The De-ess audio plug-in and module in iZotope RX 7 attenuates or reduces sibilance, the harsh high-frequency sounds that come from S, F, X, SH, and a soft C. RX 7 includes two modes for handling sibilance: Classic and Spectral. Classic Mode detects sibilants.
- Best De- Click Settings High Frequencies Izotope Rx 5
- Best De- Click Settings High Frequencies Izotope Rx 3
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- Feb 17, 2015 Removing extreme clicks in audio which otherwise would be a lost cause without RX. Amazing results. Join our FB group for more discussions on using RX for di.
- Jan 02, 2016 Teil 3 der Videostrecke zu iZotope RX 5. In diesem Teil: Das De-click-Modul. Der Artikel auf Recording.de: http://recording.de/Magazin/Testberic.
Overview
The De-click module’s sophisticated algorithm analyzes audio for amplitude irregularities and smoothes them out. This means that you can use De-click to remove a variety of short impulse noises, such as clicks caused by digital errors, mouth noises, and interference from cell phones.
Controls
- ALGORITHM: Provides options for adjusting the configuration and processing quality of click interpolation, depending on the types of clicks and pops present in the audio.
- SINGLE BAND: Processes quickly and works well on very narrow “digital” clicks
- MULTI-BAND (PERIODIC CLICKS): Uses multi-band processing for removing regularly repeating clicks with a wider spectrum, or regular clicks that have concentrated low or high energy (like thumps or optical soundtrack perforation noise)
- MULTI-BAND (RANDOM CLICKS): Uses multi-band processing for wider vinyl clicks and thumps, with a protective algorithm for preserving periodic audio elements characteristic to certain instruments such as brass or vocals
- LOW LATENCY: Works well on mouth clicks and other clicks that cannot be handled by other algorithms. This mode has very low latency and is suitable for real-time work in RX De-click plug-in.
- SINGLE BAND: Processes quickly and works well on very narrow “digital” clicks
- SENSITIVITY: Determines how many clicks are detected in the signal. Increasing sensitivity can impact plosives, which can in turn reduce or damage the original signal.
- FREQUENCY SKEW: Adjusts the weighting of click removal toward higher or lower frequency clicks. Negative values are more suitable for generic clicks such as those found on vinyl recordings. A setting of zero or above targets mouth clicks in the middle frequencies.
Note
- Frequency skew is not available when using the Single Band Algorithm option.
- Frequency skew is not available when using the Single Band Algorithm option.
- CLICK WIDENING: Extends the repair area around detected clicks, compensating for mouth sounds such as lip smacks that have a decay.
- OUTPUT CLICKS ONLY: Outputs the difference between the original and the processed signals (suppressed clicks).
Instant Process Tool [Std & Adv]
The Instant Process Tool offers a smart De-click mode, which instantly applies the active settings from the De-click or Interpolate modules. Simply put, you may make any selection, and this mode will automatically remove all clicks present in that selection. This is particularly useful for editing a dialogue file, mismatching sample rate clicks and pops, and vinyl clicks.
If you’ve made a selection under 4000 samples in length, Instant Process will automatically use the Interpolate algorithm. Interpolate will fill the selection with audio information based on the surrounding audio.
For selections above 4000 samples, Instant Process will use the current settings of the De-click module. De-click is effective on selections above 4000 samples in size, identifying clicks in relation to desirable audio, and intelligently separating and removing the clicks.
For example, if the De-click module is indicating that a preset named ‘Remove mouth clicks’ is loaded, these settings will be applied every time you use the Instant Process Tool in ‘De-click’ mode (on selections longer than 4000 samples).
Best De- Click Settings High Frequencies Izotope Rx 5
iZotope’s RX6 is best known as a collection of tools dedicated to audio repair and restoration, but it can be an absolute time-saver in music production as well.
by Vincenzo Bellanova, Mar. 2018
The well-known iZotope brought its audio repair suite to the next level with the 6th version, offering brand new features, improvements and modules. RX6 is more of a collection of tools dedicated to the audio repair and restoration. It is a complete working environment that allows you to save hours of work, and it is not dedicated just to the post production in the film/documentary soundtrack area. RX6 is an absolute time-saver in music production as well, and, as I personally tested while making sample libraries, even in file management with its batch processing function that allows the import of entire folders of samples and the application of multiple modules or simply the resampling of all the files to a new sample rate – all that in a blink of an eye.
