Izotope RX 5

8/19/2019 Izotope RX 5

http://slidepdf.com/reader/full/izotope-rx-5 1/227

USER GUIDE

Copyright © 2015 iZotope, Inc. All rights reserved.


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Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Authorization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Authorizing your copy of RX 5 Audio Editor online . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Authorizing your copy of RX 5 Audio Editor offline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5iLok Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Removing your current authorization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7How to contact iZotope Customer Care . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

What is RX 5 Audio Editor? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Design philosophy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9RX 5 Advanced Audio Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Working with Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12Understanding the supported formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12Creating a new le . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14Importing a le . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14Saving a le . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16Backing up your work with RX Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18Exporting a le . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18File Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Closing a le. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Understanding the Navigational Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Transport Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Selection and View ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Time Format Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Recording with RX 5 Audio Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Recording Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Troubleshooting Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Understanding the Spectrogram/Waveform display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Spectrogram overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Conguring the Spectrogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Conguring the Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Waveform overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Contents


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Understanding the interactive tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40Selection tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41Instant Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Zoom tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Understanding Selection Modiers [PC/Mac] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Add [Shift] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Subtract [Alt/Option] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Seek [Ctrl/Cmd] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Grab [Mouse Over] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Channel Selection [Ctrl/Cmd-Shift-L[eft]/R[ight]/B[oth]] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Find Similar Events [Ctrl/Cmd-F, Ctrl/Cmd-Shift-F [Find Next], Ctrl/Cmd-Shift-G [FindPrevious]] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Using the Undo History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Undo History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Export History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Understanding the Application Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60Transport. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Understanding the Preferences menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72Authorization & Updates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Working with RX Application Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78Compare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Working with RX realtime plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82History. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Input/Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84


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Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

De-clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88Histogram Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Threshold [dB] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

Threshold Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91Suggest. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Makeup gain (dB) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93Post-limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93Suggestions for severe distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

De-click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94De-click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94De-crackle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97Interpolate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98Instant Process Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

De-hum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100Base Frequency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101Manual/Adaptive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101Learn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Filter Q . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Linear Phase lters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102High/Low-pass lters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Number of harmonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Link harmonics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Slope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Harmonic gains (dB) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Output hum only . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

De-noise: Spectral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105Manual/Adaptive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Learn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107Threshold (Noisy/Tonal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Reduction (Noisy/Tonal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Artifact Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Noise Spectrum display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Color legend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Reduction Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110FFT size (ms) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Multi-res . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112


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Algorithm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Smoothing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113Synthesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113Enhancement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113Masking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113Whitening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114Knee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114Release (ms) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

De-noise: Dialogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115Auto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116Manual. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116Learn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117Threshold Nodes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117Threshold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117Reduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117Using Dialogue De-noise as a real-time plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

De-plosive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119Sensitivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120Strength . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120Frequency limit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Spectral Repair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121Attenuate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122Replace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122Pattern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123Partials + Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123Applying Spectral Repair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123Processing Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Bands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Multi-resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Strength . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Surrounding region length. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126Before/After weighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126Pattern search range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126Harmonics sensitivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Deconstruct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127Tonal Gain [dB]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128Noisy Gain [dB] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128


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Tonal/Noisy Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

De-reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129Learning a Reverb Prole. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130Complicated Reverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

De-reverb Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132Leveler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Numerical Readouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137Optimize for . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137Target level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137Responsiveness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138Preserve dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138Ess reduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138Breath control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

EQ Match . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140Amount . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141EQ Match between selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141Saving spectrums as EQ Match presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Ambience Match . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142Using Ambience Match as an AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Time & Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145iZotope Radius. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Algorithm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Formant Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Stretch & Shift Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147Pitch Contour Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Loudness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153Loudness standard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154Integrated loudness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154True peak . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Module Chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155Inserting/removing a module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156Selecting a module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157Editing a module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157Re-ordering a module. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157Bypassing a module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157Saving a preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158


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Plug-in Hosting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159Selection Based Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159Plug-in Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160Assign Presets to Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162Fade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162Instant Process Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Corrective EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164EQ type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165Frequency precision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166Frequency and Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166Q/Bandwidth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166Visuals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Channel Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Phase. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169Azimuth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171Extract Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Resample . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174New sampling rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Change tag only . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175Filter steepness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175Cutoff shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176Pre-ringing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176Post-limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .177New bit depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178Noise shaping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178Dither Amount . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179Auto-blanking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179Limit noise peaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179Suppress harmonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Batch Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180Job-based Batch Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180Processing Steps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181Running a Batch Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181


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Waveform Statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182True peak level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183Sample peak level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183Max. RMS level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183Min. RMS level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183Total RMS level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183Possibly clipped samples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183DC offset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184Max. momentary loudness and Max. short-term loudness . . . . . . . . . . . . . . . . . . . . . . . . . 184Integrated loudness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184Loudness range (LRA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186Tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188Pasting mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

RX Connect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190Send for reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190Send for repair. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

RX Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191Using the RX Monitor audio driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Using RX Connect with Avid Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Workow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194Audiosuite modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

How to use RX Connect with Avid Media Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196Master Clip Workow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196Timeline Workow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Using RX Connect with Cubase/Nuendo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

How to use RX Connect with Adobe Audition CC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Using RX as an audio editor with Adobe Premiere Pro CC . . . . . . . . . . . . . . . . . . . . . . . 200

Using RX as an audio editor with Final Cut X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Using RX as an audio editor with Logic Pro X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202Setting up as an external audio editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202Workow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Identifying Audio Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203What’s the goal of using a Spectrogram? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203


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Hum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203Buzz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204Hiss and other Broadband Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205Clicks, Pops, and Other Short Impulse Noises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205Clipping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206Intermittent Noises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207Gaps and Drop Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

iZotope Customer Care . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209How to purchase the full version of RX 5 Audio Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . .209iZotope Customer Care policy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209How to contact iZotope Customer Care for technical support . . . . . . . . . . . . . . . . . . . . . . 210International distribution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

End User License Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

License Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216FLAC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216Ogg Vorbis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217



Introduction

Here at iZotope, we specialize in building audio products for music production, postproduction and broadcast.

RX 5 Audio Editor is for anyone who’s ever encountered an audio problem they wishedthey could repair, enhance, and ultimately x to save that audio from the cutting roomoor. RX 5 Audio Editor is built primarily for those working on dialogue and music in post

production and broadcast, editing and mixing program material for radio, TV, lm, and theweb.

We hope you enjoy using RX 5 Audio Editor on your next project!

- The iZotope Team



Authorization

When you rst download and install RX 5 Audio Editor, it will be in Trial mode. After 30days the product will go into Demo mode.

Authorization is required to disable both Trial and Demo modes.

Trial mode

For the rst 30 days after RX 5 Audio Editor is opened or instantiated, RX 5 Audio Editorwill run in Trial mode. Trial mode offers the full functionality of RX 5 Audio Editor, with theexception of saving and batch processing in the standalone application.

Demo mode

After 10 days, RX 5 Audio Editor will go into Demo mode. In Demo mode, RX 5 AudioEditor is limited to 30 seconds of continuous playback.

Serial number

Each purchased copy of RX 5 Audio Editor contains a unique serial number to authorizeyour product.


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If RX 5 Audio Editor has been downloaded directly from iZotope or another re-seller, theserial number will be emailed to you, along with the link to download the product. Theserial number should resemble:

SN-RX5-XXXX-XXXX-XXXX-XXXX

Instructions on how to use this serial number to authorize are outlined in this chapter.

AUTHORIZING YOUR COPY OF RX 5 AUDIO EDITOR ONLINE

Launching the Authorization Wizard

The rst time you open the RX 5 Audio Editor standalone application or plug-in, theAuthorization Wizard will appear.

You can choose to either click Authorize to authorize RX 5 Audio Editor, or instead clickContinue to use it in Trial mode for evaluation purposes. Please use your supplied RX 5Audio Editor serial number to fully authorize your product.

After opening RX 5 Audio Editor and launching the Authorization Wizard, perform thefollowing steps to complete the authorization process online:

1. Click on “Authorize.”



2. Enter the serial number, using all capital letters, as it is shown in the purchaseconrmation email. SN-RX5-XXXX-XXXX-XXXX-XXXX

3. You must also enter your name and a valid email address.

4. Note: Clicking the Advanced button reveals a set of options that allowyou to store your RX 5 Audio Editor authorization on a portable hard driveor ash drive. More detail can be found at www.izotope.com/en/support/authorization/

5. Please make note of the email address you use to authorize your license, asyour license and iZotope account will be linked directly to this email address.

When you have conrmed that your serial number and email information is accurate, clickonce more on “Authorize.”

https://www.izotope.com/en/support/authorization/






6. Click on “Submit” to send your authorization information to iZotope.

7. Once the authorization is accepted, click on the Finish button to complete theauthorization.

AUTHORIZING YOUR COPY OF RX 5 AUDIO EDITOR OFFLINESome customers choose to keep their audio workstations offline; for these instances, asimple offline authorization option has been included.

After opening RX 5 Audio Editor and launching the Authorization Wizard, the followingsteps will complete the authorization process offline:

1. When rst prompted to authorize RX 5 Audio Editor, click on “Authorize.”

2. Click on the option for “Offline Authorization” at the bottom of theauthorization window.

3. You will be given a unique Challenge Code that is specic to your computeronly.

3. Write down or make a copy of the exact Challenge Code. It will look like this:IZ-RX5-XXXXXXXX-XXXX-XXXX

4. Next, using a system with Internet access, login to your customer account atthe iZotope website: www.izotope.com/en/account/log-in/

5. Click on “Activate Software with a Serial Number,” enter your full serialnumber, then click “Submit.”

https://www.izotope.com/en/account/log-in/

https://www.izotope.com/en/account/log-in/



6. Select the “Challenge/Response option and click on “Submit.”

7. Enter your full Challenge Code copied in step 3.

8. After submitting your Challenge Code, you will receive a unique authorizationle named “iZotope_RX_5_Audio_Editor_xxxxx.izotopelicense.” Copy this le

to your offline computer.

9. Once the authorization le is copied to your offline computer using a network,hard drive, or USB thumb drive, click the Choose File... button in yourauthorization wizard.

10. Navigate and select the authorization le and click “Next” to authorize yourmachine.

11. You should now receive a message that your authorization has beensuccessful, you may click “Finish” to begin using RX 5 Audio Editor.

ILOK SUPPORTRX 5 Audio Editor supports the iLok copy protection system.

The plug-in will be able to detect iLok keys and assets if you already use iLok and PACEsoftware on your system.

If you don’t already have PACE or iLok, we will not install any PACE or iLok software toyour system, and iLok authorizations will be unavailable.

Authorizing RX 5 Audio Editor with iLok1. When rst prompted to authorize RX 5 Audio Editor, click on “Authorize.”

2. Next, enter the serial number in all capital letters as it is shown on theincluded card or purchase conrmation email.

2. This would look something like: SN-RX5-XXXX-XXXX-XXXX-XXXX

3. You must also enter your name and a valid email address. Make note of theemail address you use to authorize your license. Your license and iZotopeaccount will be linked directly to this email address.

4. Select “Use iLok Authorization” and enter your iLok ID.

5. When you have conrmed that all your information is accurate, click oncemore on “Authorize.”

6. Lastly, click on “Submit” in order to send your authorization message to theiZotope servers.



7. You will now be instructed to log in to your iLok account and transfer your RX5 Audio Editor license to your iLok.

8. When you have completed this step and have your iLok connected to thecomputer on which you want to use RX 5 Audio Editor, click “Next.”

9. You should now receive a message that your authorization has beensuccessful and may click “Finish” to begin using RX 5 Audio Editor.

REMOVING YOUR CURRENT AUTHORIZATIONUse the Remove Authorization button in the RX 5 Audio Editor’s Auth & Updates tabwithin the Preferences to remove your current RX 5 Audio Editor authorization.

After removing your authorization, RX 5 Audio Editor’s authorization screen will pop upwhen you restart the program. Now you can re-authorize using a new serial number. Youmay also remove your authorization at any time in order to run in Trial or Demo mode.



HOW TO CONTACT IZOTOPE CUSTOMER CAREFor additional help with authorizing RX 5 Audio Editor:

• Check out the Customer Care pages on our web site at www.izotope.com/support

• Contact our Customer Care department at [email protected]

More information on iZotope’s Customer Care department and policies can be found inthe iZotope Customer Care section.

https://www.izotope.com/support


mailto:[email protected]

mailto:[email protected]





What is RX 5 Audio Editor?

OVERVIEWiZotope's award-winning RX 5 Audio Editor is the industry standard for audio repair andenhancement, xing common audio problems like noises, distortions, and inconsistentrecordings. Post production professionals, audio engineers, and video editors alike useRX to transform previously unusable audio into pristine material.

RX 5 Audio Editor’s suite of automatic, intelligent modules reduce manual tasks in youraudio production workow, freeing you up to focus on creative experimentation. And forprofessionals who need to quickly deliver quality results, RX 5 Advanced Audio Editoroffers even more specialized post production tools.

DESIGN PHILOSOPHYRX 5 Audio Editor is a visual selection-based audio environment. Most of its userinterface is devoted to the Spectrogram/Waveform display, an integral part of the RXediting workow. The Spectrogram/Waveform display has many features that enableyou to rene and visualize your audio, allowing for better recognition and selection ofproblematic areas of audio, ultimately providing a higher quality, more transparent result.


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RX 5 ADVANCED AUDIO EDITORIn addition to the standard version of RX 5 Audio Editor, an extended application, RX 5Advanced Audio Editor, offers even more precise control over the RX algorithms as wellas including some additional, critically acclaimed Modules and Plug-ins.

RX 5 Advanced Audio Editor exclusives:

• Ambience Match , for automatically lling any holes in the natural ambiencecaused by edits, gaps or dropouts.

• Azimuth adjustment*, for both automatic and manual alignment of audiorecorded to tape.

• Center extraction*, for recovery of mid or side channel information.

• Deconstruct *, for incredible simple yet powerful independent gain control of

all tonal and noisy audio components in an audio signal.• De-click (advanced settings) , for detailed dialogue edits and restoration

tasks, tuning parameters to tackle problem clicks, thumps, and bumps.

• De-clip threshold unlinking , for for repairing clipping in unbalanced,asymmetric waveforms with independent threshold control.

• De-noise (advanced settings), for ner control over the noise reductionprocess, including Adaptive noise reduction mode, for accurately tracking achanging noise spectrum.

• De-plosive , for instantly and transparently eliminating any plosive or micbump present in a dialogue recording.

• EQ Match* , for giving clips recorded differently the same sonic feel as oneanother.

• History export*, for detailed record keeping of any audio edits specic to aproject.

• iZotope Radius* , industry leading time stretching and pitch shifting.

• Leveler* , for quickly smoothing any volume related inconsistencies bycreating clip gain envelopes in your project.

• Loudness* , for adjusting the True Peak and Integrated LKFS level of anaudio clip.

• Pitch Contour* , for remapping pitch inconsistencies using variableresampling.


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• Spectral Repair multi-resolution modes* , for better sounding results on highbandwidth edits.

*indicates feature is available in the standalone Advanced Audio Editor only, and not therealtime plug-ins.

This help guide is shared by both the RX 5 and RX 5 Advanced Audio Editors. Whena feature or control is exclusive to RX 5 Advanced Audio Editor it will be noted in thedocumentation using the following symbol:



Working with Files

UNDERSTANDING THE SUPPORTED FORMATSRX 5 Audio Editor supports importing the following audio formats:

• WAV

• BWF

• AIFF

• MP3

• WMA

• AAX

• SD2

• OGG

• FLAC

• CAF

Note: mono audio les with (.L and .R) or (.1 and .2) extensions can also be opened aseither mono les or split stereo. See Preferences > Misc to control this behavior.


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RX 5 Audio Editor can import the audio directly from a number of video formats, savingyou the step of extracting that audio in a separate application. Once you've workedwith the audio in RX, you can export that audio and reassemble the video in your videoediting program of choice. The following video formats are supported:

• AVI• MPEG

• WMV

• MPV

• M4V

Note: RX 5 Audio Editor requires having QuickTime to open QuickTime formats (like.MOV).

RX 5 Audio Editor supports exporting the following audio formats:

• WAV

• BWF

• AIFF

• OGG

• FLAC



RX 5 Audio Editor uses your operating system’s available resources for opening certainle formats. Windows native formats (like WMA and WMV) may not open in OS X, andQuickTime formats (like AAC, MOV, and M4V) may require installing QuickTime onWindows and running RX 5 Audio Editor in 32 bit mode.

For the most up-to-date information about supported audio and video formats, check outthis knowledgebase article .

CREATING A NEW FILETo create a new le in RX, open the File menu and select New...

You will be prompted for the name, sample rate and channel count of the le you wouldlike to create.

If you have existing audio data in your clipboard (for example, if you have copied aselection from an existing le in RX), you can open the File menu and choose New fromClipboard. A new le will be created with the correct sample rate and channel count.

IMPORTING A FILEThere are four ways to import a le in RX 5 Audio Editor:

https://www.izotope.com/support/kb/index.php/kb/article/668-Supported_file_formats_in_RX

https://www.izotope.com/support/kb/index.php/kb/article/668-Supported_file_formats_in_RX



• From the File menu, select Open... and select the les you want to open.

• Drag and drop a le from your operating system into the RX UI.

• Drag a le from Finder/Explorer to the RX icon in the Dock/Desktop.

• Double-click in the empty space of RX display.

There are two ways to create a new le in RX 5 Audio Editor:

• To create a new empty le in RX, open the File menu and select New... Afteryou select this, you will be prompted for the sample rate and channel countof the le you would like to create.

• If you have existing audio data in your clipboard, you can open the Filemenu and choose New from Clipboard. A new le will be created with thecorrect sample rate and channel count.

RX supports having up to 16 les open at once. To navigate between les currently open,either click on the le’s tab at the top of the RX 5 Audio Editor interface, or use the Ctrl-Tab and Ctrl-Shift-Tab keyboard shortcuts.

If you right click on a le tab, you can see some more options for managing tabs andnding les on your hard drive.

If you have multiple les open, you can access extra tabs through the arrow button thatappears next to the le tabs.



SAVING A FILEThere are several ways to save a le in RX 5 Audio Editor.

RX Documents are the default format for saving your work. RX Documents have manybenets such as retaining Undo History and other valuable information about the workyou’ve done to your audio les, so you can always review your edits and even go all theway back to the original state of your audio le.

The default keyboard shortcuts for the various save behaviors on Mac OS are:

• Cmd+S : save your RX Document.

• Shift+Cmd+S : save your RX Document under a new le name.

• Option+Cmd+S : Overwrite Original File. When directly editing a WAV orAIFF, this will overwrite the le on the disk.

• Cmd+E : export your audio to a WAV, AIFF, FLAC or OGG Vorbis le.

The default keyboard shortcuts for the various save behaviors on Windows are:

• Ctrl+S : save your RX Document.

• Shift+Ctrl+S : save your RX Document under a new le name.

• Alt+Ctrl+S : Overwrite Original File. When directly editing a WAV or AIFF, thiswill overwrite the le on the disk.

• Ctrl+E : export your audio to a WAV, AIFF, FLAC or OGG Vorbis le.

Note: the Overwrite Original File function works just as Save used to in previous versions(RX 1 to 3), and you can even customize your keyboard shortcuts to remap Cmd+S orCtrl+S to use this, in the same way you can remap any keyboard shortcut in RX 5 AudioEditor.



Autosave

RX is always saving your editing session, enabling you to pick up where you left off thenext time the application is launched, even in the event of an application crash or poweroutage. To keep you from losing any work pertaining to any audio le you currently have

open, RX will store every audio edit, effect or algorithm that is applied, your full edithistory list, and your last selection. By default, when the RX application is launched, it willopen the last editing session and audio le that was in progress when RX was last quit.

Note: Saved session state recovery is ON by default. The option to turn it off is located

under the Preferences > 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 nextlaunched, you will be given the option to rebuild your session just before the crash.



BACKING UP YOUR WORK WITH RX DOCUMENTS

Save a le using the RX Document le format (.rxdoc) to archive your edits.

RX’s session state can be stored in a portable document that includes your originalle, all the edits you’ve made to it, and your most recent selection and view state. Thisdocument is useful for archiving your work.

RX Documents can only be opened with RX. If you need to save your le so it can beopened somewhere else (like a DAW or media player), you need to export it in another

format (like WAV or AIFF).To save an RX Document, select File > Save RX Document... and select where you wouldlike to store the le.

Keep in mind that the size of the RX Document le can be very large, especially if yourlist of edits include multiple processes on the whole le.

EXPORTING A FILEWhen exporting, you will be able to dene the output le name, directory, and bit depth.

There are four ways you can export a le in RX 5 Audio Editor:

• Export

• Export Selection

• Export Regions to Files

• Export Screenshot



Export

1. Select File > Export, and the Export File dialogue box appears.

2. Make selections in the Export File dialogue box (See below for descriptions ofeach format option).

3. Click OK.

4. In the dialogue that opens, enter a lename in the le name eld and navigateto where you wish to save the le.

5. Click Save.

Export Format Options

Bit depth

• WAV: 16 bit, 24 bit, 32 bit (oat), 32 bit (int)

• AIFF: 16 bit, 24 bit, 32 bit (oat), 32 bit (int)

• FLAC: 8 bit, 16 bit, 24 bit

• OGG: not applicable

Dither



• WAV: None, White Noise (TPDF), Noise shaping (MBIT+)

• AIFF: None, White Noise (TPDF), Noise shaping (MBIT+)

• FLAC: None, White Noise (TPDF), Noise shaping (MBIT+)


BWF

• WAV: outputs a broadcast wave format le

• AIFF: not applicable

• FLAC: not applicable


Compression level

• WAV: not applicable• AIFF: not applicable

• FLAC: adjusts the compression strength of the FLAC encoder. Strongercompression requires more CPU time during le encoding but results in aslightly smaller le. FLAC compression setting does not result in any qualitychange to the signal since FLAC is a lossless format.


