removal. Setting it low results in some artefacts in sound, but will increase the amount of reverb reduction. If set higher, you will have less artefacts and a smoother sound, but more reverb will be left over. Its best to listen and find a balance in the middle.
• Enhance dry signal：Increases the volume of non-reverb sounds and expands the dynamic range. This works great on dialogue and human vocals.

The resulting audio after adjusting each parameter is as follows:
https://sleepfreaks-dtm.com/wordpress/wp-content/uploads/2020/04/Reverb_processed-1.mp3

Though its not a completely dry signal, a considerable amount of reverb has been edited out.

De-clip

Next, if we happen to accidentally distort audio during recording we can use De-clip to remove clipping noise.

We have a sample prepared for this as well.
* Be aware that this sample is louder than the previous examples.
https://sleepfreaks-dtm.com/wordpress/wp-content/uploads/2020/04/Clip_pre.mp3

In de-clip we will first setup the threshold of clip sounds. We will use this histogram as a reference but it looks like nothing is displayed at the moment. The histogram will be updated depending on the selected area, so lets first select the portion with vocal audio contained.

If you still don’t see anything, zoom out in the Histogram. Because the majority of sound is clipping, we can see quite alot reflected in the higher volume areas.

By pressing the Suggest button, it will automatically set the Threshold to the suggested point.

Its clipping to the point that that nothing is visible in the center, so it’s set to 0dB. If the audio isn’t this distorted, we would set the threshold a little below the clip.

The remaining parameters work as follows:

• Quality：If your CPU can handle it we suggest using High. If your computer can’t handle the strain when using this as a plugin, use Medium or Low.
• Makeup gain：Most distorted recordings are too loud to begin with, so we will be lowering this. You could adjust this parameter so that the fixed audio matches the volume of your other takes as well.
• Post limiter：Applies a peak limiter at the end to prevent the edited audio from going over 0dBFS. Its best to tick this box.

Lets hear how the sample sounds after making adjustments.
https://sleepfreaks-dtm.com/wordpress/wp-content/uploads/2020/04/Clip_processed.mp3

The sound is much cleaner and its hard to believe it was distorted.

This completes our look at some commonly used modules in RX 7.
RX 7 covers a vast field of noise/reverb related issues, so be sure to try it out for your own recordings!

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