Getting Better Results From Izotope's RX2

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1: The stand-alone RX Advanced. A stereo audio file is loadedthat has severe clipping distortion.

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Published in SOS August 2013

Getting Better Results From Izotope's RX2Clean Up Your Acts

Technique : Effects / Processing

Restoration software such as Izotope's RX2 can breathe new life into damaged

audio with the right moves from the user!

Mike Thornton

Izotope's RX2 software makes available some of the most po werful restoration tools around, at an affordable price, and as

a result has become a very popular package. In this article, I' m going to share some power-user hints and tips that will help

you get the best from it.

If you're new to RX, a good place to start would be checking out Sound On Sound's original review in July 2008

(/sos/jul08/articles/izotoperx.htm). Since that review was published, Izotope have released a new and significantly expanded

version called RX Advanced, in addition to the basic RX. RX A dvanced has a number of extra modules, and some of the

modules that appear in both versions have extra features in th e Advanced release. Both variants can be run as stand-alone

applications or as plug-ins for your favourite Mac OS or Windo ws DAW: Audio Units, VST, RTAS and AAX Native plug-in

formats are supported. However, running RX as a plug-in mea ns that its processes have to operate in real time. This makes

some features unavailable and limits the effectiveness of others, so I tend to export files that need processing to the stand-

alone version of RX and re-import them into my DAW once processed. (For this reason, my number one feature request

would be for Izotope to improve the links between DAWs and the stand-alone application, perhaps in the same way as

Synchro Arts have done with Revoice Pro.)

The basic version of RX has five main restoration modules. D eclip is for repairing clipped and distorted audio, while the

Declick & Decrackle module is intended for restoring recordings from vinyl records, although it is also good for dealing with

digital clicks. Remove Hum can eliminate low-frequency noise such as mains hum, along with up to seven harmonics.

Denoise removes broadband noise that is relatively static in profile it is effective both on electrical noise such as hiss, and

acoustic noise such as air-conditioning. Finally, Spectral Repair is designed to remove occasional random sounds that have

interrupted a recording, whether these come from the instrument being recorded or from external sources. Beeps, car horns,

mic pops and mouth clicks are all grist to its mill.

Supplementing these are a selection of 'fix it' modules suchas Gain & Fades and Channel Ops, which can help with all kinds

of routing and phase-related problems. There is also a Spectrum Analyser module to help track down exactly where the

problems are. InRX Advanced, there are more 'fix it' modules you wouldn't necessarily expect to find in a restoration software

package, such as Resample for downsampling audio files, Dither for reducing the word length of audio files, and pitch-shifting

and time correction using Izotope's Radius technology. The Advanced version also operates as a VST and AU plug-in host instand-alone mode, and boasts an intriguing Deconstruct module, where you can separate and adjust the tonal (pitched) and

broadband (unpitched) elements of an audio file.

To illustrate some of the techniques involved in getting the best from the various RX modules, I'll work through some

examples of audio files that have needed some work. I will describe how things happen in the stand alone application, but

most of what I am covering could be undertaken in the plug-ins within the limits of real-time processing.

Peak Distortion

Digital audio is not forgiving when it comes to peak distortion: if your signal exceeds 0dBFS, you will experience clipping, with

anharmonic distortion that is usually very obvious and unpleasant. My first screenshot shows an audio file where the tops of

the waveform have been chopped off, and the challenge is to restore this audio to its former glory using the Declip module.

Either adjust the Clipping threshold by eye so that either the red lines on the audio waveform are below the clipped-off peaks,

or click the Compute button in the module window and adjust the

Clipping threshold control until the red line is just before the

white line in the module window display. Next, adjust the Makeup

gain. This is actually an attenuation control, and it is needed

because once RX has reconstructed the missing peaks on theaudio, its new peak level will be around 6dB higher hence the

default setting of -6dB. If you are already close to 0dBFS, you

might want to consider reducing this further. When you are

ready, you can Preview the changes, and if you're happy,

choose Process and then Save As in the stand-alone RX to save

a new version of your audio file. The third screen shows the

audio 'before and after' de-clipping: I have processed only the

right channel of a stereo file, and as you can see, its flat-topped

appearance is gone, and its average level is much lower.

Hum & Buzz

Screenshot 4 shows a section from a recording where the screen

had become disconnected on the mic lead. Because it was recorded in a hurry, the setup wasn't checked, and as it was

a recording of a funeral, there was no chance for a retake. You can see that the hum and buzz are nearly as loud as the

speech, presenting quite a challenge for RX's Remove Hum module! Before we start, note that there are display options that

can help make this kind of problem easier to pinpoint. By right-clicking on the display and selecting View Spectrogram

Settings, you can change from the default Auto-Adjustable SFST to 'Adaptively sparse'. As you can see in screenshot 5, this

makes the hum and its harmonics much clearer on the spectrogram display.