Quality

• WAV: not applicable

• AIFF: not applicable


• OGG: adjusts the bitrate of the Vorbis compression algorithm. Higher audioquality requires a higher bitrate and results in a bigger Ogg le.

Preserve non-audio data

• WAV: exported le retains original le's metadata

• AIFF: exported le retains original le's metadata



Reopen le in RX

• Opens the le in a new tab in RX



Export Selection

This option will allow you to export only the audio that is contained within your currentselection, as opposed to the entire audio le.

1. Select File > Export Selection, and the Export File dialogue box appears.

2. Follow the additional aforementioned steps.

Export Regions to Files

This option allows you to export multiple regions of any audio le that has regions asdiscrete audio les. To export regions:

1. Select File > Export Regions to Files.

2. Choose the exported le format in the Export dialogue.

3. In the File Save dialogue box, navigate to where you want to save the les.4. If you want, enter a prex for your series of les in the Optional prex eld.

If you opt to not to add a prex, the names of the les will be the names ofthe regions. If any regions have the same name, numbers will be appendedsequentially.

5. Click Save.

Export Screenshot

This option allows you to export your current Spectrogram/Waveform display as a PNGimage le. This can be very helpful for archiving any restoration process or for forensicdocumentation.



When clicking on Export Screenshot from the File menu, your current Spectrogram/Waveform view will be used for adjusting your screenshot size and position.

Note: the Spectrogram/Waveform transparency balance must be set before selecting File> Export Screenshot as this cannot be changed in this window.

To dene the size of your screenshot, simply click and drag in order to enlarge orshrink the screenshot window. The dimensions of your resulting screenshot will updateautomatically, however these can also be entered manually by clicking once in eitherWidth or Height.

Note: the max resolution attainable for your screenshot will be limited by the individualcomputer's screen resolution.

When you are nished changing the dimensions of your screenshot, click on the Savebutton to name and save your .PNG screenshot to your chosen directory.

To save screenshots faster (at the expense of having a larger le on disk), disableMaximum image compression.



FILE INFOThe File Info dialogue box can be opened by clicking Window > File Info and has twosections; General Info and More Info. The More Info section lists information dependenton the le type. The following table describes the information in each section including a

list of possible entries in the More Info section:

General Info sectionInformation DescriptionName The current lenameDuration Length of the leSampling rate The original sampling rate of the leBit depth The original bit depth of the leChannels Mono or stereoSize on disk Size of the le in bytesFile path Location of the le on your computerMore Info sectionTimecodeCreated byOriginator referenceDate createdTime createdBWF versionCoding historyTrack TitleArtistAlbumDateTrack NumberCommentGenre

CLOSING A FILEThere are two ways to close a le:

• Close: if you close a le that has uncommitted changes (represented bya dot or asterisk next to the le name in the tab display), RX will ask youif you want to save the le. RX does not ask about saving les when theapplication is closed because your changes are retained in its session data.

• Close All: if you have any uncommitted changes in open les, RX will promptyou to save for every unsaved le.

The default keyboard shortcuts for the closing behaviors on Mac OS are:

• Cmd+W : closes the current le.



• Cmd+Shift+W: closes all open les quickly.

The default keyboard shortcuts for the closing behaviors on Windows are:

• Ctrl+W : closes the current le.

• Ctrl+Shift+W: closes all open les quickly.



Understanding the NavigationalControls

Here is a general overview of the main RX workspace. It's a good idea to familiarizeyourself with this window before moving on. RX's interface is designed to give you a fullrange of tools for repairing audio. In addition to its processing modules, RX provides arange of tools for selecting, isolating and viewing audio and an environment that will helpyou get the best results easily.


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TRANSPORT CONTROLSThe transport is located below the Spectrogram and can be used to monitor the inputsignal, begin recording, start and stop playback, rewind to the beginning of a le, or playback a looped region within a le.

Playhead

To place the playhead, single click anywhere in RX's main Spectrogram/Waveformdisplay. To play back audio while positioning the playhead, grab the seek handle atthe top of the playhead or hold Ctrl/Cmd while clicking on the Spectrogram/Waveformdisplay.

Current Time Indicator

The numeric value near the transport controls indicates the current position of theplayhead. Depending on how your display is congured, this value is shown in hours/minutes/seconds, time code, or samples.

Input Monitoring

Streams the signal from your selected sound card input as a reference for setting levelsfor recording.

Record

Begins recording into a new le. One click puts recording into an armed state for safelysetting input levels. The next click begins recording. A third click stops recording. If youalready have a le open, hitting Record will prompt you to create a new le for recording.



Rewind [Enter/Return]

Brings you back to the start of the le.

Play [Spacebar]

Starts and stops playback. Starts or stops recording if Record is armed.

Play selected

When you've made a selection of a time range, frequency range, or both, this buttonauditions just the selection (useful for isolating intermittent noises, etc.)

Loop [Ctrl/Cmd+L]

Enable this switch to loop the selected audio.

SELECTION AND VIEW RANGES

The Selection and View range display gives you quick access to basic selection and viewcontrols.

The time display shows the current selection and view’s start and end position, as well aslength, 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 boundaries andlength.

Clicking on any of these elds will let you manually edit them.



TIME FORMAT MENUThe Time Format context menu is where you select your preferred time format display inthe time scale. It can be accessed by right-clicking the time ruler or by clicking the arrowbutton to the left of the ruler. There are the following options:

Samples

The sample counter, starting from 0.

Time (h:m:s)

Time in hours, minutes, seconds, and milliseconds, starting from 0.

Timecode (n fps)

The time code in hours, minutes, seconds, and frames, starting from 0.

Source Time (h:m:s)

Time in hours, minutes, seconds, and milliseconds, starting from the clip's timecodeorigin.

Source Timecode (n fps)

The time code in hours, minutes, seconds, and frames, starting from the clip's timecodeorigin.

The value of n (the frame rate of the time code) depends on the setting you have in theTime scale frame rate menu in the Misc tab of the Preferences dialog box.



Recording with RX 5 Audio Editor

RECORDING AUDIORX supports recording up to two channels at a time.

To record into RX, create a new le.

Press the Record button once to enable Record Arm. The level meters will show the levelof the signal coming into RX.

Verify that your input source is not clipping and that you have enough headroom toaccurately capture the entirety of your recording. Adjust the gain coming into your soundcard if necessary. You can also enable Input Monitoring to hear the input source withoutarming record.

When your input levels are perfect, click Record again to begin recording.

When you are ready to stop recording, click Record a third time. Your recorded le is nowready for editing inside RX.


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Until you save the le, your recorded audio data is stored in the RX 4 Session Data folder.You can set this folder’s location in Edit > Preferences > Misc. If you are recording into RXoften, it is important to set this folder to your drive with the most available free space.

TROUBLESHOOTING RECORDINGIf you are having trouble recording in RX, try the following steps:

1. Enable Input Monitoring and look for activity on RX’s level meters.

2. Close other audio applications, DAWs and NLEs open on your computer tomake sure no other program is usurping the sound card.

3. Open Edit > Preferences > Audio and make sure the correct device is listedin Input Device. Also check in the Channel Routing dialogue to make sure thecorrect inputs are selected.

4. Check your input source. Make sure the hardware connections betweenwhatever you’re recording from and the inputs on your audio interface arene.




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CONFIGURING THE SPECTROGRAMThe Spectrogram Display can be congured to show a high level of detail for criticalapplications.

Here’s a vocal recording with default Spectrogram settings:

Here’s the same le with reassignment enabled in the Spectrogram Settings dialogue:





and transients will be more clearly dened. When you zoom in vertically(frequency), you'll see individual musical notes and frequency events willappear more clearly dened.

• Multi-resolution: this mode calculates the Spectrogram with better

frequency resolution at low frequencies and better time resolution at highfrequencies. This mimics psychoacoustic properties of our perception,allowing the Spectrogram display to show you the most importantinformation clearly.

• Adaptively sparse: this mode automatically varies the time and frequencyresolution of the Spectrogram to achieve the best Spectrogram sharpnessin every area of the time-frequency plane. This often lets you see the mostdetails 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 frequencyspectrum. The greater the FFT size, the greater the frequency resolution, i.e. notes andtonal events will be clearer at larger sizes. However, choosing a larger number herewill make time events less sharply dened because of the way this type of processingis done. Choosing Auto-adjustable or Multi-resolution modes allows you to get a goodcombination of frequency and time resolution without having to change this setting asyou work.

Enable reassignment

This control enables a special technique for Spectrogram calculation that allows veryprecise pitch tracking for any harmonic components of the signal. When used togetherwith Frequency overlap / Time overlap controls, this option can provide virtually unlimitedtime and frequency resolution simultaneously for signals consisting of tones.

Window

This control lets you choose different weighting functions (or windows) that are usedfor the FFT analysis. Window functions control the amount of signal leakage betweenfrequency bins of the FFT. “Weak” windows, such as Rectangular, allow a lot of leakage,which may blur your Spectrogram vertically. “Strong” windows, such as Kaiser or cos 3,eliminate leakage at the expense of a slight loss of frequency resolution.



Frequency scale

Using different frequency scales can help you see useful information more easily.Different scales have different characteristics for displaying the vertical (frequency)information in the Spectrogram display.

• Linear: this simply shows frequencies spread out in a uniform way. This ismost 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 frequency scalebased on how humans perceive sound. This selection is one of the moreintuitive choices because it corresponds to how we hear differences in pitch.

• Bark: the Bark scale is also based on how we perceive sound, andcorresponds to a series of critical bands.

Frequency overlap

This controls the amount of oversampling on the frequency scale of Spectrogram.When used together with the Reassignment option, it will increase the resolution of theSpectrogram vertically (by frequency).

Time overlap

This controls the time oversampling of the Spectrogram. In most cases, overlap of 4xor 8x is a good setting to start with. However, using higher overlap together with the

Reassignment option will increase the time resolution of a Spectrogram, letting you seetransient events clearly.

Color map

The 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 todetermine your preference. Sometimes certain color modes will make different types ofnoise stand out more clearly. Experiment!

High-quality renderingAccurate max-bilinear interpolation of the Spectrogram (recommended). Turning thiscontrol off makes Spectrogram rendering slightly faster, but you'll lose some detail andclarity in the Spectrogram image.



Reduce quality above

RX's Spectrogram uses very accurate rendering, letting you see audio problems, such asclicks, even at low zoom levels. However, performing such rendering for long les canbe somewhat slow. When the length of the visible Spectrogram is above the specied

number of seconds, the Spectrogram calculation is changed to a fast and less accuratepreview mode. When you zoom in, the Spectrogram calculation becomes accurate again.

Cache size (MB)

Limits the amount of memory used by the Spectrogram.

CONFIGURING THE RULERS

The interface will automatically hide and show rulers depending on the Spectrogram/Waveform transparency balance slider, which is described in the next section. Theserulers allow you to adjust the ways in which your audio is visualized, to help betteridentify certain audio problems. On the right side of the Spectrogram/Waveform displayare the Amplitude ruler for the Waveform, Frequency ruler for the Spectrogram, andColor map ruler for the Spectrogram.



Amplitude ruler

You can right-click on the spectral Amplitude ruler to reveal a selection of amplitudescales:

• dB: shows Waveform levels in decibels, relative to digital full scale (it is themost common type of scale used for spectrum analyzers).

• Normalized: shows Waveform levels relative to the full scale level of 1.

• 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 frequencyscales:

• Linear: Linear scale means that Hertz are linearly spaced on a screen.

• Mel (default) and Bark: Mel and Bark scale are frequency scales commonlyfound in psychoacoustics, and reect how our ears detect pitch. They areapproximately linear below 500 Hz and approximately logarithmic above.Mel scale reects our perception of pitch: equal subjective pitch incrementsproduce equal increments in screen coordinates. Bark scale reects oursubjective loudness perception and energy integration. It is similar to Mel

scale, but puts more emphasis on low frequencies.• 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 itputs even more attention on lower frequencies.

Color map

This ruler shows what color represents what amplitude in the Spectrogram. The range ofthis 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 isuseful for seeing very quiet noises without using gain to change the level of your audio.



Piano Roll Overlay

A representation of how specic frequency ranges correlate to the western musical scalecan 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).

Transparency balance

The Spectrogram Display features a transparency slider that lets you superimpose aWaveform display over the Spectrogram, allowing you to see both frequency and overallamplitude at the same time. This can be invaluable for quickly identifying clipping, clicksand pops, and other events. Here is the same audio le shown as its Waveform, itsWaveform and Spectrogram, and its Spectrogram.



WAVEFORM OVERVIEW

An overview of the entire audio le's Waveform will be displayed above the mainSpectrogram/Waveform display in order to provide a handy reference point whenzooming and making audio selections in RX. The Waveform overview will always displaythe entire audio le, 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 highlightedin the Waveform overview. Click and drag on the highlighted region in order to scroll yourmain audio display left or right, and click and drag on the edges of the highlighted regionin order to make the zoom tighter or wider. To zoom out fully, simply double click on thehighlighted visible region.

Note: with your mouse hovering over the Waveform overview, you can also use themouse wheel to scale the amplitude of the Waveform display to provide a cleareroverview. This will not affect the amplitude scaling in the main Spectrogram/Waveformdisplay.



Understanding the interactive tools

Below the Spectrogram display is a toolbar that gives you several options for interactingwith your audio. The toolbar is split into three main categories, Navigation, InstantProcess, and Selection.

1. Zoom in

2. Zoom out

3. Zoom to selection

4. Zoom out to show entire le

5. Zoom tool

6. Grab and drag tool7. Instant Process on/off

8. Instance Process type

9. Time selection tool

10. Time/Frequency selection tool

11. Frequency selection tool

12. Lasso selection tool

13. Brush selection tool

14. Magic Wand selection tool15. Harmonic selection tool

The Zoom tools help navigate the spectrogram, the Selection tools help you isolate andedit individual sounds within the spectrogram, and the Instant Process category turnseach selection tool into a magic eraser of sorts, which will immediately process any audioproblem you paint over.


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SELECTION TOOLSOne of the key benets of RX is that it allows many options for selecting audio not just bytime, but also by frequency. This allows you to do work with sounds that fall in only partof 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.

In the above image, this selection by time and frequency isolates a background noise forprocessing.

The Time Selection tool [T] allows you to select a range of time within the le

(horizontally within the spectrogram).

The Time-Frequency Selection tool [R] allows you to make rectangular selections in thespectrogram display to isolate sounds by time and frequency.

The Frequency Selection tool [F] lets you select by frequency only (vertically in thespectrogram).

The Lasso Selection tool [L] lets you use your mouse to outline a free-form selection intime and frequency in RX's spectrogram.



The Brush Selection tool [B] lets you draw a free-form selection using a dened brushsize in time and frequency in RX's spectrogram. 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 themouse wheel to make the brush size larger or smaller.

The Magic Wand Selection tool [W] will automatically select similar harmonic contentsurrounding the selected material.

1. Click on spectrogram — the Magic Wand tool will automatically select themost prominent tone under the cursor.

2. Click on existing selection — the Magic Wand tool will automatically selectthe overtone harmonics or related audio components of your current audioselection.

Note: you can use the Brush or Lasso tools rst to broadly dene a sound and then useMagic Wand to rene your selection to include relevant harmonic material.

The Harmonic Selection tool [Shift+Cmd+H / Shift+Ctrl+H] will duplicate your currentselection to include harmonics above it. Start by selecting the fundamental frequencyof audio with harmonics, then add or remove harmonic selections with this tool beforeprocessing.

INSTANT PROCESS

Instant Process [I] is a mode that may be toggled on/off, that affects the behavior of theselection tools.

When Instant Process is off, the selection tools function as normal, allowing you to makeselections, and then open modules with which to process those selections.



When Instant Process is on, any selection you make is immediately processed. Thismode is highly useful for the large majority of spectral editing tasks, as you may simplypaint an audio problem away without needing to open a module, choose settings, andthen click process.

Note: If you hold Shift while using Instant Process, this will allow you to build upadditional selections. Once you release Shift, processing will occur. This is especiallyuseful for tools such as the Magic Wand, which will pick up additional harmonics uponsecond click. If you don't like that selection, also hold Alt, and start redrawing a newselection. Release Shift once you're ready to process.

Instant Process offers several different modes, accessible via a drop down menu, whichwill instantly process the settings present in the named module/tab. The default settingsare used, but if you dene custom settings in that module, Instant Process will recognizeand apply those custom settings. The modes are:

Attenuate

This mode will instantly apply the active settings from the Spectral Repair module’sAttenuate tab. This is particularly useful if you see anything in the spectrogram you don’twish to remove entirely, but would rather quickly blend into the surrounding audio tomake it less obvious or intrusive.

De-click

This mode is a smart de-click mode, which instantly applies the active settings from theDe-click module’s De-click and Interpolate tabs. Simply put, you may make any selection,and this mode will automatically remove all clicks present in that selection, which isparticularly useful for editing a dialogue le, mismatching sample rate clicks and pops,and vinyl clicks.

If you’ve made a selection under 4000 samples in length, this mode will automaticallyuse the Interpolate algorithm, and above 4000 samples, it will use the settings from theDe-click tab of the De-click module. This is by design, as the De-click tab is effectiveon selections above 4000 samples in size, as it is able to identify clicks in relation todesirable audio, and then intelligently separate and then remove the clicks. Below 4000samples, it is likely a small selection of an individual click, and Interpolate will ll theselection with audio information based on the surrounding audio.



Fade

This mode will instantly apply the active settings from the Fade tab in the Gain module.This is particularly useful if you’d like to smooth over a transition or edit point within acomplex audio le, especially if it’s a limited bandwidth selection, such as choosing to

fade in a certain harmonic or audio event in an audio le without changing the volume ofthe rest of the audio.

Gain

This mode will instantly apply the active settings from the Gain tab in the Gain module.If you want to quickly adjust certain audio events up or down in volume, you can simplypaint over it to see the immediate gain adjustment. For overall volume adjustment, usethe Clip Gain line [Cmd+G / Ctrl+G].

ReplaceThis mode will instantly apply the active settings from the Replace tab in the SpectralRepair module. This is particularly useful if you see anything in the spectrogram you wishto remove entirely, as it will use the audio information that surrounds your selection toinstantly and intelligently ll the gap.

ZOOM TOOLSFrom RX 5 Audio Editor's main window, you can zoom in horizontally and vertically onboth the waveform and spectrogram views.

From left to right: zoom in, zoom out, zoom to selection, zoom to whole le, zoom tool.

1. Zoom in will zoom in the time domain

2. Zoom out will zoom out in the time domain

3. Zoom to selection will zoom in on whatever you have selected

4. Zoom to whole le will reset zoom5. Zoom tool allows you to draw over anything that RX will subsequently

then zoom in on. With Zoom tool engaged, you can select the Time, Time/Frequency, or Frequency selection tools to use in conjunction with it. Totoggle the Zoom tool on or off, click on its icon or use ‘Z’ as the shortcut key.



The slider controls to the lower right of the spectrogram can be adjusted to control zoom.The vertical slider can be set to control either the waveform or the spectrogram: theirranges can be controlled independently. The currently selected mode for this control isindicated by the illuminated icon.

Grab & Drag Tool

When zoomed in on an area, the Grab & Drag Tool [G] can be used to move through thetime range by clicking and dragging on the Spectrogram.

Dragging rulers and using the Mouse Wheel

The rulers to the right and below the Spectrogram display can clicked and dragged toreposition the spectrogram and waveform to show a different time range, amplituderange or frequency range.

In addition the range shown can be adjusted with your mouse wheel, just place yourcursor 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 zooming themain display.



Understanding Selection Modifiers[PC/Mac]

ADD SHIFTHold down shift after making one selection in order to add another separate selection. Ifany 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 createmultiple selections of different size and shape.

Rectangular, time, and freeform selections


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SUBTRACT ALT/OPTIONHolding down Alt/Option will allow you use the currently chosen selection tool to removeor erase any portion of an existing audio selection. This can be especially useful with theLasso or Brush tools, allowing you to edit or rene any piece of an existing selection.

Holding Alt/Option effectively turns the Brush tool into a selection eraser for broadrenements and Lasso into a selection “X-Acto knife” for detailed selection revision.

This is also useful for rening complicated free-form selections. First make your lasso,brush, or magic wand selection, and then hold alt while using the time, frequency, or timeand frequency tools to exclude entire time and frequency ranges from processing.

Selections rened to perfection using the Alt key modier

Note: Using Ctrl/Cmd-Z to undo any particular process will also bring back the previousaudio selection exactly as it was before applying any processing. In order to make useof this feature, be sure that Store Selections with Undo History is enabled inside of RX'sPreferences > Misc menu.

SEEK CTRL/CMDHold down Ctrl/Cmd to move the transport's playhead to any position without erasingyour current audio selections. This can be especially useful with previewing or comparingcomplex audio selections without having to remake these specic audio selections.




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FIND SIMILAR EVENTS CTRL/CMD F, CTRL/CMD SHIFT F FINDNEXT , CTRL/CMD SHIFT G FIND PREVIOUSSometimes you may have many events to manually repair throughout your le that aresimilar. 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, andmove it to the next, or a previous, similar event.

