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  2. Sep 18, 2019 Upwards compression also restricts the dynamic range. All the controls are roughly the same—threshold, ratio, attack, and release—but one crucial operation is reversed: anything below the threshold is brought up in level.

In its time, iZotope RX3 Advanced offered the most comprehensive suite of noise-reduction software—available as a stand-alone application and as bundled plug-ins—for post-production sound, along with extensive metering, time- and pitch-shifting processors, resampling facilities and other invaluable tools. RX 4 Advanced ($1,199) adds several workflow accelerators used to comply with various loudness standards and to quickly adjust level, timbre and ambience in tracks.

The iZotope RX Post Production Suite is a set of advanced repair and restoration tools for audio post work. This “in-action”, broadcast focussed course explains how RX 5 and the other tools work together to solve everyday audio situations. Oct 10, 2008 Don't be misled, the declipper in iZotope RX also produces those pops if the settings are too high. Again, RX is a good tool, but you have to make sensible use it for things to work out fine. Again, as I mentioned above, I hear artifacts in the declipped sample posted above (as in some harshness in the music).

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I reviewed Version 4.0.1 of RX 4 Advanced (its plug-ins in AU format) using Digital Performer V. 8.06 and an 8-core Mac Pro running OS X 10.9.5. For a refresher on RX 4 Advanced’s legacy features, check out my review of RX3 Advanced in the May 2014, issue of Mix.

Streamlined Interoperability

RX’s Spectral Repair plug-in—which was a bit of a kludge in previous releases—has been discontinued, made obsolete by the new RX Connect plug-in and alternative DAW interoperability. Roughly half of leading DAWs use RX Connect as a synchronized bridge to the stand-alone RX 4 Advanced application; you first select in your DAW the audio clip you wish to process, then launch RX Connect. Other DAWs (including DP) use RX 4 as an external editor: In DP, for example, you choose the RX application as DP’s external waveform editor and then open a region in RX via DP’s Audio menu.

No matter which protocol your DAW uses, after the RX application opens you can edit the selected clip using any processing (not just Spectral Repair) it provides. Different (fast and simple) methods are used, depending on your workstation, to return the processed clip back to your DAW in perfect sync with the original clip. Because some DAWs (including Pro Tools) monopolize the system’s audio drivers, an additional plug-in dubbed RX Monitor is included to enable hearing the RX application’s output; RX Monitor interacts with your DAW like an instrument to play the RX application’s audio through the DAW’s driver.

The updated Remove Hum plug-in and module—all modules belong to the standalone application—include an Adaptive mode that analyzes your audio and automatically notches out fundamental hum-related frequencies that change over time (such as in audio for a scene that was shot in multiple locations).

The updated Time & Pitch module provides an option to run Radius processing in real time, for those tasks in which you need fast processing. The tradeoff is lower quality than with offline processing (which is still available).

New Modules

The new Leveler module uses a compressor with automatic makeup gain to curb fluctuations in signal level. Use its Target RMS slider to adjust the K-weighted RMS level of your clip. The Speed slider alters how quickly gain is adjusted. Drag the Amount slider to limit the maximum amount of gain (boost or cut) that can be applied, and raise the Noise slider to reduce potential pumping when breathing or other broadband noise occurs during gaps in dialog. You can view the gain changes that Leveler applies and edit them by dragging up and down one or more nodes at once on a graphical curve (dubbed the Clip Gain envelope; see Figure 1).

The new Loudness module automatically applies a fixed amount of gain to your entire clip (or a selected region) to instantly make it comply with a specific standard, such as BS.1770, selected from a drop-down menu. Alternatively, you can use two sliders to manually set the desired loudness (in LKFS units) and maximum true peak level of the clip. A post-limiter is automatically applied as needed to meet the selected true-peak spec.

