iZotope RX6 Screenshot · Source: iZotope/YouTube Screenshot

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1. IZotope’s New RX 7 Makes Audio Repair Easier for Musicians - New features powered by machine learning, like Music Rebalance and Repair Assistant, open up creative possibilities in music production. IZotope, Inc., the experts in intelligent audio technology, today released updates to the RX family of audio repair and enhancement software.
2. Jul 15, 2017 In this video I show how to remove the noise and clean up a very noisy cassette tape recording that's around 30 years old. I use RX 4 and Ableton Live, but the principles can be applied with any.
3. Aug 16, 2016 With iZotope’s RX software you can visually see any anomalies in the quiet space that you can focus on, increase volume, and apply different professional filtering to enhance and restore the audio. Removal of hiss, background noise, hum, room reverb and even slowing down.

Select “iZotope RX” located in your Applications folder and click “Open.” RX is now set as your Sample Editor. To edit audio from Ableton Live in RX: Click “Edit” in the Clip View window. Your Clip will now automatically open in RX. When your edits in RX are complete, simply select File - Overwrite Original File. Mar 22, 2019  Using iZotope RX 7 for Powerful Dialogue Editing Apr 06, 2020. RX is world renowned for its audio clean-up capabilities, but today we’ll talk about its.

iZotope RX6 - New Tools · Source: iZotope

See our earlier post about the anticipation building around RX6 and the available upgrade offers. Well now it’s here, and we can see what the excitement was all about. I’ve followed RX’s journey since version 2. RX3 was clearly a significant upgrade, but RX4 and RX5 felt like feature updates, rather than break-through advancements in noise removal technology. So it’s about time a new version re-defined RX as the ultimate audio repair tool. Looking at these new announcements, it would appear RX6 may be that version…

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I’ve been a regular user of RX, especially since version 3, which delivered a new level of high-quality results. Earlier noise removal tools weren’t particularly effective or were quite destructive. RX3 was such a surprise when it arrived, that we all started using it in music production, even though it was intended as a post production tool.

Interestingly for me, I also feel like this technology improved to a useable level of quality just in time. This happened just as the industry was changing, as less was being spent on the recording of projects, leaving the mixing and mastering engineers to ‘fix-it-in-the-mix’. This is still very much the case today and I wouldn’t be surprised if collectively we spend more time inside software like RX, than we do applying EQ and compression. iZotope have recognised this trend of music professionals using RX, and have delivered new features inside RX6 for the music professional as well as the post houses.

I’m loving some of the new music related features in RX6, which include; De-Bleed, Spectral De-Ess, De-Clip and De-Polsive. The De-Esser is apparently their best De-Esser ever. I’m also really curious to try out the new ‘Composite View’, which I believe displays up to 16 tracks of audio in spectral view, so they can be edited together. This has always been something we needed in classical orchestral recordings.

Post production professionals haven’t been forgotten about either, with new features including; Dialogue Isolate, De-Rustle and De-Wind. Although the last could be misconstrued as indigestion medicine, I’m sure these are valuable additions to this now very powerful programme. We understand new RnD has gone into developing these algorithms, so I’m hoping the quality of the processing is impressive.

More Information

Just as version 5 had various purchasing options, so does RX6. There are 3 levels of this audio repair toolkit, so choose your version carefully. There’s RX Elements for 99 USD, RX6 Standard for 299 USD and RX6 Advanced for 799 USD. Visit the product webpage for more information.

Video

Here’s iZotope’s YouTube video giving a very quick introduction to the new features found in RX6. It doesn’t give much insight into how the software operates, or what the results are really like. For that, check out the ‘For Music‘ and ‘For Post‘ pages on their website for audio examples. Their YouTube channel already has many tutorial videos available, taking a detailed look at each tool inside RX6.

We often talk about editing vocals, but we haven’t written a step-by-step guide for how to edit vocals in a musical context. So, that’s exactly what we’re going to do today: we’re giving you eight simple yet effective tips for vocal editing.

1. Pick the best comp

Comping might fall into your editing purview, though mostly it falls to the producer. However, a lot of times you are the producer. So, it behooves us to ask, how do we go about comping?

The easiest way, I find, is to identify the best overall take and fill in the lesser bits with other takes. This means listening to every take in full before proceeding, separating the good regions from the bad. When doing this, I like to color-code the results—red regions for the best, green for usable, orange for passable, and purple for all out horrible. The take with the most red? That’s your master track. Fill in the green and orange bits as need be.

You could also listen to each take with a pen and paper before hand, making a graph for verses and choruses and checking off the best ones as you go. This may work better for you, if you need to step away from the computer to make everything work.

2. Learn where to make the cut

Sometimes you’ll have to cut between two takes in the middle of a phrase. When you do this, look for a hard consonant—a plosive (P) or dental consonant (T, D) are both good candidates. Fricatives (F or TH) are slightly less secure, but you can find a good place therein.

Instances of sibilance sometimes don’t match in intensity between takes, so you have to be careful when selecting those. Do not cut on a vowel if you can help it—it’s hard to get a good result.

Sometimes, over a sustained vocal, you can slowly crossfade from one take to another and fool the listener, but it’s not wise to seek these instances out. Wherever you cut, do make sure that the intention and tonality of the following region matches its antecedent.

As you’ll have to make cuts between takes and regions sometimes, it’s best to keep this guide in mind for the inevitable comping session.

3. Position phrases for the best timing (if need be)

This is where the utility of editing meets the creativity of music. Moving a word in a phrase forward (i.e., later in time) can create a more relaxed atmosphere, a kind of “leaning back” effect that’s often called “behind the beat.” Placing words earlier in time could create a feeling of rushing, which may be in order.

Develop an innate musical feel for what works by listening to great songs and identifying what the vocalist is doing. For instance, if you need a reference on what vocals sound like when they’re very relaxed, check out D’Angelo’s Voodoo or Black Messiah; no one slinks behind the beat (which ironically means later in time) like D’Angelo. For the other side—for anticipatory phrasing—many famous tunes by Eminem fit that bill. He’ll often anticipate a beat to create urgency.

When you tend to your vocals, keep the song in mind, and you’ll know if you can help things along by positioning phrases or words. Does the tune feel more like a D’Angelo song—and is the singer rushing? Well, now you know what to do.

4. Use fades judiciously

A.B.F.—Always Be Fading.

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Seriously, you want to make sure that all your vocal regions have fades at their onset, fades at their endings, and crossfades stitching them in between. Why? Because not doing so sometimes causes audio hiccups—clicks and pops you don’t want in the session.

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Depending on how CPU-heavy the session is, and which software you’re using, you could be especially susceptible to audio problems when you’re applying heaps of processing without fades.