To open the Find Similar Events window, go to Edit > Find Similar Event. Then make aselection in the Spectrogram Display, and select Find Next to move to the next similarevent to the current selection.

If you are spot-repairing a similar event with De-click, searching with the previous undolevel will look for something like the event you just repaired.



Using the Undo History

UNDO HISTORYIn addition to the Edit > Undo and Edit > Redo commands, the Undo window allows youto see a timeline of changes you've made and non-destructively revert back to earlierstates. RX keeps a log of all your edits in this Undo History. When using Clip Gain, orModule Chain, groups of edits will be gathered in the collapsible folder form.

Note: you can also rename items in the undo history by double-clicking them.

If you wish to preserve your Undo History, you may save your audio as a .rxdoc, asexplained in Chapter “ Working with Files .”

EXPORT HISTORYYou can then use the Export History feature to save an XML le, listing the entire undohistory for your particular le.


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For forensic and archival purposes, it is often useful to have an official record of alledits that were made to a particular le. When a le's history is exported, the followinginformation will be stored in an XML le:

• RX Version Number

• Time and Date

• Corrected File

• Number of Channels

• Sampling Rate/Bit Depth

• Edit History: Parameters and Selections



Understanding the Application Menus

FILEThis menu provides access to the import, saving and export functions described inWorking with Files .


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EDIT

Undo [Ctrl/Cmd-Z]

Reverses the last action taken.

Redo [Ctrl/Cmd-Shift-Z; Ctrl/Cmd-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 [Ctrl/Cmd-X]

Removes the currently selected audio and stores it temporarily on the Clipboard.

Copy [Ctrl/Cmd-C]

Makes a copy of the currently selected audio and places it on the Clipboard.

Paste [Ctrl/Cmd-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

[Ctrl/Cmd-Alt/Opt-V]

Inserts the audio from the Clipboard and moves audio in

the project [does not overwrite]Replace

[Ctrl/Cmd-Alt/Opt-Shift-V]

Replaces audio in the project with audio from theClipboard

Mix

[Shift-V]

Combines the audio from the Clipboard with audio in theproject

Invert and Mix

[Alt/Opt-V]

Inverts the audio in the Clipboard and then mixes it withaudio in the project. This is useful when you want tocompute the difference between two signals.

To Selection

[Alt/Opt-Shift-V]

Pastes audio from the clipboard only into the selectedspace, regardless of the copied audio's length. If thecopied audio is longer than the new selection, the audiowill be cropped to t. If the new selection is longerthan the copied audio, silence will be inserted to ll theremaining space.

Deselect [Ctrl/Cmd-D]

If audio is selected, deselects 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 [Ctrl/Cmd-Shift-D]

Selects the entire open le.

Invert Selection [Ctrl/Cmd-Shift-I]

Selects everything that isn’t currently selected.

Invert Selection Frequencies [Ctrl/Cmd-I]

Selects everything in the current time range that isn’t selected. This is useful for reningprocessing by rst selecting what you don’t want to process, then inverting the selectionfrequency.



Select Harmonics [Ctrl/Cmd-Shift-H]

Renes the current selection to include more harmonics. For this feature to work well, tryit with a simple selection that includes only the fundamental harmonic of what you aretrying to select.

You can also use the Magic Wand tool to automatically rene a selection to include theappropriate harmonics.

Begin Selection at Playhead [

[during playback only]

If audio is currently selected, this will automatically adjust the selection to begin at thecurrent playback position.

End Selection at Playhead ][during playback only]

Automatically create a selection between the current playhead position and the originalanchor playhead position.

Delete Selection [Delete on a time selection]

Deletes the selected audio and closes the space with audio from either side of thetimeline.

Silence [Delete on a frequency, time-frequency, or freeform selection]

Deletes selected audio and replaces it with silence.

Trim to Selection [Ctrl/Cmd-T]

Deletes all audio except for the selected audio.

Find Similar Event [Ctrl/Cmd-F]

The Find Similar Event tool lets you choose a selection in RX's Spectrogram Display andautomatically nds similar events before or after that event.

The following Ctrls are available:

Similarity Lower values will nd more events. The higher the value,the more similar an event must be to the original event forit to be detected.



Search DurationHow many seconds along a le’s timeline the Find SimilarEvent tool will browse searching for events.

Number of BandsThe number of frequency bands the tool uses to ndevents. In general, more bands allows the tool to be moreprecise in frequency, but less precise in time.

Search using previousundo level

Uses the audio under the selection from the previous undolevel as the basis for comparison. If you are repairing arepeating sound with De-click, enable this option, repairthe event in your selection, and then use Find SimilarEvent to nd the next similar problem.

To Selection

[Alt/Opt-Shift-V]

Pastes audio from the clipboard only into the selectedspace, regardless of the copied audio's length. If thecopied audio is longer than the new selection, the audiowill be cropped to t. If the new selection is longerthan the copied audio, silence will be inserted to ll theremaining space.

Add Marker or Region [M]

This will create a new marker point at the current location of the cursor/playhead orcreate a new region if any audio is selected.

Edit Cursor Mode

Changes the behavior of the editor 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 selectionSelect Time/Freq [R] Makes a rectangular time-frequency selectionSelect Freq [F] Makes a frequency selection for the duration of a leLasso [L] Selects everything in a freely dened areaSelection Brush [B] Selects everything in a predened radius

Selection Wand [W]Intelligently selects material similar to whatever is underyour cursor [magic wand]

Zoom Time [Z] Zooms in timeZoom Time/Freq

[Shift-Z]

Zooms in time and frequency

Zoom Freq [Alp/Opt-Z] Zooms in frequencyGrab Time [G] Grabs and drags the view in timeGrab Time/Freq[Shift-G]

Grabs and drags the view in time and frequency

Grab Freq [Alt/Opt-G] Grabs and drags the view in frequency



Snap [Ctrl/Cmd-Shift-;]

This will cause selections to be snapped to the variables listed below in the Snap To list.

• Markers

• Ruler [Coarse/Fine]• Zero Crossings

• All

• None

VIEW

Collapse / Expand Module Panel

Collapses the right side panel of RX into a row of icons. This can allow for a much largerportion of the screen given to the overall Spectrogram/Waveform display.

Collapsing the module panel gives you more room to edit and analyze your le. Youcan quickly collapse the module panel by clicking on the triangle at the top right of themodule panel.



Time Format

RX's time scale and playhead location counter can be set to show different timeunits. See more details in Time Scale Format section of Chapter “ Understanding theNavigational Controls .”

Follow Playhead [Ctrl/Cmd+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 at a time. In Continuousmode, the view is centered on the playhead as it moves across the le.

Effect Overlays

This allows you to turn special display features for the De-clip and Spectral Repairmodules on and off. For an overlay to be visible, you need to have the option selected inthe view menu, and the corresponding effect UI needs to be open.

De-clip Threshold — When the waveform is visible, the threshold settings and Ctrlsappear as white lines within the display. This display can be used to adjust the de-clipthreshold settings.

Clip Gain

The Clip Gain envelope allows you to adjust the gain of your clip over time.

You can do the following with Clip Gain envelopes:

• Fade in/fade out

• Add nodes

• Adjust the gain of individual nodes

• Adjust the gain of an envelope selection



To use the Clip Gain envelope:

1. Select View > Clip Gain from the RX menu.

2. The Clip Gain envelope appears with two nodes, one at the beginning of theclip, and one at the end of the clip.

3. Click and drag one of the two nodes to increase (by dragging the node up) ordecrease (by dragging the node down) the gain of the clip.

4. If necessary, add new nodes by pressing Cmd/Ctrl and clicking anywhere inthe editor view, or by clicking on the Clip Gain envelope itself.



PROCESS

Choosing a module from this menu processes your current selection using thatmodule, with its current settings. Several modules that require training have their Learnfunctionality available in the corresponding submenu.

Reverse

Reverses the selected audio in time. Works only on rectangular selections, does not workon free-form selections.

Silence

Replaces the selected audio signal with silence. Works on selections of arbitrary shape



TRANSPORT

Input Monitor [Alt/Option-I]

Enables input monitoring. When input monitoring is enabled, the input signal of RX will berouted 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 le, Arm for Recording will open the New File dialog foryou.

Rewind [Return]

Sets the playhead to the beginning of the le.

Play / Stop [Space]

Starts or stops playback.

If Input Monitoring is enabled, starting playback will temporarily suspend InputMonitoring.

Loop Playback [Control/Command-L]

Toggles playback looping. If nothing in the le is selected, the end of the le will loopback 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 beforeplayback began). This is useful for comparing processing.



If this is disabled, the anchor sample will be set to the current playhead position. This isuseful for moving through a le while listening for irregularities.

WINDOW

This menu displays the available modules, some metering windows, markers andregions, and a list of your currently open les. Clicking on any of them will bring you tothat le.

Batch Processing [Ctrl/Cmd+B]

This gives you access to le based batch processing, as explained in Chapter “ Batch

Processing .”

Waveform Statistics [Alt/Opt+D]

This gives you access to informational readouts on a variety of amplitude measurements,as explained in Chapter “ Waveform Statistics .”



Spectrum Analyzer

The spectrum analyzer shows an important analytical view of audio.

A spectrum analyzer uses a fast Fourier transform (FFT) to extract frequency informationfrom a waveform. Depending on the size of the FFT, the signal energy of thousands offrequency bands can be visually represented on a graph.

The RX Spectrum Analyzer will show the momentary spectrum of audio around thecurrent playhead position, the average spectrum of a selected time and frequency range,or the realtime spectrum of the audio at the output of RX’s playback.

Blue (Anchor Sample): The momentary spectrum of the audio around the playhead.

Yellow (Selection): The time-averaged spectrum of the current selection. Use selectiontools in the spectrogram window to select a time and frequency range and the spectrumanalyzer 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 InputMonitoring is enabled or RX is recording, the spectrum will show the input signal.

The Peak Finding feature offers a precise view of peaking frequency information.





You can add a marker or region at the current location of the playhead by pressing theM key or selecting Add Marker or Region from the Window menu. Markers and regionscan also be created from the Markers and Regions window. If you have a large number ofmarkers and regions, you may use the search box in the upper right to quickly locate theones you’re looking for.

Checkboxes• The checkboxes to the left of your Marker list designate your selection.

• The checkbox at the top of the list toggles between selecting all and non.

Play button

• Begins playback from the start point of your marker or region.

Find button

• Moves the playhead to the exact position of your marker, but will not beginplayback. For a region, Find will select the audio in the region.

Add

• Creates a new marker point at the exact current position of the playhead.

Remove selected

• Deletes the desired marker or region. Select all

• Selects all markers and regions.

Select none

• Deselects all markers and regions.

Import Marker File

• Opens saved marker information from another le or RX session.



Export Marker File

• Saves markers and regions in a tab-delimited text le that can be openedand used in another le or session of RX.

File InfoThis gives you access to any metadata and other information about the audio le, asexplained in Chapter “ Working with Files .”

Next File (Control-Tab)

Changes RX’s current le tab to the next le in the window order.

Previous File (Control-Shift-Tab)

Changes RX’s current le tab to the previous le in the window order.

HELP

This window gives you access to launching the help, instantly navigating to keyboardshortcuts, and also free online video tutorials.



Understanding the Preferences menu

AUDIO

Driver Type

Allows you to select a sound card driver model to use for playback and recording.


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Note: Some hardware devices monopolize the audio drivers when sending audio clips toRX via RX Connect. If you are not able to hear the audio sent to RX from your DAW via RXConnect, change the audio driver to RX Monitor in the Driver type menu. See RX Monitor .

The rest of the dialog contains settings for your audio device and also includes a test

tone generator.

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 buffer sizes will improve meterresponsiveness and lower latency, but increase CPU needs. Raising buffer sizes willlower CPU cost but increase latency. It's worth exploring these ranges to nd values thatwork best on your system.

Num Buffers

Number of playback sub-buffers. (MME Only.)

Channel Routing

For ASIO and CoreAudio drivers, click this button to choose which input and outputchannels RX uses. Click the Channel Routing button to open the Channel Routing dialog

box.

Congure Driver

Launches the manufacturer’s driver conguration dialog.

Release when not in use

Auto-closes the audio device when playback in RX stops, freeing it for use in other audioapplications. Disable this if playback from RX isn’t responsive enough.

Test ToneThe test tone generator is useful for testing your speakers, audio hardware and listeningenvironment. Tones at set frequencies or at a custom frequency can be used as testtones, as can white or pink noise. In addition, a Channel Identication mode will identifyleft and right speakers.



Enable

Starts playback of a test tone.

Type

Sets the type of test tone to play.

Volume

Sets the volume of the test tone.

Frequency

Sets the frequency of the test tone.

Output GainOutput gain allows you to nondestructively adjust the playback level of RX 5 Audio Editor.

DISPLAY

Show tooltips

When enabled, hovering over an RX feature with the mouse cursor will show a shortdescription of the feature.



Display cursor coordinates in status bar

When this is enabled, the time coordinate of the cursor is shown in the status bar at thebottom of the RX main window. The amplitude of the audio at the cursor position and thefrequency at the cursor position is also shown.

Show analog waveform

When digital audio is played back, it is converted to analog. The peak values in theanalog waveform can be larger than the peaks in the digital waveform, leading toclipping in the output of a digital-to-analog converter. When Show analog waveform isenabled, RX will compute an analog waveform in the background. Any peaks will behighlighted in red on top of the existing digital waveform.

At very extreme zoom levels, RX always displays an analog waveform.

Offload waveform calculationsWhen this is enabled, RX's waveform display will be computed in the background.This allows very large les to be loaded very quickly, but it slows down RX's waveformdisplays.

Waveform interpolation order

If you zoom into the waveform so that individual samples become visible, RX willdisplay an upsampled analog waveform as well as the individual digital samples. The

interpolation order controls the quality of upsampling. Higher values yield more accurateanalog waveforms at the expense of CPU usage.

Brightness

Adjusts the general brightness of the RX interface, allowing you to make RX morereadable on your specic display.

Floating window opacity

Changes the opacity for RX's oating windows. This can be useful if you wish to leave

oating windows on top of the spectrogram and waveform without completely obscuringthe display.



KEYBOARD SHORTCUTS

While RX includes default keyboard shortcuts, you can also customize them to yourliking.

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.

RemoveRemoves 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 clickin this eld and press a key or combination of keys.



Assign

Assigns the entered keystroke to the current command. The shortcut will only beassigned to the current command if you press this button.

Shortcut key currently used by Lists commands that the current keystroke is assigned to.

Note: On Windows systems, by default, “Alt + a letter” will open the corresponding menufor your currently open application. Alt + V for example will open RX's View menu dropdown. By default, none of RX's shortcuts should conict with these keyboard shortcuts,however if you wish to assign Alt + V to another operation, it will take precedence overthe View menu.

MISCELLANEOUS

Session data folder

Allows you to choose a different folder to save RX's temporary session data. These lesare created to allow actions to be undone and sessions to be recalled in RX. Becausethese can be very large, it is best to set this to the drive on your computer with the mostfree space.



Time scale frame rate

This sets the frame rate used to draw the time scale when RX is set to display the timecode (see View menu or right-click the time ruler to change this setting). Choose from alist of standard frame rates or click in the combo box to dene a custom frame rate.

Default full-bandwidth paste mode

This controls RX's behavior when pasting a full-bandwidth audio selection. Insert willmove aside existing audio, Replace will overwrite existing audio, and Mix will add toexisting audio.

Default limited-bandwidth paste mode

Similar to the full-bandwidth paste mode, this controls RX's behavior when pasting alimited-bandwidth audio selected.

Resume last editing session when app starts

On RX's start-up, the last audio le will be reloaded along with full history list of any editsmade.

Automatically open les ending with .L and .R as split stereo

Mono audio les with (.L and .R) as well as (.1 and .2) extensions will be opened as stereoles 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 theaudio.

Sometimes it is useful to turn this off if you need to compare undo history items and notbreak 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 channelswill be muted during playback.



Calculate RMS using AES-17

Uses the AES-17 1998 standard for RMS calculations (0 dB is a full scale sine wave) in thelevel meter, Waveform Statistics and Leveler modules. The other option is when 0 dB isthe RMS of a full-scale square wave. These options differ by 3 dB.

Pre- and Post-Roll during preview (ms)

When Previewing audio processing in any module, the specied time amount will beadded to the beginning and end of the previewed selection in order to provide contrastbetween unprocessed and preview-processed audio.

Selection Feathering (ms)

This control allows for crossfading of processed and unprocessed audio whenprocessing. If you need to make more precise edits, set this to 0.

AUTHORIZATION & UPDATESThis tab enables you to authorize and deauthorize the software, as explainedAuthorization .

PLUG INS

Use these options to manage your third party audio processing plug-ins.



VST/Audio Unit/DirectX plug-ins

These areas show what plug-ins are available for the specied format, which may varydepending on your OS. You can also enable or disable every plug-in for the speciedformat 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-infolder by default. If your VST plug-ins do not show up, try using this option to add thedirectory where they are kept.

RX will also scan the rst level of subfolders in this folder. If some of your plug-ins do notshow 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 menusWhen enabled, the RX plug-in menu will group plug-ins by common rst words, usuallythe manufacturer’s name.

When disabled, the RX plug-in menu will appear as a single, alphabetically sorted list.

Rescan

If RX detects that a plug-in is unstable, it will blacklist it and prevent it from being opened.

This option allows you to clear RX’s blacklist of unsupported plug-ins and rescan allinstalled plug-ins in case an RX update or an update from the plug-in manufacturerresolves the issue.



Working with RX Application Modules

RX modules share several common features and controls.

iZotope RX is designed to give you a range of processing options. Most of RX's modulesfeature multiple processing modes, ranging from fast algorithms that sound great onmost material to very time-intensive algorithms for critical applications.

Understanding RX's Presets, Preview, and Compare modes will help you save time,especially when taking advantage of RX's more powerful processing modes.

PRESETSFrom the Presets drop-down menu, you can select from default presets and presets youhave saved. Presets saved in the RX application can be opened in the RX plug-ins, andvice versa.


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Preset Keyboard shortcuts

Individual presets and modules can be assigned to a keyboard shortcut in order to recalland apply different modules and settings instantly. Simply select the Set Preset Shortcutoption from the Preset drop-down list in order to assign that module and settings to akey.

Once the Preset is linked to a keyboard shortcut, you can select the audio you wish to

process with that Preset and simply press the shortcut key to apply that preset's modulesettings to your selection.

This can maximize your workow and provide incredibly quick and powerful ways towork with RX's processing modules. These presets can also be applied to any externalplug-in in RX Advanced, allowing you to assign a plug-in and settings to any particularkey.

• Add Preset: creates a new preset

• Remove Preset: removes a preset from the drop-down list

• Rename Preset: changes the name of a preset

• Set Preset Shortcut: creates a keyboard shortcut for any preset in order torecall and apply different module settings quickly

• Import Preset: imports a preset saved by another user or on anothercomputer





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 thelength of the current preview buffer (for most modules, about half a second).

Bypass [Shift-B]

Bypasses preview. This feature is useful for A/B comparisons between the original signaland the processed preview.

Preview Options [+]:Preview Buffer Size — determines how long playback will be buffered before starting

Buffering Playback

For more CPU-intensive settings, like De-noise's highest quality algorithms and thehighest quality De-click settings, RX can buffer playback to allow you to preview theseslower-than-realtime processes. To adjust how long the buffer is, the menu next to thePreview button (+) opens the Preview Buffer Size control. As audio plays back in previewmode, audio that is being processed will be tinted red, showing you how far ahead ofplayback processing is happening.

Pre- and Post-Roll

When previewing an effect, it is often very helpful to hear a small portion of theunprocessed audio before hearing your processed selection. This can provide a muchclearer comparison and allow you to more easily discern whether or not the currentprocessing settings are producing the desired effect.

By default, RX will play back one second of unprocessed audio before and after the

current selection when previewing your processing. The Pre- and Post-roll times can bedened in the Preferences > Misc window. RX can play up to ten seconds of audio beforeor after the previewed selection. Pre- and Post-Roll will also occur when previewing alooped region of audio

Note: To turn OFF Pre- or Post-Roll, simply set the times in the Preferences > Misc tab to0.



Note: Pre- and Post-Roll can also be simulated manually by holding Control/Commandto set the playhead to any desired position while preserving your audio selection. Oncethe playhead is set, clicking on Preview in the desired module will then start the Previewplayback from the playhead's position.

COMPARE

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, mosttransparent results. By hitting the Compare button instead of the Process 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 themodule and try a different group of settings. Learning to use the Compare tool can saveyou from having to apply and undo a process multiple times just to nd the right settings,making it a valuable time-saving feature.

Another advantage to using the Compare tool is seeing the effect your settings have inthe spectrogram and spectrum analyzer.

Process Comparison List

Each time settings are sent to the Compare window, a new list item is created, by defaulttitled “Settings 1,” “Settings 2,” etc.



Preview

To hear (and see) the result of an item in the list, select that item and hit Preview.

View Settings

Shows the module's settings used for processing.

Remove

Remove an item from the list.

Rename

Allows you to rename items with more descriptive names.

ProcessApply the selected list item to the audio le.



Working with RX realtime plug-ins

PRESETSFrom the Preset Manager, you can select from default presets and presets you havesaved.

To browse presets, press the Presets button and click the name of any preset. If you likewhat you hear, press the Presets button again to hide the window.