Once you've achieved the best visual settings for your material, open the Remove Hum module. There are presets available

for removing common problems such as 50Hz or 60Hz hum, but although these can be good starting points, check on the

Spectrum Analyser what harmonics are present: there is no point in using a preset that has deep notch filters for harmonics if

there isn't anything there to filter! In screenshot 6 you can clearly see the main 50Hz peak, but you can also see that no

secondary peak occurs until 250Hz the fifth harmonic of the hum frequency and, after that, the seventh harmonic at

In this article:

Peak Distortion

Hum & Buzz

Nuisance TextsCamera Click

Vinyl Record

Audio Examples

DAW Techniques

100s of great SOS articles!Cubase

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2: RX's Declip module. 'Makeup gain' is a misnomer, as it'sactually attenuation that is required following the de-clippingprocess.

3: Here, you can see what the de-clipping process has done tothe right-hand (lower) channel of the audio file.

4: RX's analyser window displaying a mono audio recordingwith a severe hum problem. As you can see from the intensityof the yellow line across the bottom, the hum is pretty muchthe loudest thing on the recording!

5: In this case, changing the Spectrogram Setting to'Adaptively sparse' has made the hum and its harmonicseasier to pinpoint visually.

6: RX's spectrum analyser clearly shows the strength of the50Hz hum that has been recorded, but also makes clear thatthe lower harmonics are not present notch filters will beneeded at 250Hz (the fifth harmonic) and 350Hz (the seventh)but not at 100Hz, 150Hz or 200Hz.

350Hz. With the 50Hz hum preset loaded in the Remove Hum

module, I can deal with this by unlinking the harmonic filters in

the Linking Type drop-down menu and then adjusting the

second, third, fourth and sixth harmonic filters so they are not

cutting any audio. Once I click Process to apply the filters to the

complete file, you can see from screenshot 8 that the major hum

problems are gone.

However, the Remove Hum module provides up to eight filters,

for the fundamental and the first seven harmonics and what is

also obvious from screenshot 8 is that the recording contains

plenty of harmonics higher than the seventh! These can be dealt

with in subsequent passes by using the Remove Hum module's

Free mode, configured to supply a single notch filter as in

screenshot 9. Here, I've used the spectrum analyser to find the

higher harmonics manually and process them one at a time,

starting with the ninth harmonic until, as you can see in

screenshot 10, the stronger lines have been taken care of.

The law of diminishing returns begins to apply as you go higher

up the spectrum, but it is usually worth dealing with the more

prominent upper harmonics before moving on to the next stage,

which is to use the Denoise module to clean up the remaining

low-level buzz. Highlighting a section of noise, as shown in

screenshot 11, gives the Denoise module a profile of the noise to

learn. By going into the Advanced tab (which, confusingly, is

available in both the standard and Advanced RX Denoise

modules!), it is possible to set separate Threshold and Noise

Reduction parameters for the Tonal (pitched) and Broadband

(unpitched) elements of the audio, as you can see in screenshot

12. This screen also shows strong peaks in the noise profile

around 7kHz and 15kHz, and with the Advanced version of RX itis possible to get the Denoise module to target specific areas of

the frequency spectrum, using the Noise Suppression Envelope,

which is the grey straight line on the display in screenshot 13.

Creating anchors lets you make the Denoise module reduce

certain frequency bands more than others. The problems at

7kHz and 15kHz are clear on the noise profile, so we can use

the suppression envelope to target them. Now, when the file is

processed, virtually all the buzz harmonics and other noise

problems are gone, as you can see in screenshot 14.

Nuisance Texts

My next example illustrates another real-world problem that

requires work with RX: an interviewee's mobile phone has

bleeped a text alert in the middle of an interview that can't be re-

recorded. Screenshot 15 shows the spectrogram of the

recording, with different tones in the alert sound visible as

horizontal lines the first one starts where the cursor is. Thesepitched elements are, again, best tackled using the Remove

Hum module in Free mode, where you can manually set the

frequency of the notch filter. The problem frequencies are not as

obvious as in the previous example, so it can help to zoom in

a little more, especially on the frequency axis, and hide the

superimposed waveform. Another way to identify problem

frequencies in a case like this is to place the cursor in an area

that is reasonably clear of other sounds and open the Spectrum

Analyser module. You can see from screenshot 16 that one of

the problems is at 586.4Hz. As the text alert has only a short

duration, I've highlighted the problem area on the Spectrogram,

so I'm only processing the relevant section rather than the entire

file. Since I know the problem frequency, I can type it into the

Remove Hum module and hit Process. I can then repeat these

steps to remove each one of the individual notes and its

harmonics, until all that is left of the text alert are the attack

sounds.