Teamviewer cleaner. 2020-4-5  Uninstall TeamViewer using App Cleaner & Uninstaller. App Cleaner & Uninstaller is a special utility that allows you to delete apps completely and safely in just a few clicks. Follow these steps to remove TeamViewer from your Mac: Launch App Cleaner & Uninstaller. Find TeamViewer in the list of apps. Select an app and all its system files. If you simply drag the TeamViewer application file to your Trash, it will leave its configuration files behind on the computer. The correct way to uninstall TeamViewer running on Mac OS X or macOS is to use our built-in uninstall button from within the TeamViewer preferences, as explained below.This is available from TeamViewer version 9 and above, for both the Host module as well as the Full. This will probably depend on the age of your TeamViewer installation, but the client does have a facility for Uninstall. In version 10.0.43320, this is what it looks like. To Uninstall: 1. Open the TeamViewer application 2. Look for the applicatio.

The new EQ Match module applies static equalization to purportedly make one region’s spectral balance conform to that of another. Simply select a region (such as a phrase in a VO track) that sounds great, click Learn, select another region that sounds bad, and click Process. EQ Match lets you save spectral profiles as presets, speeding your workflow.

The Ambience Match module does for noise what EQ Match does for timbre, with one caveat: It can’t decrease the amount of ambience that already exists in a selection; it can only increase it. This is an invaluable tool for matching an ADR track’s ambience to that of the recording being replaced. You simply make a selection of the noise in the live recording, click the module’s Learn button, make a selection in your ADR track where you want the same-quality noise added, drag the Trim control to adjust the level of the ambience to be added, and click Process. Noise snapshots can be saved as custom presets.

In Post-Production Sessions

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I used RX 4 Advanced extensively while working on five video projects containing many dialog tracks, music and B roll. The new Leveler module gave me excellent results easily and exceedingly fast, smoothing levels no matter the track’s spectral balance. It controlled boomy-sounding peaks beautifully, often precluding the need to de-boom using multiband compression. With moderate settings—the Amount control set no higher than 4 dB—I got more natural-sounding results than when using my go-to compressors and limiters. After rendering the processing, I could mouse-drag one or more nodes at once in the automatically generated clip-gain envelope to alter Leveler’s gain changes in select spots (see Fig. 1).

The Loudness module conformed my mix to any of seven different loudness standards with just a couple of mouse clicks—a real timesaver. Using the Ambience Match module, I could capture the room tone on a dialog track and add it to another track that sounded too dead; a trim control let me adjust the level of the ambience ±6 dB without affecting the level of the dialog. Listening to the generated ambience in isolation, it was apparent it was synthesized. But in the mix, it worked inconspicuously if applied sparingly to tracks in select, short gaps.

I tried a couple dozen times to use EQ Match to smooth spectral balances on dialog tracks, but I always found I got better (and more predictable) results using a combination of static and dynamic equalization plug-ins.

Any editing performed on tracks in the RX application is destructive once sent back to DP (overwriting the original file everywhere it occurs in DP), a disadvantage compared to working with RX 4 Advanced’s nondestructive plug-ins. Overwritten files initially played back as—and looked like, in DP’s Sequence Editor—full-scale, broadband noise in DP; rebooting DP would always permanently restore pristine playback, but I’d sometimes also need to bounce the file to a new track to restore proper waveform display. This appears to be a bug in DP, not in the RX application.

On startup, the RX application would often arbitrarily reroute consistent output assignments to different MOTU I/O boxes or banks—sometimes to those disabled in the MOTU PCI Audio Setup utility. And I often heard distracting crackling noises and clicks while working with the application, especially while previewing a module’s processing. (An associate of mine confirmed hearing the same artifacts using RX 4 with a different system.) Thankfully, the artifacts did not print when files were overwritten back to DP; nor did they ever occur when using the RX plug-ins.

Purchase in Advance?

iZotope also offers a less-expensive “standard” version, which doesn’t include the Dereverb, Deconstruct, Leveler, Loudness, EQ Match, Ambience Match, Radius RT (Time & Pitch) and Insight (metering suite) modules and plug-ins. It also lacks the center-channel extraction and azimuth alignment features for the Channel Operations module and some extra controls for Denoiser, Spectral Repair and Declick. Many of these additional features included with the Advanced version have proven to be indispensible in my work; they are well worth the extra cost.