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Add

Clicking this button adds the current settings as a new preset. You can type a nameand optionally add comments for the preset. Note that a few keys such as * or / cannotbe 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 les for easy backup and transferring.Their lenames are the same as the names you give the presets (for easy reference) andtherefore characters that are not allowed in Windows le names are not allowed in presetnames.

Remove

To permanently delete a preset, select the preset from the list and click the Removebutton.

Update

When you click the Update button your current settings before you opened the presetwindow are assigned to the selected preset (highlighted). This is useful for selecting apreset, tweaking it, and saving your changes to the existing preset.

Import

Imports a preset into the preset folder.

Folder

Opens a dialog that shows your current preset folder. You can also select a new presetfolder from this dialog.

Renaming Presets

You can double click on the name of a preset to enter the edit mode and then type a newname for that preset.

CancelPress Escape to close the preset system dialog and revert to the settings when youopened the preset manager.



HISTORY

Pressing the History button opens the History window. This view gives you a list of all ofthe actions you've performed inside the plug-in, allowing you to step back to previoussettings and undo changes.

Clear

Resets the History list.

INPUT/OUTPUT



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.

OPTIONS

Tools for managing your authorization and troubleshooting DAW/plug-in issues live here.

Authorization & Updates

This will allow you to perform any of the authorization steps outlined in Chapter“Authorization .”

Latency

Some of the processing modes in the RX plug-ins are very CPU intensive and resultin a delay of the signal. That is, RX needs some time to "work on" the audio before itcan send it back to the host application. That time represents a delay when listening ormixing down.

Most modern DAWs and NLEs provide delay compensation — a means for RX plug-insto 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 realtimeprocessing, or by adjusting the rendered le after processing in offline processing).

When Enable Delay Compensation is enabled in the Latency menu, we will report ourlatency to the host application.



If your application doesn't support it, or skips/stutters with this option on, you can alwaysmanually correct the delay offset in the host application (manually edit out the short delayof silence). To help you perform manual correction, the delay RX introduces is shownbelow as Total System Delay in both samples and milliseconds.

Disabling delay compensation can help prevent this delay when processing offline insome older applications.

Freezing our reported latency value may help with delay compensation problems duringrealtime processing in some older applications.

View Buffers

Shows buffer information from the host's track. This is useful for diagnosing problems likeaudio dropouts or rare problems caused by inconsistent buffer sizes.

Host Sync

Shows information reported from the host program about playback location, loop andtransport state, tempo, etc. (when applicable). This is useful for diagnosing some raretimeline-related problems in specic DAWs.

Enable Multicore

This option is available in the De-noise plug-in. Enabling this option lets RX process De-noise Quality Modes C and D more efficiently by spreading its processing across multiple

computer cores.

I/O (Input/Output Meters)



The RX I/O meter displays a lower bar representing the average level (RMS) and a higherbar representing peak level. There is also a moving line above the bar representing themost recent peak level or 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 Innite. If set to innite, the peak value will be held untilyou click on the current peak display.

Integration time

Species the integration time for RMS calculation. In most RMS meters, the integrationtime is set to around 300 ms, which makes the RMS meter similar in ballistics to VUmeters.

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 toCurrent, the display will reect the meter's current value.

Enable I/O meters

Turns the level meters on or off.

Show peak holdTurns the peak hold display for the level meters on or off.



De-clip

De-clip repairs digital and analog clipping artifacts that result when A/D converters arepushed too hard or magnetic tape is over-saturated.

De-clip can be extremely useful for rescuing recordings that were made in a single pass,such as live concerts or interviews, momentary overs in “perfect takes”, and any otheraudio that cannot be re-recorded.


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De-clip will process any audio above a given threshold, interpolating the waveform to bemore round. Generally, the process is as easy as nding the clipping you want to repair,then setting the threshold just under the level where the signal clips.

You can nd clipping by either listening for the distortion that clipping causes, or nding

the high harmonic overtones of distortion in the spectrogram.

A waveform before and after clip repair. The after example (bottom) shows the originalrepaired waveform (faded) and the post-limiting waveform (bright).

HISTOGRAM METERDisplays waveform levels for the current selection as a histogram.

The histogram meter helps you set the Threshold control by displaying the audio levelwhere the waveform's peaks are concentrated. This usually indicates at what levelclipping is present in the le.



A histogram is an analytical tool that displays how many samples are present at a givensignal level over a window in time. The longer the line for the histogram is, the moreenergy is present at that amplitude. If a lot of energy tends to collect near the top andbottom 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 prominentand De-clip 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 histogram that extends all theway across the meter.

In the RX Plug-in, the histogram 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 De-clip module. Thesebuttons reduce (+) and/or expand (-) the range of the threshold slider and histogram. Youmay want to extend the histogram range when your clipping point is lower than what youcan see on a histogram or if you don’t see anything on the histogram.

If you are using the De-clip control overlay on the waveform display, you can use themouse’s scroll wheel on the waveform amplitude scale to adjust the threshold controlresolution.



THRESHOLD DBSelects the clipping level used for detection of clipped intervals. Generally, this should beset just below the actual level of clipping.

Note: adjusting the Clipping Threshold will display a blue line within the histogram anda gray line on the waveform itself. This gray line shows the level on the waveform abovewhich the De-clip algorithm will process the audio le. All sections of the waveformabove this level will be regarded as clipping. Within the histogram itself the elements ofthe le that will be processed (above the blue line) will appear gray.

To set the threshold, move the Threshold slider until it lines up with the place in thehistogram just below where clipping is concentrated.

In the RX Application, you can set the Threshold slider automatically with the Suggestbutton.

You can also set the clipping threshold from the RX waveform display. By default, De-clipThreshold is enabled in the Effect Overlays section of the View menu. When this option isenabled, you can see the relationship of the De-clip Clipping Threshold settings to yourle’s waveform, and make adjustments to the setting by clicking and dragging on the redthreshold line.

If you would like greater control resolution or need to apply De-clipping to a differentamplitude range, you can adjust the amplitude range of the waveform display by usingthe zoom control, clicking and dragging the amplitude ruler, or using your mouse’s scroll

wheel over the amplitude ruler.

THRESHOLD LINK

Toggles the ability to adjust positive and negative clipping thresholds independently.





There are three quality modes in RX's De-clip: Low, Medium, and High. Low quality modeprocesses very quickly; High quality mode processes slowly but is capable of achievingbetter results. In many cases you will nd that Low quality mode gives you great results.To save time, always start by previewing the Low quality modes rst. You can also use theCompare feature to try multiple modes and preview the results.

MAKEUP GAIN DBSelects the gain to be applied to the selection after De-clip.

The De-clip process causes an increase in peak levels. The Makeup gain control can beused to prevent the signal from clipping after processing. It is also useful for matching thelevel after processing to unprocessed audio outside of the selection.

POST LIMITERApplies a true peak limiter after processing to prevent the processed signal fromexceeding 0 dBFS.

De-clip usually increases signal levels by interpolating signal segments “above” theclipping point, which can make the signal clip again if the waveform format offers noheadroom above 0 dBFS.

If the post-limiter is disabled, the restored intervals above 0 dBFS can be safely storedeven without makeup gain as long as the le is saved as 32-bit oat. Intervals above 0dBFS will clip when played back through a digital-analog converter.

SUGGESTIONS FOR SEVERE DISTORTIONFor certain situations, using the Deconstruct module to extract the noise componentsof the distortion can help remove additional artifacts beyond the clipped peaks in awaveform. In cases where severe distortion is visible on the spectrogram, the SpectralRepair tool can be used to select those problem areas, and attenuate or replace themwith undistorted audio.




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De-click’s sophisticated algorithm analyzes audio for amplitude irregularities andsmoothes them out. This means that you can use De-click to remove a variety of shortimpulse noises, including clicks caused by digital errors, mouth noises, interference fromcell phones, or any other audio problem caused by impulses and discontinuities in awaveform. Here’s a recording with clicks before, and after click removal:

Algorithm

Controls the interpolation processing quality and conguration depending on the type ofclicks and pops in the audio.

• Single-band: processes quickly and works well on very narrow “digital”clicks

• M-band (periodic clicks): multiband processing for removing regularlyrepeating clicks with a wider spectrum, or regular clicks that haveconcentrated low or high energy (like thumps or optical soundtrackperforation noise)



• M-band (random clicks): multiband processing for wider vinyl clicks andthumps, with a protective algorithm for preserving periodic audio elementscharacteristic to certain instruments such as brass or vocals

Click Type

Changes the De-clicker controls to address specic kinds of clicks.

• Click: the default setting of De-clicker. Optimized to handle most clicks

• Thump: skews the click detector frequency response toward lowerfrequencies to tackle thumps

• Discontinuity: widens the click processing range to smooth out clickscaused by waveforms that change suddenly in amplitude

Sensitivity

Controls the sensitivity of the click detector.

Low values of this parameter will remove fewer clicks, while higher values can repair toomany intervals which can result in distortion.

Frequency Skew

Tunes the frequency response of the click detector. Lower values will tune De-click tohandle more low frequency thumps. High values will tune De-click to detect and processmore clicks in higher frequencies.

Click Widening

Controls the processing region around each detected click. Increase this to cleanly repairclicks caused by discontinuities or other digital waveform problems.

Clicks only

Outputs the difference between the original and processed signals (suppressed clicks).



DE CRACKLE

When an audio signal contains many clicks close together, often lower in volume, this isdescribed subjectively as crackle. De-crackle is very effective at removing these types ofaudio problems, often after De-click has removed the worst offending clicks.

Quality

Controls the processing quality. Low quality offers fast processing; Medium quality willremove 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 crackleaccompanies transients and other high-level signal passages (such as during clipping),set this control more to the right. If the crackle mostly happens during low-amplitudesignal passages, set this control more to the left.

Crackle only

Outputs the difference between the original and processed signals (suppressed crackle).



INTERPOLATE

Interpolate is used for repairing individual clicks, below 4000 samples in length. Thismode replaces your whole selection with the replacement signal. It can be used insteadof the “pencil” tool found in another software.

Quality

Denes the interpolation order, which controls how complex the synthesized signal willbe. Changing this control can help interpolated audio t into its surroundings.

INSTANT PROCESS TOOLThe Instant Process Tool offers a smart De-click mode, which instantly applies the activesettings from the De-click module’s De-click and Interpolate tabs. Simply put, you maymake any selection, and this mode will automatically remove all clicks present in thatselection, which is particularly useful for editing a dialogue le, mismatching sample rateclicks and pops, and vinyl clicks.

If you’ve made a selection under 4000 samples in length, this mode will automaticallyuse the Interpolate algorithm, and above 4000 samples, it will use the settings from theDe-click tab of the De-click module. This is by design, as the De-click tab is effective

on selections above 4000 samples in size, as it is able to identify clicks in relation todesirable audio, and then intelligently separate and then remove the clicks. Below 4000samples, it is likely a small selection of an individual click, and Interpolate will ll theselection with audio information based on the surrounding audio.



When using this function as part of Instant Process, the settings you have engaged inthe De-click and Interpolate tabs of the De-click window will be applied. For example:if the De-click tab is indicating that the preset ‘Remove mouth clicks’ is loaded, thesesetting will be applied every time you use the Instant Process Tool in ‘De-click’ mode on aselection longer than 4000 samples.



De-hum

De-hum is designed to remove low frequency buzz or hum from your audio le. Humis often caused by lack of proper electrical ground. This tool includes a series of notchlters that can be set to remove both the base frequency of the hum (usually 50 or 60Hz) as well as any harmonics that may have resulted. The De-hum module is effectivefor removing hum that has up to seven harmonics above its primary frequency. For humthat has many harmonics that extend into higher frequencies (often described as “buzz”),try using the De-noise module. For tricky hum problems, De-noise features tonal noisereduction controls that can make short work of any extra-harmonic hum and buzz. Somevery high frequency buzz can also be removed with the De-click module.


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BASE FREQUENCYSets the base frequency of the hum to be removed. The two most common basefrequencies that cause hum are 50 Hz (Europe) and 60 Hz (U.S.). You can manuallyspecify a base notch by choosing the Free option.

Note: When the De-hum module's “Base Frequency” is set to “Free,” you can use theSpectrum Analyzer (under View > Spectrum Analyzer) and its peak readout display tohelp nd the exact peak frequency of any unwanted hum.

MANUAL/ADAPTIVEAdaptive mode will allow the De-hum module to adjust its noise prole based onchanges over time in the incoming audio. In this mode, RX will analyze incoming audio forthe specied learning time to determine what is hum and what is desired audio material.Adaptive mode can work better with sources that are constantly evolving.

In the Manual mode, the base hum frequency does not change over time.



LEARNThe De-hum module can also automatically locate the root fundamental of any hum inyour audio. Simply make a selection containing the trouble frequencies, and click theLearn button. This will automatically set the Base Frequency to the result of the Learn

calculation. RX can analyze any audio with prominent hum, if you don’t have a passage ofpure 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 eld in the De-hum module, choose the appropriatefrequency and then hit Preview to hear if this has an effect.

In some cases, you may need to choose the Free Frequency Type (e.g., when a recordingmade from analog tape is not precisely at its original recorded speed). Selecting thisoption unlocks the Base Frequency control and allows you to manually nd the Hum'sroot note. With Preview engaged, move the slider up and down until you nd the pointwhere the hum lessens or disappears.

For even more precise settings, use RX's Peak Finding feature in the Spectrum Analyzerwindow. Simply single click to place RX's anchor sample on top of the hum you aretrying to remove, and then drag your mouse over the peaks that appear in the SpectrumAnalyzer window to view the exact frequencies of your audio.

FILTER QControls the bandwidth of lters for base frequency and harmonics.

LINEAR PHASE FILTERSEnables linear-phase FIR lters with a high FFT size. De-hum’s linear phase lters have avery accurate frequency response at the expense of latency and lter pre-ringing. Whenthis is disabled, De-hum will use minimum-phase IIR lters, which are only susceptibleto post-ringing (which is usually less noticeable than the pre-ringing introduced by FIRlters).

HIGH/LOW PASS FILTERSThese lters allow high/low frequencies to pass while attenuating low/high frequenciesrespectively.

• Frequency (Hz): sets the cutoff frequency for the lter

• Q: sets the bandwidth of the high-pass lter



NUMBER OF HARMONICSBecause higher frequency harmonics often result from hum, RX's De-hum module hascontrol for attenuating these overtones. Using the Number of Harmonics control, youcan select up to 7 harmonics above the primary hum frequency. Again, the spectrogram

display in many cases makes it easy to identify the number of hum harmonics in yourproject. After selecting number of harmonics, use the Harmonic Slope control to set howaggressively the higher harmonics are being cut. The Filter Q control adjusts the width ofthe hum lters.

60 Hz hum with harmonics

LINK HARMONICS

Links the gain of all of the lters, none of the lters, or odd/even lters.

SLOPEWhen harmonics are linked, this controls the slope of the gain/suppression. As theharmonic order increases, the gain/suppression level resolves closer to 0 dB. Whenlinking type is odd/even, an odd/even slope separate control appears that allows you tocontrol the amount of gain/suppression for both odd and even harmonics.

HARMONIC GAINS DBGives numerical readout of gain settings in dB. You can also manually type in your gainsettings for any of the harmonics.



OUTPUT HUM ONLYBy selecting the Output hum only checkbox, you can also hear the hum that is beingremoved. This is useful for ne-tuning your settings. Play through a section of your lewhere the hum is mixed with other material, select this mode, and hit Preview.

Now you can adjust parameters like the Filter Q (width) control and the Harmonic Slopecontrol to maximize hum removal while minimizing the effect on the program material.



De-noise: Spectral

De-noise gives you control over the level of stationary noise in a recording.

The De-noise module has two modes: Spectral and Dialogue. This chapter relates to theSpectral mode.


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Spectral De-noise builds a spectral footprint of noise, then subtracts that noise when asignal’s frequency drops below the threshold dened by the spectral footprint. Stationarynoise does not signicantly change in level or spectral shape throughout the recording.Stationary noise includes tape hiss, microphone hum, power mains buzz, camera motornoise, fans, highway traffic, and HVAC systems.

Spectral De-noise is a exible tool that can be used to quickly achieve accurate, high-quality noise reduction. It also gives you the control necessary to tackle problematicnoise with separate controls for tonal and broadband noise, management of denoisingartifacts, and an editing interface for controlling reduction across the frequency spectrum.

It allows you to learn a noise prole, then increase the amount of reduction to reduce thisnoise. Once you have a good amount of reduction, you may want to adjust the Thresholdslider. While adjusting the threshold, listen for artifacts like pumping (dramatic changes inaudio level) or gating (bursts of noise remaining after useful signal).

Lower thresholds will treat more signal like useful signal, and are useful if you need topreserve audio material that descends gradually into quiet noise (like orchestral tails).

Higher thresholds are useful for achieving more reduction on transient material (likedrums or voice).

If your resulting audio sounds like it is missing some life or body, you can try increasingthe Quality setting. Quality settings C and D can take advantage of multicore processorsto provide fast, high quality offline processing.

If you still hear undesirable artifacts in your results, you can try adjusting the ArtifactControl 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 fromMusical noise). If you hear a gating artifact (like pumping or surges of background noise),move the slider more to the left (away from Gating).

MANUAL/ADAPTIVEManual mode requires the user to train the De-noise module using Learn button. In thismode, the noise prole does stays xed for the duration of processing.

Adaptive mode will allow the De-noise module to adjust its noise prole based onchanges over time in the incoming audio. In this mode, RX will analyze incomingaudio for the specied learning time, decide what is noise and what is desired audiomaterial, and adjust its noise prole accordingly. Adapting noise proles can work wellwith noise sources that are constantly evolving, particularly in post-production lm



settings or recordings from outdoor environments. This takes some more memory andcomputational power, but is helpful for tackling noise that shifts slightly over time (like thesound of street traffic or ocean waves).

For most stationary noise, however, nding a good noise prole manually will yield

excellent results. Using Manual mode gives you more control over what makes up yournoise prole.

LEARNDe-noise needs to learn the type of noise you want to remove from the recording to giveyou the best results. To train the De-noise module, identify a section of the recordingthat contains only noise, without any useful audio signal. Often these places are at thebeginning or end of a le, but may also be during pauses or breaks in speech.

Select the longest section of noise you can nd (ideally a few seconds), then hit the Learnbutton. This will teach the De-noise module the noise prole of your le.

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 de-noise based on your current selection.

Learning a Noise Prole From More Than One Selection

In the RX standalone application, it is possible to create a spectral prole from multipleisolated selections. This is useful if you have a le where it’s impossible to select enoughaudio where only noise is present to build the prole.

For example, if you are trying to restore a le 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 selection tools, you can createan accurate noise prole that will let you get good results with De-noise. You can createmore than one selection at a time by holding Shift and making a selection.

Select noise anywhere you can to build a better noise prole.



This feature is only available in the RX standalone application because it requires usingRX’s spectral selection tools as well as accurate calculation of the time and frequency ofthe selected areas.

If you are unable to create a full noise prole with multiple selections, RX can try to build

a reasonable noise prole out of your existing prole. If you have an incomplete noiseprole, RX will ask you to if you want it to complete the prole.

For example, if you can only capture a low frequency rumble below 100 Hz, somebroadband noise between 200 Hz and 5000 Hz, and all the noise above 8000 Hz, RXcan ll in the gaps for you.

Building a prole from multiple selections gives you some exibility,and RX will guess any noise you missed.



THRESHOLD NOISY/TONALControls the amplitude separation of noise and useful signal levels.

Higher threshold settings reduce more noise, but also suppress low-level signalcomponents. Lower threshold preserves low-level signal details, but can result in noisebeing modulated by the signal. Threshold elevation can be done separately for tonal andrandom noise parts. A good default is 0 dB.

If background noise changes in amplitude over time (like traffic noise or record surfacenoise), raise the Threshold to accommodate for the changes.

REDUCTION NOISY/TONALControls the desired amount of noise suppression in decibels.

Spectral De-noise can automatically separate noise into tonal parts (such as hum, buzzor interference) and random parts (such as hiss). The user can specify the amountof suppression for these parts separately (e.g. in some situations it can be desirableto reduce only unpleasant buzz while leaving unobjectionable constant hiss). Strongsuppression of noise can also degrade low-levels signals, so it's recommended to applyonly as much suppression as needed for reducing the noise to levels where it becomesless objectionable.

QUALITYAffects the quality and computational complexity of the noise reduction. This selectiondirectly affects CPU usage. RX's Spectral De-noise module offers four algorithms thatvary in processing time.

• A is the least CPU intensive process and is suitable for realtime operation. Itreduces musical noise artifacts by time smoothing of the signal spectrum.

• B achieves more advanced musical noise suppression by using adaptive 2Dsmoothing (both time and frequency). It is more CPU intensive and has morelatency, but can still run in realtime on most machines.

• C adds multiresolution operation for better handling of signal transients andeven fewer musical noise artifacts. It is a very CPU intensive algorithm andcan only run in realtime on faster multicore machines.

• D adds high-frequency synthesis for reconstruction of signal details buried innoise. The speed of algorithm D is similar to algorithm C.



ARTIFACT CONTROLDetermines how much noise reduction will depend upon either spectral subtraction orwide band gating.

With lower values, noise reduction will rely upon spectral subtraction, which can moreaccurately separate noise from the desired audio signal, but can yield musical noiseartifacts, resulting in a “chirpy” or “watery” sound during heavy processing.

With higher values, the noise reduction will rely more heavily upon wider band gatingwhich will have fewer musical noise artifacts, but sound more like broadband gating,resulting in bursts of noise right after the signal falls below the threshold.