To resolve these, I need to switch to the Spectral Repair module

and use the Replace tab. I can highlight the offending areas

using the Paintbrush or Lasso tools and then click Process to

replace the selected area with material from the surrounding

area, which is set by the Surrounding Length control in the

Spectral Repair window. With care and a bit of trial and error, it's

possible to remove this sort of incidental noise pretty well

completely, but don't expect to be an expert first time. It does

take some experience to interpret the display with the

combination of listening and trying different settings, but with

a full undo history available in the bottom right-hand corner of the

window you can always go back and try again.

Camera Click

Spectral Repair can also sometimes help to tackle a common problem with wedding video recordings, where the microphone

has picked up camera shutter noise from a photographer taking still photos. In screenshot 17, you can see that the firstcamera click is preceded by some wanted audio but followed by a period of relative silence. I have used the Lasso tool to

draw around it, after which I navigate to the Spectral Repair module's Replace tab and set the Before/After weighting to

completely 'After', so that the algorithm draws the replacement material entirely from the 'dead' area after the click rather than

the wanted audio before it. I click Process and the click is gone!

The click shown in screenshot 19, however, is almost embedded in the speech, so the simple Replace option won't work too

well. Instead, I need to copy and paste replacement audio from further on in the file. To do so, I first draw around the shutter

Digital Performer

Live

Logic

Pro Tools

Reaper

Reason

Sonar

Studio One
http://www.soundonsound.com/studioonehttp://www.soundonsound.com/sonarhttp://www.soundonsound.com/reasonhttp://www.soundonsound.com/reaperhttp://www.soundonsound.com/protoolshttp://www.soundonsound.com/logichttp://www.soundonsound.com/livehttp://www.soundonsound.com/digitalperformerhttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_06.jpg?Quhu6EYLDm6RkNbcphCnFCz3wfhYWhYg=&itok=hmTsJJ6vhttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_05.jpg?U6jXAvZnGoE_QaQGTf4H3mFhtI1tCi4o=&itok=VJo1_pwXhttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_04.jpg?_u_nhWfoSN_PEcBr9L_Fm4evs9GVb_Sx=&itok=ZWgvJ4A2http://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_03.jpg?rgrM7HweUjdQS7EAPGQGw0xlxq42HJtH=&itok=WaXbG94shttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_02.jpg?keGxAMNdl8OtqDJAuS7HzEndNoko1zBD=&itok=X02JW2d4


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7: RX's Remove Hum module. Here you can seethat Linking Type has been set to 'none', and thatonly the notch filters relating to the fundamental,fifth and seventh harmonics have been activated.

8: After a single pass with RX's Remove Hum module, thebright line along the bottom of the spectrogram is gone,indicating that the fundamental frequency of the hum is nolonger present. Its fifth and seventh harmonics at 250 and 350Hz have likewise been removed, but higher harmonics are stillvisible.

9: Once I've tracked down roguehigher harmonics using thespectrum analyser (above) theycan be eliminated one at a timeby setting up a single notch filterin the Remove Hum module'sFree mode.

sound, then drag the selection along to a suitably quiet region, as shown in screen 20. I can then copy this region into the

clipboard, drag the selection back to the shutter sound, and paste the

clipboard audio over it.

Vinyl Record

Finally, let's see how to use the Declick & Decrackle module to remove

scratches and surface noise from a vinyl transfer. The Declick tab provides

three algorithms to choose from. Single-band is really designed for noises

of very short duration, such as digital clicks, but there are two multi-band

options, one for repetitive clicks such as long scratches, and the other for

random clicks. Whichever you use, the way to get the best from it is to

select Output Clicks Only and play your audio in preview with the Strength

control at maximum. You will hear that the Declick module outputs some of

your wanted audio transients along with the clicks gradually reduce theStrength until all you hear is the clicks. When you are happy, de-select the

Output Clicks Only option, click Process, and your clicks will be gone.