When recording outside, wind, microphone movement or excessive reverb in some locations can compromise the quality or the intelligibility of an audio take. Or it can happen to occur due to mouth clicks, excessively loud breaths, thundering and distracting plosives when recording vocals, click tracks or amplifier hums captured accidentally by our microphone. In RX6 you can find the perfect solution to almost every accident that can happen in a recording in one of its modules, and all of them truly take care of the problem without affecting the quality of the main audio material. Black magic.
As previously stated, RX6 is more than the simple collection of its modules. Its clear interface with the selection tools allows great precision when it comes to visualizing and isolating problems, extending a selection of a single frequency to the upper harmonics in a click and finding similar events. Module settings can be saved as presets, and a particular set of modules can be saved as a module chain for maximum speed when working on similar situations. And as if this was not enough, the new Composite View permits to process the same section of multiple files in a single window.
All that said, it is important to remember that paying a attention during the recording session can help to avoid a lot of work later. But, if the magic of a performance can’t be reproduced, or the same cast cannot make another take, or the recording of a documentary outside in hard conditions can’t exclude some issues, RX6 comes in handy, literally saving an unreproducible piece of work.
Basics and Interface
As mentioned earlier, RX6 works with modules, utilities that are dedicated to affect our audio material in a specific way to solve a problem. You can operate with these modules within the standalone version of RX, or use them as plugins in your DAW, but not all of them are available in all the RX versions (we will see the Advanced features later).
Importing audio is really easy: a simple drag and drop will let us visualize in the main window both the waveform and its relative spectrogram, with the time on the X axis, the frequencies on the Y axis, and the intensity of the color (orange being more intense according to the default settings, but it can be changed to our taste) representing the intensity. Within the spectrogram we can have a clearer and more immediate feedback on what is happening in our sample: if we have, for instance, a tonal background noise with a constant pitch, we will see a continuous horizontal line over the X axis, in a specific region or across the whole file. We could also change the balance between the waveform and spectrogram visualization with a little slider on the left, right under the spectrogram.
The interface in this new version hasn’t seen too many changes, and as in RX5, moving to the right, we will find some scaling settings, a vertical volume meter in dB, the frequency scale and the spectrogram scale. We can change the scales by right clicking everywhere on one of the numbers displayed. The default Mel frequency scale, for example, can be easily changed to Extended Log to better visualize the lower content of the audio material, and consequently better visualize and isolate the problems.
The rightmost column hosts the modules, divided into Repair, proper repair tools, Utilities, like normalize or tools for gain, EQ and phase adjustments, and Measurements, for deeper technical information about our sample.
In the lower bar are located the transport controls, a meter, and the selection tools: time selection tool, with which you can isolate a time region including all the frequencies, time frequency selection tool, allowing us to select freely a frequency and time region, frequency selection tool, which isolates a specific frequency range across the whole file, and some other useful tools, like the lasso, select harmonic and the brush and the magic wand, which automatically selects similar harmonic content of an already highlighted region.
A really useful feature that will save extra time is the Instant Process, available in the Standard and Advanced version of RX6: apply the process selected in the drop down menu (Attenuate, De-Click, Fade, Gain and Replace) instantly when selecting a region. The default settings of these operations can be changed opening the relative module.
New Modules
Best De- Click Settings High Frequencies Izotope Rx 3
Covering all the modules and functions would take a long time and it is not the main purpose of this review, but luckily, iZotope provides a good online manual and a great list of tutorials, with each video showing how to solve a specific problem.
iZotope improved some of the existing modules in this new version, like the Ambience Match, Center Extract, Deconstruct, De-Plosive, Voice De-Noise, De-Click and the Find Similar function, and added several brand new modules: Breath Control, De-Bleed, De-Ess, De-Rustle, De-Wind, Mouth De-Click and Dialogue Isolate.
The Breath Control module intelligently detects only the breaths in the audio files, and allows us to attenuate them. This can be a huge time saver in music production when vocal editing can be a long process. The “Output breaths only” checkbox permits to listen to the breaths, in order to check if some other material is being identified as breath or if we need to adjust the sensitivity to capture some quieter noises.
The De-Ess module does exactly what it says, can attenuate the frequencies of sibilants, or can be used to adjust the spectrum of the overheads if their high end is too harsh.
The Dialogue Isolate is one of my favorite modules. Recognizing the spectral profile and the harmonic content of the speech, it can help to attenuate the background noises like traffic or crowds, and increase to volume of the dialogue, which will obviously benefit in clarity.