NOISE SPECTRUM DISPLAYThe Noise Spectrum display shows useful information during both playback and whenthe noise reduction process is being applied.

COLOR LEGEND• Gray (Input): spectrum of input audio signal

• White (Output): spectrum of the denoised output audio signal

• Orange (Noise Prole): the learned noise prole plus offset from theThreshold control

• Yellow (Residual Noise): desired noise oor after denoising, can becontrolled by Reduction

• Blue (Reduction Curve): manual weighting of the noise reduction across thespectrum

REDUCTION CURVEIf you need to improve your results, you can make adjustments to the amount ofnoise reduction across the frequency spectrum. This helps improve clarity in higherfrequencies, 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 oor down. Higherpoints bring the noise oor up. The smoothness of the curve can be adjusted with theSmoothing control.



• Reduction Curve: this feature allows for ne tuning of the reductionspectrum with up to 26 edit points. This enables the user to customize theamount of noise reduction being applied across different frequency regions.Higher curve values mean less reduction, lower curve values mean morereduction.

• Add an edit point: l eft-click, displayed as gray box along envelope curve

• Remove an edit point: right-click or drag it outside the screen

• Reset: this will remove all edit points

• Smoothing: this controls the amount of interpolation between yourreduction curve points, allowing for sharper or more gradual edits

For example, if you wanted to reduce some low HVAC rumble but preserve some energyin higher frequencies, you could drag the curve’s leftmost point down a little bit, then

create a point around 5 kHz and drag it up a bit.Note: you can axis-lock reduction curve points by holding Shift while dragging them, andget very ne control over positioning by holding Control/Command.



FFT SIZE MSSelects 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 affectingadjacent signals. Lower FFT sizes allow for faster response to changes in the signal andproduce fewer noisy echoes around transient events in the signal.

Note: Whenever the FFT size is changed, it is recommended that the De-noise module’sLearn feature is run again because the old noise prole was taken at a different FFT sizeand therefore becomes inaccurate.

MULTI RESEnables multi-resolution processing for the selected algorithm type.

When you select the Multi-res checkbox, the signal is analyzed in realtime and the mostappropriate FFT size is chosen for each segment of the signal. This is done to minimizethe smearing of transients and at the same time achieve high frequency resolution whereit is needed.

Note: the FFT size control does not have any effect in multiresolution mode as the FFTresolution is selected automatically. The noise prole does not need to be re-learnedwhen switching to multi-resolution mode.

ALGORITHMSelects the smoothing algorithm for the removal of random ripples (“musical noise”artifacts) that can occur in the spectrogram when processing your audio. The strength ofsmoothing is controlled by the Smoothing slider.

• The Simple algorithm performs independent noise gating in every frequencychannel of FFT. Release time of sub-band gates is controlled by the Releaseslider. This is a fast algorithm with small latency that is suitable for real-timeoperation.

• Advanced and Extreme algorithms perform joint time-frequency analysisof the audio signal which results in better quality and fewer “musicalnoise” artifacts. These algorithms have higher latency and computationalcomplexity.



SMOOTHINGControls the reduction of musical noise artifacts which can be a result of heavydenoising. Musical noise is caused by random statistical variations of noise spectrum thatcause random triggering of sub-band gates. These artifacts are sometimes described

as “chirpy”, “watery”, or “space monkey” sounds left behind during the noise reductionprocess.

SYNTHESISSynthesizes high frequency material after denoising.

When Synthesis is set to a value greater than zero, signal harmonics are synthesizedafter denoising. The synthesized harmonics remain at the level of the noise oor, andserve to ll in gaps in high frequencies caused by processing.

Increasing Synthesis can increase the sense of life and air in processed audio. Too muchSynthesis may cause apparent distortion in the signal.

ENHANCEMENTEnhances signal harmonics that fall below the noise oor.

Enhancement predicts a signal’s harmonic structure and places less noise reduction inareas where possible signal harmonics could be buried in noise. This aids in preservinghigh-frequency signal harmonics that may be buried and not detected otherwise. Itcan make the resulting signal brighter and more natural sounding, but high values ofharmonic enhancement can also result in high-frequency noise being modulated by thesignal.

MASKINGReduces 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 at10.

Masking enables a psychoacoustic model that dynamically controls suppression amountto facilitate the use of softer suppression where noise is subjectively inaudible. Whennoise in certain regions is calculated to be inaudible, this feature prevents any signalprocessing in these regions. This potentially reduces amount of processing done to thesignal and may positively affect overall signal integrity. The position of the slider controlsthe inuence of psychoacoustic model on suppression levels.



Note: when this slider is set to 0, the feature is turned off, and the amount of noisesuppression is uniformly governed to the yellow curve in spectrum analyzer (moreprecisely — by the difference between the yellow curve and orange curve).

WHITENINGShapes the noise oor after processing to be more like white noise.

Whitening modies the amount of noise reduction (shown by the yellow curve) applied atdifferent frequencies to shape the spectrum of the residual noise.

When Whitening is zero, the suppression is uniform at all frequencies, as controlled byReduction (tonal/broadband) sliders, and the suppressed noise has a similar spectralshape to the original noise. When Whitening is maximal, the desired shape of suppressednoise oor is made close to white, so that residual noise has more neutral sound.

Changing the noise oor balance with Whitening can help prevent gaps from over-processing, but an unnaturally white noise oor can introduce problems like noisemodulation when editing or mixing with other noises from a unique space (like a setlocation).

KNEEControls how surgical the algorithm's differentiation is between the signal and noise.

This slider controls the sharpness of the gating knee in the denoising process. Withhigher values, transitions in the De-noise are more abrupt and can become prone toerrors in the detection of the signal with respect to the noise. When the sharpness isreduced, the denoising becomes more forgiving around the knee, and applies lessattenuation to signals that are only slightly below the threshold. This may result in a lowerdepth of noise reduction, but can also have fewer artifacts.

RELEASE MSSelects 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 thesignals initial transients or reverb tails after the signals decay.

Note: the Release control is only available when the Simple algorithm is selected.



De-noise: Dialogue

Dialogue De-noise is a simple, no-latency denoiser ideal for achieving basic high-qualitydenoising on a variety of material with the minimum amount of time spent tweakingcontrols.

The amount of denoising is determined by the noise threshold curve. A higher thresholdgenerally means more noise reduction. The noise threshold curve is determined by the

positions of the six threshold nodes.

Dialogue De-noise can intelligently analyze the signal and determine the best noisethreshold for your signal. In a DAW, this feature can be used to write automation in caseyou need to override the automatic settings and correct the noise threshold by hand.

Under the hood is a series of 64 psychoacoustically spaced bandpass lters which actas a multiband gate to pass or stop a signal based on user-dened threshold values.If a signal component is above the threshold for the lter, it will be passed. If a signalcomponent is below the threshold for the lter, it will be attenuated.


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AUTOWhile in Auto mode, Dialogue De-noise will analyze the incoming signal and adjust thenoise threshold automatically to compensate for changes in the noise oor. This canbe useful for removing noise from recordings with variable noise oor and continualnoisy sections, and works well for almost any recording of dialogue and spoken word.If you would like to use Dialogue De-noise on musical material, the Manual mode is

recommended.Please note that the noise threshold settings in Auto mode may be different from thesettings set using only the Learn function in Manual mode. Because the adaptive noisethreshold is continually being adjusted, it is set lower to prevent artifacts from occurringduring

MANUALIn Manual mode, the Threshold Nodes are set by hand or with the Learn feature.

Once set, Threshold Nodes don’t change position in Manual mode unless automated bya host. Use Manual mode if you feel that Auto does not yield the results you would like orif you would like to write and read automation from a DAW.



LEARNWhen Dialogue De-noise is set to Manual, you can use the Learn button to set the noisethreshold to a noise reference.

Find a passage of pure noise in your audio and use Learn to analyze it. Longer selectionsof noise will set the Threshold Nodes to more ideal locations. We recommend nding atleast one second of pure noise.

The Learn function analyzes the audio passing through the plug-in and adjusts theThreshold Node controls automatically. This is useful when used on a section of audiothat is only like the noise you want to remove so you can get a more accurate resultwhen removing noise from the rest of your audio.

THRESHOLD NODESThe Threshold Node controls on the frequency spectrum display allow you to change thenoise threshold curve, which can be thought of as the “noise prole.” These six pointscan be adjusted manually to suit the noise currently in your signal. These controls can beautomated to compensate for shifts in the audio’s noise oor.

In Auto mode, the Threshold Nodes are adjusted automatically in realtime.

In Manual mode, more than one Threshold Node can be selected at a time for manualadjustment by clicking and dragging anywhere on the interface.

THRESHOLDThe master Threshold control allows you to offset the noise thresholds plotted by theThreshold Nodes.

If you nd that audio you would like to remain unprocessed is being processed, tryadjusting this control.

REDUCTIONProvides control over the maximal depth of noise reduction (in dB) that will occur perfrequency band while a signal component is below its threshold. If you have yourthresholds set properly and don’t like the results you’re getting, try adjusting this control.

METERINGThe Input Spectrum meter shows the level of the signal at the input of the denoiser lters.



The Output Spectrum meter shows the level of the signal at the output of the denoiserlters.

The Gain Reduction Region is the area between the Input and Output Spectra and showsthe amount of processing currently happening to your signal.

USING DIALOGUE DE NOISE AS A REAL TIME PLUG INThere are two De-noise modules available as a VST/AU/RTAS/AAX real-time plug-ininside your DAW or NLE. Dialogue De-noise has been specically designed to providehigh efficiency, low-latency adaptive noise removal when inserted in a channel strip inyour DAW or NLE, while the regular De-noise module may be more resource intensive.



De-plosive

De-plosive has been developed to minimize plosives from letters such as p, t, k, and b, inwhich strong blasts of air create a massive pressure change at the microphone element,impairing the sound. Plosives are typically audible as low-end thumps, anywherebetween 20–300 Hz, sometimes as high as 500 Hz.


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De-plosive is able to intelligently identify plosives, and then separate and remove themfrom the audio signal, while preserving the fundamental frequency and harmonics of thedialogue.

De-plosive uses a frequency band between 20 to 80 Hz to detect plosives. If the audio

has already been ltered with a high-pass lter, it is possible that plosive detection willnot work correctly. So, it is recommended to use De-plosive on audio that has not yetbeen ltered.

SENSITIVITYThis helps adjust the sensitivity with which De-plosives detects issues. If the plosives inyour audio are not being effectively reduced, try increasing the value of this parameterto more easily detect plosives. This parameter has a greater effect than Strength on theoverall effectiveness of plosive reduction.

STRENGTHThis controls the amount of plosive reduction that occurs. Higher values will reduce theplosives deeper, but may also have more effect on the useful speech signal.

FREQUENCY LIMITThis allows you to set the highest frequency that will be reduced. Though some plosivesmay reach into the 300–400 Hz range, most do not, and this helps avoid processing anyaudio in which plosives are not present.



Spectral Repair

Spectral Repair intelligently removes undesired sounds from a le with natural-soundingresults.

This tool treats areas selected in spectrogram/waveform display as corrupted audio thatwill be repaired using information from outside of the selection.

When used with a time selection, it is able to provide higher quality processing than De-click for long corrupted segments of audio (above 10 ms).

When used with a time/frequency, lasso, brush, or wand selection, it can be used toremove (or attenuate) unwanted sounds from recordings, such as squeaky chairs,coughs, wheezes, burps, whistles, dropped objects, mic stand bumps, clatteringdishes, mobile phones ringing, metronomes, click tracks, door slams, sniffles, laughter,background chitchat, digital artifacts from bad hardware, dropouts from broken audiocables, rustle sounds from microphone movements, 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 advancedresynthesis techniques.


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ATTENUATEThis 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 magnitudesfrom the surrounding area, resulting in the removal of the sound without leaving anaudible gap behind.

Attenuate does not resynthesize any audio. It modies dissimilar audio in your selectionto be more similar to the surrounding audio.

This mode is suitable for recordings with background noise or where noise is theessential part of music (drums, percussion) and should be accurately preserved. It'salso good when unwanted events are not obscuring the desired signal completely. Forexample, this mode can be used to bring noises like door slams or chair squeaks downto a level where they are inaudible and blend into background noise.

REPLACEThis 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 surroundingdata.



PATTERNThis mode nds the most similar portion of the surrounding audio and uses this toreplace the corrupted audio.

Pattern mode is suitable for badly damaged audio with background noise or for audiowith repeating parts.

PARTIALS + NOISEThe advanced version of Replace mode. It restores harmonics of the audio moreaccurately with control over the Harmonic sensitivity parameter.

This mode allows for higher-quality interpolation by explicit location of signal harmonicsfrom the 2 sides of the corrupted interval and linking them together by synthesis.

Partials + Noise is able to correctly interpolate cases of pitch modulation, includingvibrato. The remaining of non-harmonic material (“residual”) is interpolated using Replacemethod.

APPLYING SPECTRAL REPAIRTo start working with Spectral Repair, switch to the spectrogram view by draggingthe spectrogram/waveform transparency balance slider to the right. Next, identify theunwanted event on a spectrogram and select it using a selection tool. You can auditionthis 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 thenoise oor, replace it with audio from around the selection, or generate entirely newaudio to t the selection.

Note: Some unwanted events consist of several separate regions on a spectrogram. Insome cases, it's possible to achieve more accurate results by repairing several smallerselections one by one, instead of one large selection. Also, you can use the Find SimilarEvent tool to save time when searching for and xing many similar events in large les.

Once you've found the event(s) to repair, select the appropriate Spectral Repair modefrom the tabs at the top of the Spectral Repair settings window. Sometimes it's worthtrying several different methods or number of bands to achieve the desired result. Ahigher number of bands doesn't necessarily mean higher quality! We encourage youto use the Compare Settings window to experiment and nd the best settings for theproject at hand.



Common parameters for many modes include Surrounding region length that determineshow far around the selection Spectral Repair will look for a good signal. Before/afterweighting allows you to use more information from either before or after the selectionfor interpolation. For example, if your unwanted event is just before a transient (such asa drum hit) in the audio, you may want to set this parameter to use more of the audiobefore the selection to prevent smearing of the transient into the selection.

PROCESSING LIMITATIONSDepending on the mode and settings, Spectral Repair will have varying limits to theamount 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.

BANDSSelects the number of frequency bands used for interpolation. A higher number of bandscan provide better frequency resolution, but also requires wider surrounding area tobe analyzed for interpolation. A lower number of bands is ideal for processing shortselections or transient signals.

MULTI RESOLUTIONThe multiresolution mode enables uses better frequency resolution for interpolationof low-frequency content and better time resolution for interpolation of high-frequencycontent.

The multiresolution processing option is available for each of the Spectral Repair modesindividually.

STRENGTHAdjusts strength of attenuation in Attenuate mode.



DIRECTIONIn Attenuate mode, Direction determines whether material to the left and right(Horizontal), above and below (Vertical), or both horizontal and vertical (2D) is used inrepairing the selection.

Modes other than Attenuate all use Horizontal mode, and do not display this option.

SURROUNDING REGION LENGTHDenes how much of the surrounding content will be used for interpolation.

Surrounding region shading

When using the Spectral Repair module, your selections will be shown with a dottedline surrounding your selected region. This dotted line is directly controlled by the

Surrounding Region and Before/After Weighting controls inside of your Spectral Repairmodules, and provides a visual representation of your set values.

The surrounding region is the region that RX uses for interpolation of the selected region.The data from the surrounding region is used to restore the selected region.

BEFORE/AFTER WEIGHTINGGives more weight to the surrounding audio before or after the selection

PATTERN SEARCH RANGEIn Pattern mode, selects the length of the audio segment used in a search for a suitablereplacement interval. For example, setting it to 5 seconds will allow search within ±5second range from the selection.

HARMONICS SENSITIVITYAdjusts amount of detected and linked harmonics in Partials + Noise mode. Lower valueswill detect fewer harmonics, while higher values will detect more harmonics and can

introduce some unnatural pitch modulations in the interpolated result.



Deconstruct

Deconstruct lets you adjust the levels of tones and noise independently in your audio.


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This module will analyze your audio selection and separate the signal into its tonal andnoisy audio components. The individual gains of each component can then be cut orboosted individually.

This can be useful for a variety of audio les and applications, ranging from increasing

the “breathiness” of a ute to removing noisy distortion buried among tonal content. TheDeconstruct module may produce better results than the De-noise module when thenoise is highly time-variable, such as residual vinyl noise after de-clicking/de-cracklinghas been applied.

As opposed to De-noise, which separates signal from noise based purely on amplitude,Deconstruct analyzes the harmonic structure of a signal independently of level. It doesnot matter if a tonal signal like hum is quiet or prominent in a signal. Deconstruct willalways consider it tonal and adjust its gain accordingly.

TONAL GAIN DBAdjusts the gain of tonal components of the signal. Adding a boost can help lift a tonalsignal (voice or instrumental) out of a noise oor.

NOISY GAIN DBAdjusts the gain of noisy components of the signal. This can be really useful forhighlighting areas of raspiness or distortion only, and then attenuating the noisy gain toreduce the overall distortion.

TONAL/NOISY BALANCEBalances Deconstruct’s separation algorithm between tonal and noisy audio content.Balance towards tonal will make Deconstruct consider some noisy audio to be tonal andapply gains accordingly, and vice versa.



De-reverb

De-reverb gives you control over the amount of ambient space captured in a recording. Itcan make large cathedrals sound like small halls and make roomy vocals sound like theywere recorded in a treated space.

Reverb is the ambient sound of audio energy as it loses power in a space. We can thinkof 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 thesize of the space, the materials in it, and the geometry of its construction.

Reverb tails also have an important time component: early reections. Early reectionsare the rapid echoes of a direct sound from a nearby surface. They are often distinct fromthe rest of a reverberant tail because they have a lot of energy but end quickly. Earlyreections typically comprise the rst 5 to 100 milliseconds of a reverb tail.

If a listener (or a microphone) is close to the source of a direct sound, the direct soundis perceived more than the reverb. If a listener is farther away from a direct sound, morereverb is perceived in relation to the direct sound. A listener moving away from thedirect sound in a space will eventually cross a threshold where the reverberant signal isperceived as prominently as the direct signal.

De-reverb processes audio according to the reverberant/direct ratio (also known as wet/dry ratio) detected in the signal. It can learn your audio to suggest some frequency anddecay time settings, or you can estimate these yourself.


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De-reverb has the effect of sharpening a signal in time. You can notice this transitionin the spectrogram: reverberant audio looks blurred, and cleaned audio appears more

focused. Here, a recording of a distant speaker (left) has had its long tails processed(center) before another De-reverb pass with shorter tail lengths to tackle the earlyreections (right).

LEARNING A REVERB PROFILE

To nd the best settings for your signal quickly, nd about ve seconds of audio thatstarts with noise and has both direct signal and reverberant tails.

RX De-reverb can suggest some settings based on your signal.

Find ve to ten seconds of audio that starts with noise and has both a direct signal and areverberant tail.



Direct signal, reverberant tail, and noise are all important to help De-reverb understandyour audio and set its controls appropriately. It needs to understand the ratio of dry signalto reverberant signal, how long reverb tails last, and where the noise oor of your signalis (to avoid excessive processing).

If you are having trouble nding a good portion of audio to help De-reverb learn a goodreverb prole, try running the Learn feature on any transient audio where both the directsignal and reverberant tail are apparent.

COMPLICATED REVERBSIf the audio you are working with has a very complex reverb, such as a reverb withapparent early reections, you may get better results after trying a few passes of De-reverb.

First, start by training the De-reverb and set the Reduction amount to a value that yieldsgood results on the long reverberant tail. After processing, Learn a new reverb proleand try reducing the level of early reections: set the Tail Length control to 0.5, ArtifactSmoothing around 3.0, and increase Reduction.

A combination of De-reverb and De-noise can be used to tame very reverberant signals.It does not matter whether you process with De-reverb or De-noise rst.



DE REVERB CONTROLS

Learn

Teaches De-reverb how much reverb is in your signal.

The Learn feature analyzes the signal and determines the wet/dry ratio per frequency ofyour signal, as well as the overall rate of decay of reverb.

When the Learn operation completes, the Reverb Prole and Tail Length controls will beset to their suggested values.

The Learn operation can be performed on any reverberant audio. We stronglyrecommend using the Learn feature on a selection of audio that starts with some noiseoor (or room tone), is several seconds long, and includes both the direct signal and itsreverberant tails.

Try to nd a good ve second slice of reverberant audio. If you can nd enough directsignal and reverberant tails to ll the De-reverb signal trace meter while using Learn, youwill probably get a good reverb prole.

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; and



• learning for a longer amount of time — most reverb can be analyzed in a fewseconds, but some reverb proles can require up to ten seconds of analysis.

Metering

The top meter shows a comparison between the input and output signal energy over thepast ve seconds of playback.

The bottom meter shows the amount of reverb reduction over time. It is the differencebetween input and output plotted on a at line.

Both of the meters together give you an idea of what De-reverb considers reverb andhelp you rene your settings.

Reduction

Controls the amount of De-reverb effect applied.Larger amounts mean more reverb is removed. Smaller amounts perform lessprocessing.

This control represents the target wet/dry ratio for processing. In other words, if it is setvery high, it will treat the signal as though it has more reverb and process it more.

If the output of De-reverb sounds unnatural after Learning, try slowly turning this controldown rst.

Negative reduction will increase the amount of reverb in the signal.