I hope these examples will help you get the most out of Izotope's RX2

restoration software. And if you don't own it but this article has piqued your

curiosity, you'll be pleased to know you can download a trial version: click

on the Try button on the RX2 page of Izotope's web site

(http://izotope.com/products/audio/rx/ ).
http://izotope.com/products/audio/rx/http://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_09.jpg?Rsf38Nlh8Esu6_J3CbwQ6MjnivkpRuoI=&itok=majRh2djhttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/r/rx_08.jpg?6EjBYKb3PRLDS7aao5OKdt3J2FQ1Rh5P=&itok=Yi3Aynughttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_07.jpg?CUsdnCKQjG3Wlh_WkfufLk8t3uHFfw3a=&itok=CNyVFetr


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10: The same audio file after a number of individual passes ofthe Remove Hum module to attenuate harmonics of the hum.

11: Here I'm highlighting a section of noise (with no wantedaudio in it) to create a noise fingerprint for the Denoisemodule.

12: The Denoise module's Advanced tab, showing thenoise profile captured in screen 11. Setting the noise-reduction parameters separately for the tonal andbroadband elements of the signal can help get the bestresults.

13: RX Advanced's Denoise module has the ability to targetnoise reduction to specific frequency regions, in this case thepeaks at 7 and 15 kHz.

14: The final result my problematic audio file has been fullycleaned up with both hum removal and broadband noisereduction.
http://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_14.jpg?r5r5AVCn68uF6XHPHVFuaQpeVCt_NBt5=&itok=rSn4_6Qahttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_13.jpg?j4S5TnPKxD_xPly2IklkpqTvX4Z5XQRd=&itok=KEJab5hYhttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_12.jpg?nbM8E5xPAs4rr50IVm0VRMLvdT5k1IRT=&itok=hqTPxEEVhttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_11.jpg?zimmZvCzsUNNQqMnkMYLSkfCFa3HShuI=&itok=X49DODWkhttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_10.jpg?vnxckf2Orz_bcigKpgWI_t3Dt6ak9rR7=&itok=8OlKKr_K


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15: The pitched elements of a mobile phone text alert in aninterview are visible as horizontal lines to the right of thecursor.

16: The Spectrum Analyser makes it easy to pinpoint theproblem frequencies in the text alert.

17: Here, I have used the Lasso tool to highlight an unwantedcamera click in the audio from a wedding video.

18: The Replace option takes material either from before orafter the highlighted section. In this case I want to weight it soas to take everything from afterwards.

19: This camera click doesn't have any 'dead' space on eitherside of it, so the standard Replace option won't work too well...
http://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_19.jpg?HidxKSBRfq9x1KGYCd_A3x4DdEtx1IdG=&itok=PJ8sF958http://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_18.jpg?VzyBBZQzlTXr7xj6S0k45mjsKVqUAfYS=&itok=OmeKd9nAhttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_17.jpg?m_uiTh9qgTfiynJ9ApvTnYG6By73v2M9=&itok=9DHofDJFhttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_16.jpg?kRxGZmmqa5LcXdTGta6t9HFyT5lqE5g3=&itok=c6KA70sChttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_15.jpg?E_GO_V_aXGWZOyLQoYkPm11kZkgh8tA6=&itok=Z6fXEjbM


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20: ...But fortunately, I can copy and paste suitable materialfrom nearby.

Screen 21: The Declick & Decrackle module features separatealgorithms designed for digital clicks and periodic or randomsurface noise.