The Mouth De-Click module is dedicated to lip-smacks and other mouth clicks that can be recorded if the performer, for instance, is too close to the microphone.
Traktor kontrol s2 mixxx. The MK2 has substantial improvements over the S4 MK1, including large multicolor buttons. The MK1 is not supported and cannot be supported because it uses a proprietary communication protocol exclusive to Traktor.
De-Rustle is particularly useful with Lavalier microphones recordings, as it can attenuate and suppress the noise caused by brushing or hitting the microphone, and the De-Wind module, as the name suggests, take care of the low frequency noise caused by the wind.
Lastly, there’s the De-Bleed module. It sometimes happens that a signal leaks into another, for instance. How many times, after recording a vocal track, we can hear the click in the background? Sometimes it can be fixed with standard editing, but when the click occurs right on the vocal, it can be a real problem. This module works by removing the bleed problem from the recording, and it needs two tracks: the active track, with our recorded content, also containing the bleed problem, and the bleed source track, (just the click track, for instance). Those must be perfectly aligned and at the same sample rate (if not, the resample utility can solve the issue in a few seconds).
New Functions
In this new version of RX, alongside the other formats, we can finally export our work in MP3 format, for lighter files or drafts.
Another powerful and really useful feature is the composite view. Sometimes an issue like a noise like a ringing phone or some other disturbing element can be caught by multiple microphones. In that case we would have to correct all of the takes that present the problem. We can import multiple files, as before, but now RX lets us join them in order to visualize all of the audio content in a single window, isolate and correct a problem applying a module to all of the tracks in a single step, without processing the files individually. To fold (or unfold) the files in the composite, view, all we have to do is click on the dedicated “enter composite view” button.
Managing the Module List, or our presets, becomes even easier with the new Module List View, which allows to create a preset showing in the module columns just the tools we use the most, by simply checking or unchecking the relative boxes.
The practice section on the iZotope web page is something that deserves mention, not only because it not includes an overview but also a lot of videos covering almost every common issue we might encounter. It’s also merits attention because audio samples are provided in .zip files that we can download and use for practice along with the video, and this is a really meaningful concept that makes the learning curve less formidable.
iZotope guides: https://www.izotope.com/en/support/support-resources/guides.html
Tutorials with .zip files included: https://www.izotope.com/en/products/repair-and-edit/rx/practice.html
RX6 Help: https://s3.amazonaws.com/izotopedownloads/docs/rx610/en/index.html
Conclusions
iZotope has again raised the standards with this new version of RX, and it’s really hard to find something as powerful and complete, especially at the same price, which can seem quite high (for the Advanced Version), but all the features and modules, once explored, perfectly justify it.
RX6 is simply magnificent in many ways. First of all, the modules are incredibly precise and deliver clean and amazing results. It is impressive how it can completely delete a problem without affecting the core audio material. The workflow and its functions are improved, and with the MP3 export we can also use it as an audio converter. The Find Similar events, now more powerful, can save a lot of time. The Module List view and the ability to save your own presets comes really in handy when treating similar audio content, especially if you record in the same situations and you know that a certain problem will inevitably occur. Lastly, and this is something that it is worth pointing out, RX6 can be a great tool for audio editing in a more standard way. The instant process with the fades is so useful and quick, and all of the utilities modules are great to cover every aspect of audio treatment, like EQ adjustments or EQ matching, resampling functions, phase alignments, loudness metering, and much more. The learning curve can be steep, but the free tutorials on iZotope’s site will speed up the process and provide a more precise idea of how RX works and when to use it.
RX6 is definitely a must have, it is a great tool not only for the film post production or dialogue editing, but also for the music recording and production.
iZotope RX6 can run on both Mac and PC as a standalone software, and, as a plugin suite, supports multiple formats like AAX (64-bit), Audiosuite DPM, Audio Unit (32-bit and 64-bit), RTAS (32-bit), VST 2 (32-bit and 64-bit), and VST 3 (32-bit and 64-bit). RX6 is available in three different versions: RX Elements ($129 USD), RX 6 Standard ($399 USD), RX 6 Advanced ($1,199 USD), and it is included in iZotope’s RX6 Post-Production Suite 2, which includes Neutron Advanced 2, RX Loudness Control and Insight, a metering suite ($1,499 USD).