Reverb Prole

Controls the amount of De-reverb effect applied per band. These controls are setautomatically by the Learn feature.

If a group of reverberant tones are more prominent in a signal, increase the control forthat 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 particularband, set that control higher.

These controls can also be used to address more prominent ringing or resonant groupsin signals. For example, increasing the prole control for low frequencies can removemuddiness from a resonant bass guitar, while increasing the high band control can curtailringing sibilance in live vocal recordings.



Tail length

Controls the decay of De-reverb processing.

This control is an approximation of RT-60, the rate of time it takes for a reverberant signalto decrease in amplitude by 60 dB.

This is automatically set by the Learn feature.

Increase this control if reverb tails reappear after processing, or if early reections are tooapparent.

Decrease this control if reverb tails and noise oors sound over-processed, or if theprocessed audio sounds dull.

This control can be set to its minimum setting to process early reections.

Artifact smoothing

Controls the frequency accuracy of De-reverb processing.

Because reverb is generally smooth across the frequency spectrum, the default valueof this control is very high. However, if you need more accuracy to address issues likeresonant tones in a room, you can decrease this control. The tradeoff is generally moreartifacts from strong processing, so you may have to balance adjusting this and theReduction control.

Enhance dry signalIncreases the level of the direct signal.

Boosting the non-reverberant signal can help create more dynamic range in the signaland is a good option to try when working with voice or transient material. EnablingEnhance Dry Signal can also help prepare material for later de-noising.

Output reverb only

Changes the output of De-reverb from the processed signal to the wet reverberant

signal.

This is useful for monitoring the processing to get better results. Hearing just the reverbhelps you understand the impact of controls like Reduction, Reverb Prole, Tail Length,and Artifact Smoothing.



When this option is enabled, the output may not sound much like reverb because it is thedifference of processing against the original signal, with some enhancement to exposemore of the reverb apparent in the recording.

Using De-reverb as a real-time plug-in

De-reverb is available as a VST/AU/RTAS/AAX real-time plug-in inside your DAW orNLE. However, due to the complexity of this processing, it can be resource intensive. Toachieve high-quality results, it is always best to bring the audio le in question into RXEditor (via RX Connect or by opening it directly), applying De-reverb, and then returningthe le back to your original session.



Leveler




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is not unusual to see the resulting output of Leveler not be an exact 1:1 with the denedTarget Level. At high target levels, the leveler may not be able to hit the target withoutclipping, so the target level will not be reached.

RESPONSIVENESSSets the integration time for RMS level detection. Similar to the attack/release setting ona compressor. Lower settings will result in more aggressive Leveling, useful if a signalhas a lot of sudden variations. Higher settings will result in smoother behavior, levelingwords or phrases rather than individual syllables. If you nd the Leveler is responding toany sudden unwanted sounds, such as a cough, and boosting it, a increase the slider to ahigher value to see if this results in less aggressive jumps.

PRESERVE DYNAMICSThis can be thought of the maximal amount of gain applied by the Leveler, the wider therange of gain adjustments allowed, the further away from the original dynamic range theaudio signal will be.

A lower values, the Leveler will preserve fewer of the original dynamics in the audiosignal, and at higher values, the Leveler will preserve more of the original dynamics in theaudio signal.

ESS REDUCTION

Ess reduction is aimed at anyone using the Leveler on dialogue or vocals, and utilizes asmart algorithm, inspired by the DBX 902 De-esser, to detect when ess is present in asignal, and then attenuate it accordingly. This avoids adding any boost to esses, whichmay otherwise be seen as quiet sounds requiring a boost. The slider sets the amount ofess reduction applied, in dB.

BREATH CONTROLThis will automatically detect breaths in your vocal takes and attenuate them. This can bean essential tool when editing a dialogue or vocal track by streamlining a task that can be

time-consuming when performed manually.

Breath Control automatically analyzes the incoming audio take and distinguishesbreaths based on their harmonic structure. If any piece of the incoming audio matchesa harmonic prole similar to a breath, the Leveler will apply a Clip Gain adjustment.Different from a 'Threshold' based process in which the module is only engaged once


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the audio has risen to a certain volume, this feature will perform its analysis regardlessof level. This allows for accurate breath recognition with a multitude of quiet or louddialogue / vocal styles with minimal adjustment of the module's controls.

The slider represents the desired level, in dB, that you wish all detected breaths to

be reduced to. This can result in much more natural sounding breath reduction as thedetected breaths in your audio are only reduced when necessary. Loud and abrasivebreaths will be reduced heavily, and quiet, natural sounding breaths will be left at thesame volume. The volume level specied by this slider is a guide, but may not result inexact values.

LIMITERThe Leveler has an inbuilt Limiter, in order to avoid introducing any clipping to the audiosignal once the Clip Gain envelope has been applied.

This cannot be adjusted, but you’ll see the Clip Gain envelope smooth off an audio signalif you’re pushing peaks close to 0 dB.



EQ Match

The EQ Match module lets you match the EQ prole of a selection with the prole ofa different selection. This is useful if you’re ever tasked with matching a lav mic with aboom mic, matching location dialogue to ADR or vice versa, or perhaps you had multiplemics on an audio source that you’d like more closely aligned in terms of frequencyresponse.


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AMOUNTThe Amount slider sets how closely the frequency spectrum you’re processing willbe matched to the learned spectrum. Many times, using a 100% match could soundunnatural, and lower values, between 10-40% do enough to make the two audio signals

more closely aligned.

EQ MATCH BETWEEN SELECTIONS1. Open the EQ Match module (Process > EQ Match, or by clicking EQ Match in

the modules list on the right side of RX).

2. Make a selection in a le.

3. Click Learn.

4. Make another selection.

5. Click Process.

SAVING SPECTRUMS AS EQ MATCH PRESETS1. In EQ Match, click the gear to the right of the preset drop-down menu.

2. Select Add Preset.

3. Enter the name for the new preset.

4. Press Enter.



Ambience Match

The Ambience Match module lets you match the noise oor of one recording to anotherrecording. For example, you can recreate the ambience of a live set on your ADR tracks.

The module analyzes the noise oor in your recording and creates a snapshot of it,similar to the noise print in the De-noise module. Then you can use this noise print tosynthesize similar noise in another recording.

The Ambience Match algorithm analyzes an audio selection, rejects silence, and thennds the lowest common denominator (the noise that is common across the audio le)and treats that as the ambient prole.


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To train Ambience Match, provide it with a selection of raw noise. If there is no singlefragment of raw noise, or you want to save time, speech can be used. The algorithm willintelligently discard speech and only leave noisy parts in the noise print.

To match the ambience between selections:

1. Open the Ambience Match module (Process > Ambience Match, or by clickingAmbience Match in the modules list on the right side of RX).

2. Make a selection in a le.

3. Click Learn.

4. Make another selection.

5. Adjust the Trim level as desired. The Trim control adjusts the level ofsynthesized ambience.

6. Select Output Ambience Only if you want the selection replaced with only theambience from the rst selection.

7. Click Process.

Note: The Ambience Match module cannot reduce the amount of ambience that alreadyexists in the selection, it can only increase it. To reduce the ambience, use the De-noisemodule .

To create an Ambience Match preset:

1. In Ambience Match, click the gear icon to the right of the preset drop-downmenu.

2. Select Add Preset.

3. Enter the name for the new preset.

4. Press Enter.

USING AMBIENCE MATCH AS AN AUDIOSUITE PLUG INIn addition to applying Ambience Match inside of the RX Audio Editor, it can also be usedas an AudioSuite plug-in inside of Avid’s Pro Tools or Media Composer.

When using Ambience Match inside of Pro Tools or Media Composer, we recommend notlearning from audio that contains fades within the selection or the handles. As AmbienceMatch establishes an ambient prole using the lowest common denominator, learningfrom audio that’s being faded in may result in inconsistent detection of the noise oor.Handles can be preserved by using Ambience Match in clip-by-clip mode.


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When using Pro Tools, you may see an inconsistent result as a result of Pro Tools addingdithering to fades, which varies based on the session's bit depth. Since this ditheringnoise almost certainly doesn't match the material's noise prole, this will throw offAmbience Match. If you’re running a session in 16 bits, the dither added by a fade will besufficient enough to affect the detection algorithm. The problem is less pronounced in 24or 32 bits. To adjust the bit depth of your session, go to Setup > Session in Pro Tools.



Time & Pitch

Time & Pitch uses iZotope’s sophisticated Radius™ algorithm to give you independentcontrol over the length and pitch of your audio. It is useful for retuning audio to t in a mixbetter, or adjusting the length of audio to deal with BPM or time code changes.


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Time & Pitch’s Pitch Contour tab can be used for faster pitch shifting with the ability tocorrect variations in pitch over time.

IZOTOPE RADIUS

iZotope Radius™ is a world-class time-stretching and pitch-shifting algorithm. You caneasily change the pitch of a single instrument, voice, or entire ensemble while preservingthe timing and acoustic space of the original recording. iZotope Radius is designed tomatch the natural timbres even with extreme pitch shifts.

ALGORITHMYou should use Solo mode only when processing a single instrument with a clearlydened pitch. The human voice is a good candidate for solo mode, as are most stringedinstruments, brass instruments, and woodwinds. For most other types of source material,Radius mode will usually offer better results. If speed is important, use the Radius RTmode.

SOLOIn Solo mode, the adaptive window size can signicantly affect the quality of Radius'soutput. If the adaptive window size is too small, you will hear a squeaking noise whichsounds like the pitch of the audio is changing very rapidly. If the adaptive window size istoo large then the sound will become grainy as you will begin to hear portions of it beingrepeated.

A good approach is to start with the default window size of 37 ms. If the results areunsatisfactory, increase the window size until the squeaking noise described abovedoes not occur. If you cannot get the distortion to disappear, switch to Radius mode forprocessing.

Lower pitched instruments and voices may require a longer adaptive window size thanthe default, but very long adaptive window sizes can cause audible repeating slices ofaudio.

FORMANT CORRECTIONFormants are the resonant frequency components of voice that tend to be perceived ascharacteristics like age and gender. You can shift formants independently of pitch andtime by enabling Shift Formants.



Typically you will leave the Formant Shift Strength set to 1 (full strength) and the FormantShift Semitones set to 0. If you hear what sounds like an EQ adjustment to your audio,you can try lowering the strength to reduce this artifact. To achieve special effects, forexample to change the perceived gender of a human voice, try adjusting the semitonesto a value other than 0.

STRETCH & SHIFT CONTROLS



Stretch Ratio

Determines how much the resulting audio will be stretched in time. Values between12.5% and 100% will cause the audio to speed up without affecting pitch, resulting in ashorter audio le. Values between 100% and 800% will cause the audio to slow down

without affecting pitch, giving you a longer audio le.

BPM Calculator

If you are using Radius to process audio for a tempo change, you can also adjust thestretch ratio with the BPM Calculator.

Pitch Shift

Controls the amount of pitch shifting up or down that will be applied to the audio.

AlgorithmThe Algorithm drop-down menu has three options:

• Radius — designed to work well with polyphonic material such as mixes withmore than one instrument, as well as non-harmonic material such as drumloops or rhythmic audio. This is the highest-quality option for most sources.

• Solo Instrument — designed for monophonic pitched material such as astringed instrument or human voice.

• Radius RT — good quality, polyphonic, but faster than Radius.

Transient Sensitivity

Determines the algorithm’s handling of transient material. Higher values will result inbetter preservation of individual transients after processing.

When stretching percussive material, you usually want transient sensitivity set to itsdefault value of 1. If transients in your audio are being “smeared”, a higher value of 2 willtighten up transience at the expense of incurring heavier processing on non-transientaudio.

Bowed instruments such as the violin and cello are especially affected by the transientsensitivity setting. If you hear a stuttering artifact, lower the transient sensitivity toeliminate it.

Noise Generation (Radius mode only)

Helps noisy material (like sibilance or snare drums) sound more natural when processed.



This control will generate noise instead of stretching the noise that is already present inthe signal and creating new tones. Higher values of the noise generation parameter willcause Radius to generate noise more often, but can cause some phase artifacts.

Pitch Coherence (Radius mode only)

Controls the preservation of the natural timbre of the processed audio.

The Pitch coherence control in the Radius control panel helps preserve the timbre forpitched solo voices, such as human speech, saxophone or vocals. While traditionalvocoders can smear these signals in time and randomize phase, the pitch coherenceparameter of Radius preserves phase coherence for these signals.

High values of pitch coherence will avoid phasiness in Radius's output at the expense ofroughness (modulation) in processed polyphonic recordings. Try turning this up for betterresults 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 processedaudio.

This should be increased if there's any change in the perceived stereo image after usingRadius. It can be decreased when processing a multichannel signal where differentchannels 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 soundslike the pitch of the audio is changing very rapidly. If the adaptive window size is toolarge then the sound will become grainy as you will begin to hear portions of it beingrepeated.

Increase this if you have trouble getting good results pitching or stretching low-pitchedinstruments or voices.

Shift Formants

Processes formant frequencies independently of other pitch and time processing.

When this option is enabled, formant frequencies can be shifted independently of otherpitch shifting performed by Radius.



When Radius performs pitch-shifting without Formant Correction, it will shift theseresonant frequencies along with the rest of the audio.

• Strength — adjusts the amplitude strength of the formant correction lter.

• Shift — how much formant frequencies are shifted. Typically this controlcan be set to 0, which leaves the formant frequencies unshifted duringprocessing. Adjust this control to ne-tune the formant correction algorithmor for special effects.

• Width — controls the bandwidth of the formant detection lter. Smallervalues of this control will offer more precise formant correction in theprocessed audio. Higher values will include a wider band of formantfrequencies.

Pitch shifting single instruments (especially bass instruments) can benet from someadjustments to formant correction. Try enabling formant correction and moving thestrength between 0.1 and 0.2. Move the Formant Correction semitones part of the waytowards your pitch shift amount. For example, if you're pitch shifting +4 semitones, movethe Formant Correction Semitones between 2 and 3. This can help bring back subtlepercussive elements in the original source material.

The formant frequencies of the human voice can actually shift slightly when we sing. Youcan use the Formant Correction Semitones control to compensate for this. For example,if pitch shifting a human voice by +7 semitones, try setting the Formant Correctionsemitones between 0 and +2 for more natural results.

PITCH CONTOUR CONTROLSThe Pitch Contour mode of the Time & Pitch module lets you change the pitch of aselection over time. This can be used to quickly correct small pitch variations or gradualpitch drifts over time.

The Pitch Contour changes pitch by continuously changing the playback speed of theaudio. The effect is similar to speeding up or slowing down a record or tape deck while itis playing back.

Because the Pitch Contour uses resampling to synchronously change time and pitch, itcannot be used to adjust pitch without also adjusting time.



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 le.

The vertical axis shows the amount of pitch shifting that will be applied. A curve throughthe top half of the display will create a higher shift in pitch and shorten the audiocorrespondingly. A curve through the lower half of the display will create a lower shift inpitch and lengthen the audio correspondingly.

You can correct a gradual pitch drift over time by adjusting the points at the far left orright of the display, drawing a straight sloping line from the beginning of your selection tothe end. These points are locked to the vertical axis.

Clicking on the contour display will create a new pitch node. You can create up to 20pitch 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 ne control over a pitch node’sposition.

Smoothing

Larger values create a smoother pitch curve when multiple pitch nodes are present. Thisis useful when correcting a nonlinear change in pitch.

Reset

Clears all pitch nodes and returns the Smoothing control to its default value.



Loudness

The Loudness module adjusts the gain of the signal in order to meet the speciedloudness standard, such as BS.1770. Unlike the Leveler module , the gain in Loudnessmodule stays xed in time. However a post-limiter will be applied to the signal, if it isrequired to meet the True peak specication.


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To use Loudness:

1. Make a selection in your le. If you want to apply Loudness to the entire clip,click Edit > Select All or Edit > Deselect All.

2. Click Process > Loudness.

3. Select a preset, or make adjustments to the Integrated loudness and/or Truepeak sliders.

4. Click Process.

LOUDNESS STANDARDSpecies the loudness standard used for calculating loudness and sets Integratedloudness and True peak sliders to the target values typical for the standard.

LoudnessStandard Integrated

IntegratedTolerance

(+/-)Short-term Momentary

TruePeak Gating

AGCOM219/09/CSP -24 0 .5 Off Off -2 On

ARIB TR-B32 -24 2 Off Off -1 On ATSC A/85 -24 2 Off Off -2 OnBS .1770-1 -24 2 Off Off -2 Off

BS .1770-2/3 -24 2 Off Off -2 OnEBU R128 -23 0 .5 Off Off -1 On

OP-59 -24 1 Off Off -2 On

INTEGRATED LOUDNESSSets the desired integrated loudness of the clip, in LKFS (which is the same as LUFS).

TRUE PEAKSets the maximum true peak value allowed in a clip.

Note that some combinations of Integrated loudness and True peak level may beincompatible. For example, having loudness of −10 LKFS is not compatible with a truepeak value of −20 dBTP. When settings are incompatible, the Loudness module willdisplay a warning at the end of the processing pass.



Module Chain

The Module Chain is designed to facilitate quick, simple editing, and speed up theworkow of anyone who nds themselves performing the same editing tasks again andagain.


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Module Chain is able to load and save custom processing chains incorporating multipleprocessing modules, including multiple instances of the same module, and then allowyou to load any saved processing chain, in order to re if off with a single click. This isespecially useful if you nd yourself repeatedly applying the same modules with thesame/similar settings and in sequence.

Module Chain ships with many presets to help get you up and running. A typical chain fora dialogue or vocal recording might be something such as:

1. De-click, to reduce mouth noise

2. Dialogue De-noise, a gentle noise reduction

3. De-plosive, to remove plosives

4. Corrective EQ, to establish a smooth vocal sound

5. Dialogue De-noise, as a second pass, because two gentle passes of de-noising often sounds more transparent than one heavy handed pass

6. Channel Ops - Phase, adaptive phase rotation to minimize peaks andimprove headroom

7. Leveler, to smooth the dialogue/vocal out pre-compression, and reduce essand breath

8. Loudness, to have that audio hit at a specic target level to mix around

INSERTING/REMOVING A MODULE

The x/+ buttons to the right of the insert allow you to add or remove a module from thechain.



SELECTING A MODULE

The drop-down menu allows you to select which module and tab you’d like to insert.

EDITING A MODULE

Clicking Edit will load a unique instance of that module, specic to the Module Chain, inwhich you can load a preset for that module and tab, or dene your own custom settings.Custom settings dened via the Module Chain do not interact with the modules proper,located on the right. Clicking Edit again will close that Module’s window.

RE ORDERING A MODULE

You may adjust the signal ow by left clicking and dragging any given module via the leftcorner of the insert slot. When mousing over, a hand grabber tool will indicate modulecan be reordered.

BYPASSING A MODULE

If you wish to bypass any given module, clicking here will retain that module’s position inthe chain, but it won’t affect the processing.



SAVING A PRESETPresets are crucial to the Module Chain, as they will allow you to recall any processingchain and reprocess any audio le at will. Preset functionality is covered in Working withRX Application modules .



Plug-in Hosting

RX supports the use of VST, AudioUnit (AU), and DirectX plug-ins. To enable the use ofplug-in hosting, open the Plug-in module.

You can run RX in 32-bit mode if you need to use 32-bit VST, AU, or DirectX 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. Youcan use this menu to congure which mode RX runs in.

Note: When used as a VST in RX, iZotope Insight's loudness history does not run duringoffline processing. You will not see metering details, unless you are using Preview.

SELECTION BASED PROCESSINGWith a plug-in loaded into RX's Plug-in module, you can make use of the same audioselection 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 withyour existing plug-ins, giving you audio selection options unavailable in a traditional DAWsetup.


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PLUG IN PRESETSOnly one plug-in may be loaded at a time. However, with the use of presets, multiplesettings and presets may be recalled quickly in order to move between plug-in instances.

When your plug-in is congured the way you would like it, select Add Preset from thesmall Preset drop down arrow.

ASSIGN PRESETS TO KEYBOARD SHORTCUTSOnce your preset is named and saved, you can then assign that plug-in and preset to akeyboard shortcut with the Set Preset Shortcut feature.

This keyboard shortcut will recall not only the plug-in settings, but the plug-in instanceitself. As such, if a preset is saved with Plug-in 1, and Plug-in 2 is currently loaded intoRX's plug-in window, pressing the preset keyboard shortcut will re-instantiate Plug-in 1and recall the exact settings when the preset was made.

This can allow for very quick editing, processing, and recall of plug-in instances andsettings, providing a quicker workow than traditional DAW track/mixer environments.



Gain

The gain module is useful for bringing the level of your audio up or down. Gain can alsobe applied to a specic time-frequency selection, allowing you to manually attenuate orboost selections in the Spectrogram window.

Controls for common tasks like normalization and fades are also in the gain module.

GAIN

Boosts or cuts the level of the signal by the designated decibel amount.


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NORMALIZE

Applies enough gain to set the sample peak level of your signal to the specied TargetPeak Level.

FADE

Applies a gradual increase or decrease to gain throughout your selection.

Different amplitude curve options are available in the Fade Type menu. For in-phasetonal material, a Cosine fade curve will work well, while the Equal power fade type canbe more effective on noisy material.