If you work in post-production sound, restoration or audio forensics and don’t already own RX3 Advanced, buying RX 4 Advanced is an absolute must—if only for its incredible legacy plug-ins. If you can tolerate the RX application’s intermittent routing and monitoring problems, the Leveler and Loudness modules make an upgrade from RX3 Advanced worthwhile.

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

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DP can send only one region at a time to an external editor such as RX 4 Advanced. If you want to send an entire track containing non-contiguous soundbites, first make a time-range selection in DP for the entire track and select Merge Soundbites (option-shift-M).

Module & Plug-in

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Overview

De-ess attenuates or reduces sibilance, the harsh high-frequency sounds that come from “S,” “F,” “X,” “SH,” and a soft “C.”

Controls

  • MODES: The De-ess module offers two processing algorithms:
    • CLASSIC MODE: Detects sibilants and attenuates them with a broadband gain envelope. Since attenuation is applied to all frequencies, this mode is less targeted than Spectral De-ess.
    • SPECTRAL MODE: Offers a more transparent, intelligent, and frequency-specific type of de-essing than Classic Mode. Spectral Mode only attenuates the high frequencies where sibilance is most active, leaving the lower frequencies untouched.

How does the Spectral De-ess processing work?

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Spectral De-ess is a multiband compressor with dozens of bands. It’s able to compress the level of sibilants, shape their spectra, and avoid modulation of ambient noise. Each band can operate independently or with a link to adjacent bands (adjusted by the Spectral Shaping slider, explained below) and band thresholds can be adjusted for the desired shape of a sibilant (achieved by adjusting the Spectral Tilt slider, explained below)

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  • THRESHOLD: Determines the level at which the De-ess module begins compressing sibilance. The Threshold control has two modes that determine how it reacts to incoming signal level. It is specified in decibels, relative to speech level (Relative Mode) or full scale (Absolute Mode).
    • RELATIVE MODE: Determines the level of speech and sets the threshold relatively to that level. This is the default Threshold mode, Relative mode is active when the “Absolute” checkbox below the Threshold slider is not checked.
    • ABSOLUTE MODE: Sets the threshold to a decibel level below full scale (dBFS). This mode is enabled by checking the “Absolute” checkbox below the threshold slider.
  • CUTOFF FREQUENCY: Specifies the crossover point between speech (to be preserved) and sibilance (to be reduced). The Cutoff frequency value functions as the lower boundary for sibilance detection.

  • SPECTRAL FLATTENING: Spectral Flattening determines how much the spectral shape of the sibilant is changed. A setting of 0% leaves the natural shape of the sibilance by applying uniform compression across all bands. A setting of 100% flattens the shape of the sibilant toward a specified noise profile (see Spectral Tilt).

    Understanding Spectral Flattening

    • Think of Spectral Flattening as a way to fine tune the strength of the sibilant processing. The flatter you go, the more the sibilant is reduced.

  • SPECTRAL TILT: Spectral Tilt creates a target noise profile for the sibilance. A setting of 0 creates a natural spectral decay similar to pink noise. Values below or above 0 create a profile that is heavier in low frequencies (like brown noise) or high frequencies (like white noise). Spectral Tilt is most effective when the Spectral Shaping control is set to a non-zero value.

    Understanding Spectral Tilt

    • Spectral Tilt gives you the flexibility to determine what the ideal shape of your high frequency signal could be. Moving the shape toward brown noise moves it toward a darker sound. Moving the shape toward white noise provides a brighter result. Together with flattening and threshold, you can determine how much shaping takes place.

  • SPEED: Sets the attack and release times for the processing. Attack times are program-dependent in both modes.

    • FAST: Uses quicker attack and release times.
    • SLOW: Uses longer attack and release times.

      Are you using the right speed setting?

      • Is De-ess smoothing out the transients too much?
        Settings that are too fast can reduce the high frequency signal too much in the initial transient phase and can introduce a smoothing effect that reduces useful high frequency definition. Try using Slow mode to mitigate this problem.
      • Is De-ess causing pumping in the high frequencies?
        If the settings are too slow, the processor won’t recover quickly enough, resulting in too much high frequency attentuation. Try using Fast mode to mitigate this problem.