Published in SOS August 2013

Audio Examples

To hear the files I've used as my examples before and after processing, surf to /sos/aug13/articles/rx-media.htm .
http://www.soundonsound.com/sos/aug13/articles/rx-media.htmhttp://www.soundonsound.com/Contents.php?Month=8&Year=2013http://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_21.jpg?STpdoHJ3mqc1z5zd5f_Kn2ukXTbAKf6u=&itok=ECUK3CAjhttp://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/R/RX_20.jpg?VpXqzJdv2ckqZZFb_XtaiHMDnrxEW2ny=&itok=d5XylOOphttps://googleads.g.doubleclick.net/aclk?sa=L&ai=CapoSW9SxVrScAu3DiQa9xLdYnZHnoQid7pG_1wK1kfi_7QQQASCWkeADYNWN04K8CMgBA6kCO5cVChlPsj7gAgCoAwHIA5kEqgTJAU_Q2b0RWlmAEL5LY7dr2TrDacxfj1OgPk4douZzoFq7UX_x61INobEMt7zxwCWD-wwp2_9lrGjwRGuSvE5kHSGeQ9IVfrlRJGIW9rh4ATtD2X6AKxhKpXMHxOkF-jsFd_wCJU8O-pr6muo8uTRnTWQP7E3abKM13hI_P72ANO97vXE5WCTZDiCFl0--hjfQmXqECNTb1dP5uojf8T_PRGWhFlznoyfoEkjT5EjOLL5meSMwxC_X3dsUplIKj2KPv4GJPaNO6GoKVOAEAaAGA4AHlaPjQ6gHpr4b2AcB&num=1&sig=AOD64_1NijBxkheqMLBd5NfmKeCz-XwP8w&client=ca-pub-3837112072614680&adurl=http://www.warnermusic.es/datos/Phil-Collins/http://www.soundonsound.com/subs/access-help.phphttp://www.soundonsound.com/supporthttp://www.soundonsound.com/information/SOSPrivacyPolicy.phphttp://www.soundonsound.com/informationhttp://www.soundonsound.com/information/PrintAds.phphttp://www.soundonsound.com/readersadshttp://www.soundonsound.com/shophttp://www.soundonsound.com/subshttp://www.soundonsound.com/engineers-diaryhttp://www.soundonsound.com/forumhttp://www.soundonsound.com/articleshttp://www.soundonsound.com/apphttp://www.soundonsound.com/Contents.phphttp://www.soundonsound.com/newshttp://www.soundonsound.com/searchhttp://www.soundonsound.com//http://www.soundonsound.com/information/SOSPrivacyPolicy.phphttp://www.soundonsound.com/information/WebStats.phphttp://www.soundonsound.com/information/SOSMedia.phpmailto:[email protected]://www.soundonsound.com/subs/controlledhttp://www.soundonsound.com/information/Contact.phphttp://www.soundonsound.com/informationhttp://www.soundonsound.com/information/UKOnSaleDates.phphttp://www.soundonsound.com/information/PrintAds.phphttp://www.soundonsound.com/informationhttps://www.soundonsound.com/UserAccount/Downloads.phphttps://www.soundonsound.com/UserAccount/Newsletters.phphttps://www.soundonsound.com/UserAccount/Subscription.phphttps://www.soundonsound.com/UserAccount/ContactDetails.phphttps://www.soundonsound.com/UserAccount/Newsletters.phphttps://www.soundonsound.com/UserAccount/Password.phphttp://www.soundonsound.com/UserAccount/UserDetails.phphttp://www.soundonsound.com/readersads/AdList.phphttp://www.soundonsound.com/readersads/AdDetails.phphttp://www.soundonsound.com/readersadshttps://www.youtube.com/user/soundonsoundvideo/featuredhttps://www.youtube.com/user/soundonsoundvideo/featuredhttp://www.soundonsound.com/information/ForumRules.phphttp://www.soundonsound.com/forum/viewmessages.php?Cat=&box=receivedhttp://www.soundonsound.com/forum/editdisplay.php?Cat=http://www.soundonsound.com/forum/login.phphttp://www.soundonsound.com/forum/search.phphttp://www.soundonsound.com/forumhttp://www.soundonsound.com/forum/dosearch.php?Cat=&Forum=All_Forums&Words=&daterange=1&newertype=d&newerval=1&Limit=25&fromsearch=1http://www.soundonsound.com/forumhttp://www.soundonsound.com/supporthttp://www.soundonsound.com/information/Glossary.phphttp://www.soundonsound.com/articles/People.phphttp://www.soundonsound.com/articles/SoundAdvice.phphttp://www.soundonsound.com/articles/Technique.phphttp://www.soundonsound.com/articles/Reviews.phphttp://www.soundonsound.com/articleshttp://www.soundonsound.com/search#tipshttp://www.soundonsound.com/forum/search.phphttp://www.soundonsound.com/searchhttp://www.soundonsound.com/searchhttp://www.soundonsound.com/newshttp://www.soundonsound.com/shophttp://www.soundonsound.com/http://www.soundonsound.com/competitionshttp://www.soundonsound.com/podcasthttp://www.soundonsound.com/subs/webFAQ.phphttp://www.soundonsound.com/shop/Dept.php?DeptID=1http://www.soundonsound.com/subscribehttp://www.soundonsound.com/forum/postlist.php?Cat=&Board=ForumFeedhttp://www.soundonsound.com/shop/Dept.php?DeptID=32http://www.soundonsound.com/apphttp://www.soundonsound.com/Contents.phphttp://www.soundonsound.com/Contents.phphttp://instagram.com/soundonsoundmaghttp://soundcloud.com/soundonsoundhttps://plus.google.com/+soundonsoundhttp://www.twitter.com/sospublicationshttp://www.facebook.com/sospublicationshttp://www.soundonsound.com/rss.phphttp://www.soundonsound.com/information/Contact.phphttp://www.soundonsound.com/

Documents

Getting Better Results From Izotope's RX2