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Fade Type• Log - Logarithmic fade for general use

• Linear - Linear fade for general use

• Cosine - Cosine fade for crossfades of in-phase tonal audio material

• Equal power - Equal power fade for crossfades of noisy audio material

INSTANT PROCESS TOOLThe Instant Process Tool offers both Gain and Fade functions. When using thesefunctions as part of Instant Process, the settings you have engaged in the Gain and Fadetabs of the Gain window will be applied. For example: if the Fade tab is indicating anEqual Power Fade In as show in the previous illustration, this type of fade will be appliedevery time you use the Instant Process Tool in ‘Fade’ mode until you change the settings.



Corrective EQ

RX includes an eight-band parametric Corrective EQ module with six adjustable notch/shelving lters and two adjustable passband lters. The EQ is useful for manually shapingthe overall sound of a le or selection, for both corrective and enhancement purposes.Beyond a traditional equalizer, the Corrective EQ also offers remarkably high Q values forprecision ltering.

EQ can often be a simple rst step to preparing a le for restoration, and can be usedfor cutting harsh high frequencies, removing rumble from dialogue, steeply high passingout wind noise from a location recording, or cutting distortion overtones to increase theintelligibility of a voice.


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To adjust the EQ curves, grab an EQ node and drag it to a new point on the grid. When anode is selected, handles on either side of it appear which can be dragged together orapart 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 TYPEOptions include several lter types, and both an Analog and a Digital mode.

• Analog (IIR) — a minimum-phase EQ with analog-like EQ curves.

• Digital Linear Phase (FIR) — a linear-phase EQ with surgical EQ curves.

You may notice a slight difference in the visual shape of the bell lter when movingbetween Analog and Digital modes. Analog mode follows the traditional shapes ofanalog circuitry, while Digital mode uses special lters designed by iZotope. While theseshapes are similar between the two modes, they will not be identical.

Choosing between Analog and Digital modes

There are reasons why you may want to use one mode over another.


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Analog mode uses shapes based on analog equalizers, implemented as digital IIR lters.One reason to use this mode is that analog bells are narrower than our digital shapes athigh Q values. Since these shapes are minimum-phase, they cause no pre-echos. Also,since they match analog designs, they can be used to emulate what an analog equalizerwould do, or undo damage caused by an analog equalizer.

Digital mode uses special shapes designed to correct audio problems as surgically aspossible, implemented as FIR lters. These shapes, unlike the Analog shapes, affect onlyprecisely dened frequency ranges. In Digital mode the EQ is linear-phase, meaning nophase shift will occur.

FREQUENCY PRECISIONThis controls the number of bands, i.e. frequency resolution vs. time resolution, for theFIR lter. A lower value will increase the frequency resolution, for tighter cuts, at the

expense of potentially introducing lter ringing.

FREQUENCY AND GAINYou can adjust an EQ band by clicking on a circle and dragging it to change thefrequency and gain of the band.

You can click and drag to select multiple lter bands.

Q/BANDWIDTHIf you move the mouse over the bracket handles on the side of the band, you can adjustthe Q or bandwidth of the EQ by dragging with the mouse and widening the band.

You can also adjust Q of the selected lter with the mouse wheel.

VISUALSAs you adjust a band you will see two EQ curves. The white curve is the composite of allEQ bands while the curves colored the same shade as the node shows the EQ curve ofthe selected band.



Channel Operations

Channel Operations contains tools for quickly adjusting the amplitude, time, and phasequalities of any channel in a le.

Many restoration tasks require a simple rebalancing of levels. Channel Operationscorrects a number of issues with the stereo relationship of two channels, includingvariable level problems, phase imbalance, timing, and stereo noise in an otherwise mono

signal.


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MIXING

Provides specic control over both left and right signal and balance levels. This simpleoperation 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 dene how much of the current selection’s left and right channel signal willbe present in the new target left channel.

Right Output Mix (%)Allows you to dene how much of the current selection’s left and right signal will bepresent in the new target right channel.



PHASE

Balances asymmetric waveforms by rotating signal phase. Rotating the phase of a signalchanges its peak values but doesn’t change its loudness, and otherwise has no audibleeffect on the signal.

Asymmetric waveforms can occasionally occur in audio such as dialogue, voice, andbrass instruments. Making the waveform more symmetrical gives the signal moreheadroom.

By rotating the phase of a waveform, you change its amplitude characteristics. Phaserotation does not result in a time shift.

Because the range of rotation is from −180 to +180 degrees, the Phase tool can be usedfor simpler purposes, such as inverting signal polarity.



The waveform on top is a trumpet signal with higher peak values on one side of itswaveform.

The lower waveform has been rotated in phase by −72 degrees to distribute its peaksamples more evenly.

Adaptive Phase Rotation

Continuously analyzes the audio selection and applies the time-variable phase rotationto both left and right channels, resulting in a symmetrical waveform with minimal signalpeak levels.

Adaptive phase rotation is best used on vocal material, as it can occasionally yield pitchartifacts on musical material.

Rotation (deg)

Rotates the channel’s phase by the specied degree.

When a waveform’s phase is rotated, every frequency is rotated equally. Rotating phaseby 180 degrees inverts the waveform.



Suggest

Analyzes the selection for the ideal channel-linked xed phase for reducing overall peaklevels of the signal.

AZIMUTH

Provides control over left and right channel gain and delay.

Azimuth adjustment can help repair stereo imbalances and phase issues that can occurwith 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 matchthe level of the left channel.



Delay (samples/ms)

Allows for manual adjustment over the delay in samples or milliseconds of the left andright audio channels.

For very accurate azimuth correction, RX uses oversampling to achieve sub-sampledelays.

Adaptive Azimuth Alignment

Enables automatic time-variable adjustment of the right channel's sample delay in orderto align the waveform with the left channel.

Suggest

Analyzes the selection and determines the appropriate amounts of xed gain and delay

to apply in order to align the two channels.

EXTRACT CENTER

Preserves or removes the center of a stereo le.

Extracting the center will retain the center of a stereo eld and attenuate everything onthe sides, such as signals panned 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 encoding (which wouldsum 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 unevenbetween channels, extracting the center can remove a lot of noise.

For example, a mono record transferred to a stereo tape would have side channel noisethat would be suppressed by extracting the center channel.

Keep Sides

If you want to preserve the wide stereo information and remove the center information,you can keep the sides of the signal instead. This is useful for karaoke-style removal ofvocals 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 theoriginal panning of the sides.

• Pseudo pan — extracts the side information and articially 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.

http://localhost/var/www/apps/conversion/tmp/scratch_2/#h.hgqdno8mbe15

http://localhost/var/www/apps/conversion/tmp/scratch_2/#h.hgqdno8mbe15



Resample

Resample allows you to convert an audio le from one sampling rate to another.

Sample Rate Conversion (SRC) is a necessary process when converting material fromone sampling rate (such as studio-quality 96 kHz or 192 kHz) to another rate (such as 44.1kHz for CD or 48 kHz for video).

It is common to record and edit in high sampling rates since higher rates allow higherfrequencies to be represented. For example, a 192 kHz audio sample can representfrequencies up to 96 kHz whereas a 44.1 kHz audio sample can only representfrequencies up to 22.05 kHz. The highest frequency that can be represented accuratelyby a sampling rate 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 thefrequencies that cannot be represented at the lower sampling rate. Leaving frequenciesabove this point causes aliasing. Aliasing can be heard as the frequencies in an inaudiblerange are shifted into an audible range, causing distortion and noise. With iZotope SRC'ssteep low-pass lter, users can completely avoid the common aliasing artifacts whilemaintaining the maximum frequency content. A comparison of iZotope’s SRC processversus other sample rate convertors can be viewed at: http://src.innitewave.ca/

You can also engage the Post-limiter option in order to limit the output levels of yoursignal to prevent any clipping from occurring.

http://src.infinitewave.ca/

http://src.infinitewave.ca/




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Higher lter steepness means better frequency performance of the lter: wider passbandretains more useful signal, while stronger stopband attenuation provides better rejectionof aliasing. At the same time, higher steepness of the frequency response requires alonger lter, which produces more ringing in time domain and energy smearing near thecutoff frequency.

CUTOFF SHIFTSRC lter cutoff frequency shift (scaling multiplier).

Allows shifting the lter cutoff frequency up or down, to balance the width of a passbandvs. amount of aliasing.

PRE RINGING

SRC lter pre-ringing amount in time domain (0 for minimum phase, 1 for linear phase, oranywhere in between).

Adjusts the phase response of the lter, which affects its time-domain ringingcharacteristic. The value of 0 produces a minimum-phase lter, which has no pre-ringing,but maximal post-ringing. The value of 1 produces a linear-phase lter with a symmetricimpulse response: the amount of pre-ringing is equal to the amount of post-ringing.Intermediate values between 0 and 1 produce so-called intermediate-phase lters thatbalance pre- and post-ringing while maintaining linear-phase response across a possiblywider range of frequencies.

POST LIMITERKeeps true peak levels of the output signal below 0 dBTP to prevent any clipping fromoccurring.

This option is important when resampling signals that are very close to 0 dB, becauseltering during resampling can change peak levels of a signal.



Dither

Dither is a necessary process when converting from a higher bit resolution to a lower bitresolution.

Dithering is used to tame the quantization distortion that happens when convertingbetween bit depths due to requantization. Dither also preserves more of the dynamicrange of a signal when converting to a lower bit depth.

The Dither module applies iZotope's MBIT+ dithering and noise shaping technology tomaintain the highest audio quality possible when you are converting to 24, 20, 16, 12, or 8bits.

MBIT+ uses psychoacoustic methods to distribute dithering noise into less audibleranges. The result is a more pleasing sound and smoother fades.


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NEW BIT DEPTH

This sets the target resolution (bit depth) of the audio le.

NOISE SHAPINGChooses the aggressiveness of dither noise shaping.

It is possible to provide more effective and transparent dithering by shaping the ditherednoise spectrum so less noise is in the audible range and more noise is in the inaudiblerange.

You can control the aggressiveness of this shaping, ranging from None (no shaping, plaindither) through Ultra (roughly 14 dB of audible noise suppression).

More noise shaping can cause slightly higher peaks in your signal, even at high bitdepths.


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DITHER AMOUNTThe 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 distortionor dither noise modulation, while higher settings completely eliminate the non-lineardistortion at the expense of a slightly increased noise oor.

A dither amount setting of High with no noise shaping produces a standard TPDF dither:a common white noise generation method with a triangular distribution of amplitudesbetween −1 and +1 of the Least Signicant Bit (LSB).

AUTO BLANKINGMutes dither output (i.e. dither noise) when the input signal is completely silent (0 bits ofaudio).

LIMIT NOISE PEAKSDither noise is random in nature and has a very low amplitude. However, after noiseshaping, especially in aggressive dithering modes like Ultra, the high-frequency dithernoise is signicantly amplied, and the overall dither signal can show spurious peaksup to −60 dBFS during 16-bit quantization. If such high peaks are undesirable, you canenable this option to effectively suppress the spurious peaks in the noise-shaped dither.

SUPPRESS HARMONICSIf, for some reason, any dithering noise is undesirable, simple truncation remains the onlychoice. Truncation results in harmonic quantization distortion that adds overtones to thesignal and distorts the timbre. In this case you can enable Suppress Harmonics option toslightly alter the truncation rules, moving the harmonic quantization distortion away fromovertones of audible frequencies. This option doesn't create any random dithering noiseoor. Instead it works more like truncation, but with better tonal quality in the resultingsignal. This option is applicable only in the modes without dithering noise and without

aggressive noise shaping.



Batch Processing

Batch Processing allows you to automate processing on groups of les, or apply multiplemodules to les.

JOB BASED BATCH PROCESSINGYou can view the batch processing window at any time by selecting File > BatchProcessing. Each process in RX's Batch Processing window is split into individual Jobs onthe left. If there are no Jobs when the Batch Processing window is rst opened, one willbe created automatically.


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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 les to a Job, click the Add Files button in the Input Files section of the BatchProcessor window or drag and drop in les from Windows Explorer or OS X Finder.

PROCESSING STEPSIn this area, you can dene the specic processing chain that will be applied sequentiallyto each le 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, youcan use a specied preset or custom settings by clicking the View button. Once youhave the module settings the way you would like, click on the Record button to save thesettings into your processing chain.

RUNNING A BATCH PROCESSOnce you are satised with the batch processing chain, use the options at the bottomof the window to specify the destination directory, le naming behavior, timestampinformation, as well as the output le bit depth and dithering options.

When you are ready to run your Job, click the Process button. You will see a progressdialog corresponding to each audio le while RX runs each Job. You can cancel

processing on an individual le by pressing the X next to the le while it’s processing.To cancel the whole Job’s processing, click the Cancel button that replaces the Processbutton.

You can run more than one Job at a time, if necessary.

Note: RX's batch processor will continue to run in the background, allowing you tocontinue working with RX.

If you want to stop the Batch Processor from running to free up some CPU, but want tocontinue your job later, you can use the Pause All button to suspend all running Jobs.

By clicking on the Duplicate Processing Steps button, you can create new Jobs based onsimilar processing chains of modules in RX.

Each Job will also be stored inside of RX independent of the audio les you are workingwith, allowing you to save time by having predened workows and processing chains tobe reused for any future projects.



Waveform Statistics

The Waveform Statistics window shows information about the waveform inside yourcurrent selection. This information can help you nd and x problems like clippingmore easily. It is also useful for comparing two similar selections or les. RX treats yourselection as a full bandwidth (time-only) selection when calculating these statistics.


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To open the Waveform Statistics window, go to the Window menu, and click “WaveformStatistics.” This window can stay open throughout your work to constantly monitor thestatistics of any selection you make.

Waveform statistics automatically update to your current selection. If no selection is

made, the statistics are collected from the entire audio le.

Using the cursor icon next to an item will move the playhead to the position in the lewhere the level was detected.

TRUE PEAK LEVELThe highest peak level detected, including signal levels between digital samples (calledISPs or Intersample Peaks).

True peak reects the expected peak level of the analog waveform after digital-to-analog conversion. In practice, it is calculated by oversampling of the digital waveformaccording to BS.1770-3 standard. Different software may measure true peak levels slightlydifferently, because the standard leaves some freedom in choice of oversampling lters.

SAMPLE PEAK LEVELThe maximum level of digital samples in your selection.

MAX. RMS LEVELThe highest RMS level detected in the selection.

RX measures RMS using 50-ms windows (more specically, a Hann window with a 100-ms period) and references levels using either an AES-17 standard (full-scale sine wave= 0 dB RMS) or a “scientic” standard (full-scale square wave = 0 dB RMS). These RMSmeasurement standards differ by 3 dB and can be chosen in RX Preferences.

MIN. RMS LEVELThe lowest RMS level detected in the selection.

TOTAL RMS LEVELThe RMS level of the entire selection.

POSSIBLY CLIPPED SAMPLESThe number of samples where the true peak signal level exceeds 0 dBTP.


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DC OFFSETThe amount of DC offset, in percent of the full scale. Hover this value with your cursor tosee this level in decibels.

MAX. MOMENTARY LOUDNESS AND MAX. SHORT TERMLOUDNESSThe maximum levels of momentary loudness and short-term loudness (as dened byBS.1770). Momentary loudness is computed on a K-weighted audio signal using 400-mswindows. Short-term loudness is using 3000-ms windows.

INTEGRATED LOUDNESSDisplays the integrated loudness level (as dened by BS.1770-2). Settings in the Loudness

module may switch this eld to BS.1770-1 standard.

LOUDNESS RANGE LRADisplays the loudness range (as dened by BS.1770). This value reects the dynamics ofaudio levels in the selection.



Signal Generator

The Signal Generator is able to synthesize silence, tones, and noise. This is useful forcreating test tones, calibration tones for post production delivery specs, repairing DCoffset, and even using it as a “bleep” module to eliminate obscenities in a dialogue edit.The Signal Generator module is capable of generating extremely accurate test tones forresearch and testing purposes.

To open the Signal Generator module, go to the Process menu and click “SignalGenerator.”


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SILENCE

Silence generates digital silence, which can be used to adjust spacing or duration of yourrecording. DC offset feature can create or remove positive or negative amounts of theDC offset.



TONES

Tone shape

Tone shape allows you to choose the waveform for the signal to be generated, with a

choice of:

• Sine

• Triangle

• Sawtooth

• Square

Freq

Sets the pitch, in Hz, of the signal to be generated, as well as whether you’d like it tomove (sweep) over time, or modulate at a certain rate.

Amp

Amp refers to the amplitude of the tone, and much like freq, allows you to adjust both thestart and end points in dB for the amplitude, if you wish for it to change over time.

Antialiasing

All test tone shapes, except the sinusoid, contain an innite set of harmonics. When

Antialiasing is not selected, these tones are generated in a “naive” way in the timedomain. It leads to aliasing (folding) of higher harmonics into the audible range,which often sounds undesirable. When Antialiasing option is enabled, these higherharmonics are ltered out with a linear-phase low-pass lter. It prevents aliasing, butintroduces some ringing into the waveform, which is usually not a problem, because it isconcentrated near half the sampling rate.



Higher quality of antialiasing produces a lter with a sharper frequency cut, which retainsmore of the useful harmonics and rejects more of the aliased harmonics, at the expenseof more time-domain ringing and slower processing.

Level

Species the sample peak level of the synthesized waveform in dBFS. When Antialiasingis used, actual sample and true peak levels may exceed the specied peak level due tolter ringing.

NOISE

This allows you to generate noise of many different types, with a user denable RMSlevel. These noise types are:

• White Gaussian• White triangular

• White uniform

• White binary

• Pink

• Brown

Noise color denes the spectral shape: white noise has at power spectrum, pink noise

decays at 3 dB/octave rate, while brown noise decays at 6 dB/octave rate.Gaussian, triangular, uniform, or binary relates to the p.d.f., or probability distributionfunction, of the noise. It describes how often samples of different amplitude areencountered in the signal. For example, uniform p.d.f. means that all amplitudes belownoise peak level are equally popular.



PASTING MODE

These pasting modes affect how the signals generated will be placed into your audio le.

Replace

Replace will completely replace the audio in your selection with the generated signal.

Mix

Mix will retain the audio in your selection, and mix in the generated signal.

Insert

Insert will allow you to set a custom duration, in seconds, and the Signal Generator willthen insert this audio, increasing the length of your audio le by the amount prescribed.



RX Connect

The RX Connect plug-in sends a clip, or multiple clips, to the RX 5 standalone applicationfor editing and repair. This gives you access to all of RX 5's modules in one place, andprovides the benets of RX's offline processing and visual interface. RX Connect isavailable from the AudioSuite menu in Pro Tools, or as an AU or VST plug-in from yourhost's effects menu.

For more information on using RX Connect in different hosts, you can check thesubsequent chapters in this manual, or click here for a more detailed list.

SEND FOR REFERENCEThis is meant for analysis only. The clips go to RX 5, but do not come back.

SEND FOR REPAIR

The clips are sent to RX 5 for repair, and you can send them back to your DAW.

https://www.izotope.com/support/kb/index.php/kb/article/644-rx_connect_faq

https://www.izotope.com/support/kb/index.php/kb/article/644-rx_connect_faq



RX Monitor

When using RX Connect, some DAW/NLEs monopolize the system's audio drivers,preventing RX from playing audio through the same output device.

The RX Monitor plug-in acts as an instrument in the DAW/NLE that plays audio from RXthrough the driver being used by the DAW/NLE. This enables you to actually hear theaudio you’re editing in RX without having to close your DAW/NLE, particularly useful if

you’re using RX Connect. Additionally, if you’re editing a le, but you want to hear theend result in the context of any post processing (perhaps you have other mixing plug-insrunning in realtime), RX Monitor will be able to play that audio back in context.

You should insert RX Monitor on an Aux or Instrument track in your DAW/NLE, and it willautomatically connect to RX 5 and play your audio via your host.


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USING THE RX MONITOR AUDIO DRIVER

1. Click Edit > Preferences.

2. Click the Audio tab.

3. In the Driver type drop-down menu, select RX Monitor.

4. Click OK. This will now send the audio output of RX to any RX Monitor plug-inyou have instantiated in your DAW/NLE.

Note: If you are running virus protection software or a rewall on your DAW, you may

need to grant permission for RX Monitor to run.



Using RX Connect with Avid Pro Tools


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WORKFLOW1. Send your audio to the RX Audio Editor by selecting the audio clip(s) in the

timeline that you want to edit, and opening RX Connect from the AudioSuite‘Noise Reduction’ menu.

2. If you just need to load a noise prole or analyze some audio, choose‘Reference’ to send the audio one-way, but for the complete round-tripworkow click ‘Repair’ and then hit ‘Send’. You’ll see this opens the audio inthe RX Audio Editor.

3. With HDX systems, Pro Tools will has control of your audio drivers, so youaren’t able to hear the output of the RX Audio Editor. However, the RX Monitortool is built to solve just this problem. In Pro Tools, create a dedicated auxtrack for monitoring RX, and insert RX Monitor from the ‘Noise Reduction’ or‘Sound Field’ menus,

4. Then, go to the ‘Preferences’ menu in the RX Audio Editor by clicking on thewrench icon in the top-right of the window. In the ‘Audio’ tab, set your Drivertype to be ‘RX Monitor’. Now we can hear the output of the RX Audio Editorthrough your Pro Tools output chain.

5. After you’ve made the desired edits in RX, click ‘Send Back’ at the top of thewindow. Back at the RX Connect window inside of ProTools, click ‘Render’,and the repaired audio will be placed back into your session.

6. Some engineers might choose to create duplicate playlists before making any

repairs to their audio, but you can ‘undo’ these RX Connect changes just likeany AudioSuite process.

7. If you make extensive repairs inside of the RX Audio Editor, you can alsosave an .rxdoc of the le, which will preserve all your adjustments so you canmodify them later if you need to.

AUDIOSUITE MODES

When using Audiosuite plug-ins, there are various user denable input and outputbehaviors, which affect how you may use RX Connect. These behaviors are:


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Input• Clip-by-clip

• Entire selection

Modes• Mono

• Multi-input

Output

• Overwrite les

• Create individual les

• Create continuous les

For the most up to date information on the expected behaviors when using therecommended congurations, please click here .

https://www.izotope.com/en/support/support-information/support/kb/index.php/kb/article/701-rx_connect_behaviors_in_avid_pro_tools_11.3.1+

https://www.izotope.com/en/support/support-information/support/kb/index.php/kb/article/701-rx_connect_behaviors_in_avid_pro_tools_11.3.1+



How to use RX Connect with AvidMedia Composer

When using Media Composer, there are two separate workows for using RX Connectdepending on whether you are operating in Master Clip mode or Timeline Mode.

MASTER CLIP WORKFLOW1. Open the AudioSuite Window from the Tools menu

2. Drag the Master Clip that you wish to edit onto the AudioSuite Window

3. Choose “iZotope RX 5 Connect” from the Plug-in Menu Selection

4. Click the purple Activate Current Plug-in button

5. Press the SEND button in Media Composer 7.0.x, or Optional in MediaComposer 8.1.x to send the audio master clip over to RX

6. When you have nished editing your audio in RX, click the “SEND BACK”button

7. Back in the AudioSuite Window, press the OK button, and then Render Effectto commit changes

8. A new Master clip will now be generated into the designated bin

TIMELINE WORKFLOW1. Open the AudioSuite Window from the Tools menu


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2. Select a single audio track in the Timeline, and then choose “iZotope RX 5Connect” from the Plug-in Menu Selection

3. Click the Activate Current Plug-in button

4. Press the SEND button in Media Composer 7.0.x, or Optional in Media

Composer 8.1.x to send the audio master clip over to RX.

5. When you have nished editing your audio in RX, click “SEND BACK” button

6. In the AudioSuite Window press the OK button, and then Render Effect tocommit changes

When rendering RX Connect as an AudioSuite effect in Media Composer, the resultingaudio will exist in a rendered effect container for the duration of that clip on the timeline.If the clip length is extended beyond those bounds, the rendered effect will become un-rendered, as indicated by a blue dot. To avoid losing the audio in the rendered effect

container, we recommend either:1. Achieve locked picture prior to the audio edit

2. Extend the bounds of the clip prior to the audio edit, perform the audio editwith RX Connect, mixdown the clip to a new audio le, and then reduce thebounds back to the original size

If you make extensive repairs inside of the RX Audio Editor, you can also save an .rxdocof the le, which will preserve all your adjustments so you can modify them later if youneed to.

Monitoring the output of RX Audio Editor

With some audio hardware systems, Media Composer will has control of your audiodrivers so that you aren’t able to hear the output of RX. However, we’ve built the RXMonitor tool to solve just this problem. Create a dedicated auxiliary audio track formonitoring RX, and insert RX Monitor from the “Noise Reduction” or “Sound Field”menus.

Now, go to the “Preferences” menu in the RX Audio Editor by clicking on the wrench iconin the top-right of the window. In the “Audio” tab, set your Driver type to be “RX Monitor.”

Now we can hear the output of the RX Audio Editor through the audio output chain thatMedia Composer is using.



Using RX Connect with Cubase/Nuendo

1. In Cubase/Nuendo, select the audio clip for processing.

2. Select the iZotope RX 5 Connect Plug-in from the Nuendo “Audio-Plug-ins”menu.

3. The iZotope RX 5 Connect plug-in window will open.

4. Depending on your requirements please select one of the following choices:

4. Send for reference : meant for analysis only. The clips go to RX, but do not

come back.

4. Send for repair : the clips are sent to RX and, after they are cleaned up, youcan send them back to your DAW.

5. Once you have made your choice, press the process button to send the audioto RX.

6. The RX 5 application will automatically open and receive the audio fromNuendo.

7. You can now carry out any repair, restoration or cleaning using the full

selection of RX modules.

8. Once you are happy with the edits you can simply press the “send back”button at the top of the open window to send the audio back to Nuendo.

9. Once complete RX will show a window asking to re-open the RX ConnectPlug-in.

10. Back in Cubase/Nuendo, select the iZotope RX Connect Plug-in from the“Audio-Plug-ins” menu.

11. Press the process button to commit the changes to the original audio le.



How to use RX Connect with AdobeAudition CC

1. Inside of Audition, select the Waveform view.

2. Highlight the area of audio that requires editing.

3. In the Effects menu, load the iZotope RX Connect plug-in from VST3>Restoration> iZotope, Inc. (If you do not see the RX Connect plug-in, open theAudio Plug-in Manager and Scan for Plug-ins, then make sure RX Connect is

enabled).4. When the plug-in window opens, click Apply.

5. RX will automatically load. Perform your desired audio edit, then click “SendBack” to send the audio back to Adobe Audition. The Waiting for Connectmessage will appear.

6. Re-load the RX Connect plug-in from the Effects menu. It will now display amessage “Press Apply to commit changes.” Click Apply to apply the audioedit from RX to your audio le in Adobe Audition.



Using RX as an audio editor withAdobe Premiere Pro CC

1. Inside of Premiere, right-click on an audio clip in your timeline and select“Reveal in Finder” (OS X) or “Reveal in Explorer” (Windows).

2. Open the resulting le in RX 5 Audio Editor.

3. Perform the required audio edit, and then click File>Overwrite Original File

Note: If you have Adobe Audition installed as well, you can right-click on an audio clip inyour timeline, and select “Edit Clip In Adobe Audition.” Then follow the steps listed abovefor using RX Connect with Adobe Audition CC.





Using RX as an audio editor with LogicPro X

RX is a powerful audio editor that Apple Logic Pro X users can use to get better soundingaudio. To use RX with Logic, you must rst set it up as an external audio editor.

SETTING UP AS AN EXTERNAL AUDIO EDITOR1. Open Preferences>Advanced

2. Under Additional options, enable Audio

3. Open Preferences>Audio

4. Under Audio File Editor, click on the External Sample Editor to select RX 5from your applications folder

WORKFLOW1. Select the clip you wish to edit in your timeline

2. Click Edit>Open in iZotope RX 5 Audio Editor, [Shift+W]

3. File will open in RX 5. Once you’ve completed your edits, click File>OverwriteOriginal File

4. Close tab, navigate back to Logic Pro X and wait for waveform to update



Identifying Audio Problems

As with medical diagnostics, the key to successful audio restoration lies in your abilityto correctly analyze the subject’s condition. This can be a life-long, never-ending quest,constantly honing the ear to distinguish the noises and audio events that need to becorrected.

To get started, it’s important to identify the problems with your le and identify which

tool(s) will give you the results you want. Let’s briey look at how to examine your audiousing the spectrogram and waveform display tools, then consider how to identify audioproblems using these displays.

WHAT’S THE GOAL OF USING A SPECTROGRAM?The aim of any good visualization tool for audio repair and restoration is to provide youwith more information about an audible problem. This not only helps inform your editingdecisions, but, in the case of a spectrogram display, can provide new, exciting ways toedit audio—especially when used in tandem with a waveform display.

HUMHum is usually the result of electrical noise somewhere in the recorded signal chain.It’s normally heard as a low-frequency tone based at either 50 Hz or 60 Hz dependingon whether the recording was made in North America or Europe. If you zoom in to the


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low frequencies, you’ll be able to see hum as a series of horizontal lines, usually with abright line at 50 Hz or 60 Hz and several less intense lines above it at harmonics. See theexample below:

De-hum works best when frequencies of the hum do not overlap with any useful transientsignals. You can learn more about the De-hum tool here.

BUZZIn some cases, electrical noise will extend up to higher frequencies and manifest itself asa background buzz. See the example below:



Hum-removal tools usually focus on low-frequency hum, so when the harmonics extendto frequencies above 400 Hz, the De-noise tool is often more effective at removing theproblem.

HISS AND OTHER BROADBAND NOISEUnlike hum and buzz, broadband noise is spread throughout the frequency spectrumand isn’t concentrated at specic frequencies. Tape hiss and noise from fans andair conditioners are good examples of broadband noise. In a spectrogram display,broadband noise usually appears as speckles that surround the program material. Seethe example below:

CLICKS, POPS, AND OTHER SHORT IMPULSE NOISESClicks and pops are common on recordings made from vinyl, shellac and other groovedmedia—but can also be introduced by digital errors, including recording into a DAWwith improper buffer settings, or making a bad audio edit that missed a zero crossing.Even mouth noises such as tongue clicks and lip smacks fall into the clicks category.These short impulse noises appear in a spectrogram as vertical lines. The louder theclick or pop, the brighter the line will appear. The example below shows clicks and popsappearing in an audio recording transferred from vinyl:

The De-click tool can recognize, isolate, and then reduce and remove clicks like these.





The De-clip tool can intelligently redraw the waveform to where it might have naturallybeen if the signal hadn’t clipped. Sometimes, brickwall limited audio will also appear“squared off” when zoomed out, but this doesn’t necessarily mean it will sound as heavilydistorted as clipped waveforms that have been truncated. You can zoom in to see if thetops of individual waveforms are clipped.

INTERMITTENT NOISESIntermittent noises are different than hiss and hum—they may appear infrequently andmay not be consistent in pitch or duration. Common examples include coughs, sneezes,footsteps, car horns, ringing cell phones, etc. The images below represent two differentexamples of these noises:



The Spectral Repair tool can help isolate these intermittent sounds, analyze the audioaround them and attenuate or replace them.

GAPS AND DROP OUTS

Sometimes a recording may have short sections of missing or corrupted audio. These areusually very obvious to both the eye and the ear! See the example below:

Deleting the gap and then applying Spectral Repair to replace any missing audio canhelp x these problems.



iZotope Customer Care

HOW TO PURCHASE THE FULL VERSION OF RX 5 AUDIOEDITORIf you are using the demo version of RX 5 Audio Editor and would like the full version,you can purchase RX 5 Audio Editor direct from the iZotope online store, located at:www.izotope.com/store

Once your purchase is complete, you will be sent an email conrmation and a full versionserial number that can be used to fully authorize your current installation of RX 5 AudioEditor.

IZOTOPE CUSTOMER CARE POLICYiZotope is happy to provide professional technical Customer Care to all registered usersabsolutely free of charge.

https://www.izotope.com/support/contact/index.php

We also offer valuable pre-sales technical Customer Care to customers who may beinterested in purchasing an iZotope product. Before contacting iZotope Customer Care,you can search our Product Knowledgebase to see if the solution to your problem hasalready been published.

https://www.izotope.com/store


https://www.izotope.com/support/kb/index.php/kb/browse/32-iZotope_Knowledgebase

https://www.izotope.com/support/kb/index.php/kb/browse/32-iZotope_Knowledgebase


https://www.izotope.com/store


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HOW TO CONTACT IZOTOPE CUSTOMER CARE FORTECHNICAL SUPPORTFor additional help with RX 5 Audio Editor:

• Check out the Customer Care pages on our web site at www.izotope.com/support

• Contact our Customer Care department at [email protected] .

iZotope’s highly trained Customer Care team is committed to responding to all requestswithin one (1) business day and frequently respond faster. Please try to explain yourproblem with as much detail and clarity as possible. This will ensure our ability to solveyour problem accurately, the rst time around. Please include all system specs and thebuild/version of RX 5 Audio Editor that you are using.

Once your Customer Care request is submitted, you should automatically receive aconrmation email from iZotope Customer Care. If you do not receive this email within afew minutes please check your spam folder and make sure our responses are not gettingblocked. To prevent this from happening please add [email protected] to your list ofallowed email addresses.

INTERNATIONAL DISTRIBUTIONCustomer Care is also available from our international distributors worldwide, for anycustomers who purchased their iZotope products through a certied iZotope distributor.

Check with your local distributor for their availability. If you would like help locating yourlocal distributor please contact iZotope Customer Care.

Thanks for using RX 5 Audio Editor!

-The iZotope Team



mailto:support%40izotope.com?subject=

mailto:support%40izotope.com?subject=





End User License Agreement

IZOTOPE, INC. SOFTWARE LICENSE AGREEMENT

THIS IS A LEGAL AGREEMENT BETWEEN YOU AND IZOTOPE, INC. ("iZotope"). READTHIS AGREEMENT CAREFULLY BEFORE YOU CLICK ON THE “I ACCEPT” OPTIONBELOW. BY CLICKING ON THE “I ACCEPT” OPTION, YOU AGREE THAT YOU HAVEREAD AND UNDERSTAND THIS AGREEMENT AND WILL BE BOUND BY ITS TERMS AND

CONDITIONS.

SOFTWARE. “Software” means the iZotope executable software product accompanyingthis Agreement, along with any modules, presets, and/or user documentation.

LICENSE. Subject to all the terms and conditions of this Agreement, you (a naturalperson) may use the Software either on a stand-alone computer or on a network, onany one computer at any one time. If more than one user will be using the Software atany one time, you must obtain from iZotope an additional license for each additionalconcurrent user of the Software. The Software is "in use" on a computer when loadedinto memory (RAM). You may make one copy of the Software solely for backup or archivalpurposes if all copyright and other notices are reproduced on that copy, or you may copythe Software to a single hard disk provided you keep the original solely for backup orarchival purposes. If the Software is an upgrade, you must have a license for the productfrom which it is upgraded. If you receive the Software in more than one media form,that does not affect the number of licenses you are receiving or any other term of thisAgreement.


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OWNERSHIP. The Software and all intellectual property rights therein (includingcopyrights, patents, trade secrets, trademarks, and trade dress) are owned by iZotope orits suppliers and are protected by the laws of the United States and other countries andby international treaty provisions. iZotope retains all rights not expressly granted in thisAgreement.

OTHER RESTRICTIONS. You may not modify, adapt, decompile, disassemble or otherwisereverse engineer the Software, except to the extent this restriction is expressly prohibitedby applicable law. You may not loan, rent, lease, or license the Software, but you maypermanently transfer your rights under this Agreement provided you transfer thisAgreement, all Software, and all accompanying printed materials and retain no copies,and the recipient agrees to the terms of this Agreement. Any such transfer must includethe most recent update and all prior versions.

LIMITED WARRANTY. iZotope warrants that, for a period of thirty (30) days from

your date of receipt, the Software will substantially conform to the applicable userdocumentation provided with the Software. Any implied warranties which may existdespite the disclaimer herein will be limited to thirty (30) days. This Limited Warranty isvoid if you obtain the Software from an unauthorized reseller, you violate the terms of thisAgreement, or if the failure of the Software is due to accident, abuse or misapplication.Some states/jurisdictions do not allow limitations on duration of an implied warranty, sothis limitation may not apply to you.

CONFORMANCE TO STANDARDS. The Software may include features and presets toprocess audio to conform to various industry standards (for example, loudness standards

promulgated in the audio production industry). While iZotope engineers have diligentlyworked to make the Software and presets accurately implement any such industrystandards, iZotope can make no representation or warranty that the Software or presetswill make audio correctly comply with any present or future standard.

YOUR REMEDIES. iZotope's sole obligation and your exclusive remedy for any breach ofwarranty will be, at iZotope's sole option, either the return of the purchase price you paidor, if you return the Software, together with all media and documentation and a copy ofyour receipt, to the location where you obtained it during the warranty period, the repairor replacement of the Software, media and documentation. Outside the United States,

neither these remedies nor any support services are available without proof of purchasefrom an authorized non-U.S. source.

SUPPORT. Subject to the limited warranty stated above, and further subject to you notbeing in violation of any term of this Agreement, iZotope will provide email supportfor the Software to the original purchaser, for a period of 12 months from the originalpurchase date.



REGISTRATION INFORMATION. When you activate the Software, iZotope may collectyour name and email address and other contact information you choose to provide.IZotope may use this information to contact you regarding upgrades and new products,and also to gather statistical data that does not identify individual users. iZotope does notcollect or retain any nancial information (such as credit card information).

USAGE INFORMATION. When you use the Software, iZotope may collect certaininformation about your computer and your interaction with the Software via the internet(“Usage Information”). Usage Information is information on how you interact withthe Software, and is then utilized by iZotope for statistical analysis for improving theSoftware, and to provide you with a more relevant user experience. No direct personalinformation or audio les/samples are collected as part of this Usage Information. UsageInformation is generally collected in the aggregate form, without identifying any userindividually, although IP addresses, computer and session ids in relation to purchasesand downloads/installations of the Software may be tracked as part of iZotope'scustomer order review, statistical analysis, and fraud and piracy prevention efforts. ThisUsage Information may be sent to an iZotope web or third party cloud server for storageor further processing by iZotope and/or its partners, subsidiaries or affiliates, including,but not limited to, Google Analytics. The Software includes an opt-out provision if you donot wish to provide iZotope with such Usage Information.

DISCLAIMER. TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW, IZOTOPEDISCLAIMS ALL OTHER WARRANTIES, EXPRESS OR IMPLIED, INCLUDING BUT NOTLIMITED TO THE IMPLIED WARRANTIES OF NON-INFRINGEMENT, MERCHANTABILITYAND FITNESS FOR A PARTICULAR PURPOSE. IZOTOPE DOES NOT WARRANT THATTHE SOFTWARE WILL MEET YOUR REQUIREMENTS OR THAT THE SOFTWARE WILLOPERATE UNINTERRUPTED OR ERROR-FREE. THE WARRANTY AND REMEDIES SETFORTH HEREIN ARE EXCLUSIVE AND IN LIEU OF ALL OTHERS, ORAL OR WRITTEN,EXPRESS OR IMPLIED. The Limited Warranty set forth herein gives you specic legalrights, and you may have others under applicable law, which may vary dependingon your location. No dealer, distributor, agent or employee of iZotope is authorizedto change or add to the warranty and remedies set forth herein. Any other softwarefurnished with or accompanying the Software is not warranted by iZotope.

LIMITATION OF LIABILITY. TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLELAW, IZOTOPE WILL HAVE NO LIABILITY FOR ANY DAMAGES WHATSOEVER ARISINGOUT OF THE USE OF OR INABILITY TO USE THE SOFTWARE (INCLUDING, WITHOUTLIMITATION, DAMAGES OR COSTS FOR LOSS OF PROFITS, BUSINESS, GOODWILL,DATA OR OTHER ASSETS, OR COMPUTER PROGRAMS) EVEN IF IZOTOPE HAS BEENADVISED OF THE POSSIBILITY OF SUCH DAMAGES. IN NO EVENT WILL IZOTOPEBE LIABLE FOR ANY AMOUNTS EXCEEDING THE AMOUNTS RECEIVED FROM YOU



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such laws or regulations. This Agreement is the complete and exclusive statement of theagreement between you and iZotope and supersedes any proposal or prior agreement,oral or written, and any other communications relating to the subject matter of thisAgreement. This Agreement is in the English language only, which language will becontrolling in all respects, and all versions of this Agreement in any other language willbe for accommodation only.

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law may override this sentence and apply instead. The application of the United NationsConvention of Contracts for the International Sale of Goods is expressly excluded. Tothe extent permitted by law, you agree that no lawsuit or any other legal proceedingconnected with the Software shall be brought or led by you more than one (1) yearafter the incident giving rise to the claim occurred. IN ADDITION, ANY SUCH LEGALPROCEEDING SHALL NOT BE HEARD BEFORE A JURY. EACH PARTY GIVES UP ANY



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Should you have any questions about this Agreement or iZotope's software use policies,

or if you desire to contact iZotope for any other reason, in the U.S., please email [email protected]; outside the U.S., please contact the iZotope representative or affiliateserving your country or, if you are unsure whom to contact, iZotope at the above location.

Please indicate that you understand and accept these terms by clicking the “Accept”option. If you do not accept these terms, installation will terminate.



License Information

FLACWhat we're using: libFLAC and libFLAC++

Text below is from COPYING.Xiph in ac-1.3.0:

Copyright (C) 2000-2009 Josh Coalson

Copyright (C) 2011-2013 Xiph.Org Foundation

Redistribution and use in source and binary forms, with or without modication, arepermitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, thislist of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice,this list of conditions and the following disclaimer in the documentation and/

or other materials provided with the distribution.• Neither the name of the Xiph.org Foundation nor the names of its

contributors may be used to endorse or promote products derived from thissoftware without specic prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS``AS IS'' AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOTLIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR


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A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE FOUNDATIONOR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL,EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO,PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, ORPROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORYOF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDINGNEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THISSOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

OGG VORBISWhat we're using: libogg and libvorbis

Text below is from COPYING in libogg-1.3.1:

Copyright (c) 2002, Xiph.org FoundationRedistribution and use in source and binary forms, with or without

modication, are permitted provided that the following conditions

are met:


• Redistributions in binary form must reproduce the above copyright notice,

this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

• Neither the name of the Xiph.org Foundation nor the names of itscontributors may be used to endorse or promote products derived from thissoftware without specic prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS``AS IS'' AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOTLIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FORA PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE FOUNDATIONOR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL,EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO,PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, ORPROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORYOF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDINGNEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THISSOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.



Text below is from COPYING in libvorbis-1.3.3:

Copyright (c) 2002-2008 Xiph.org Foundation

Redistribution and use in source and binary forms, with or without modication, arepermitted provided that the following conditions are met:


• Redistributions in binary form must reproduce the above copyright notice,this list of conditions and the following disclaimer in the documentation and/