Izotope Rx 7 Mega

Mighty RX, a complete suite for audio repair, has just been updated to version 7, with additions, enhancements, and much more. This huge, complex, precise suite just got bigger.

by Vincenzo Bellanova, Nov. 2018

An Incredible Suite

The renowned RX suite just got a major update, with several new improvements and additions. iZotope RX7 is an absolute essential suite, no matter if you’re working on music, field recording, sound design or audio post production, it can save not only a lot of time (avoiding re-recording), but it can literally fix problems transparently in most cases. Noise, mouth clicks, lavalier rustle, hum, wind rumbles, digital clicks, crackles, plosives and breaths, as well as less exoteric operations like levelling, normalizing, resampling, and this on one or more files, on the whole audio file or just in a time or frequency selection. The scenarios in which RX can operate are countless, but what is important to note is that we have everything in the same workspace if we’re focusing on repair, or we can open single plugins in our DAW for fast fixes. RX7 plugins are now available as AudioSuite plugins too, and the family just got bigger, as we will see.

IZotope RX 7 Audio Editor Advanced v7.01 Overview The Industry Standard for Audio Repair Designed specifically for the demanding needs of post production professionals, RX 7 Advanced introduces brand new processing powered by machine learning, powerful AudioSuite tools, and multichannel support up to 7.

A great number of videos, and the new Repair Assistant, will make corrections even easier, showing you the essential techniques, problems and how to fix them. The different versions of RX also offer flexibility in terms of needs, price and use. RX is getting closer and closer to musicians, and the new Music Rebalance module is a demonstration of the attention iZotope pays to the different targets.

• IZotope’s RX is best known for its audio repair and enhancement capabilities, adored by the largest broadcast and post-production facilities across the globe. That said, RX 7, the latest version of the toolkit, also boasts various features that make it a powerful asset for commanding and elevating musical performances.
• IZotope RX 7 Audio Editor Advanced VST lets you manipulate the audio streams like the professional editor with a very high accuracy. This application also lets you apply declipping filters and declicking, remove humming, audio noise or the repair the audio specter.
• IZotope RX 7.0.1 Advanced Portable +Setup +VST Published by The House of Portable on 29 February 2020 29 February 2020 The industry standard for audio repair – Audio spot-cleaning in seconds.
• 6 Best Beginner Pianos under $499 in Early 2020 - What Makes a Good Beginner Piano Keyboard? - Duration: 28:34. Jeremy See 57,882 views.

In this review we will focus only on the new elements, but if you’re new to the RX world, you might be interested in reading more about what is RX and its amazing modules in the two previous reviews on the Soundbytes Magazine website.

RX 5: https://soundbytesmag.net/rx5-by-izotope/

RX 6 Advanced: https://soundbytesmag.net/review-rx6-advanced-from-izotope/

What’s New

As anticipated, the list is not short, starting from a light UI refinement, to multichannel support and, of course, entire new modules.

Pro Tools users now can enjoy Dialogue Isolate, De-rustle, Breath Control and the new Music Rebalance modules as AudioSuite plugins. AudioSuite is a Pro Tools format of audio plugins which can be used on a single audio clip or on multiple clips at once instead of on an insert track. The processing through AudioSuite plugins needs to render the processed files, replacing the clips we treated with new ones.

Multichannel is now supported up to 7.1.2 (10 channels) Dolby Atmos, meaning that you can process one or all the channels with the same module and in just one instance. Such a powerful new feature that will further speed up the work of audio engineers working on films or where multichannel audio is required.

Dialogue Isolate and De-Rustle modules’ performance has been enhanced, starting from the new Preview function for checking their operations on the go.

Another important new feature is the possibility to select a frequency range of action for the modules directly in the Module Chain. This truly gives extra power to the Module Chain, allowing to arrange even more specific corrections per single module.

New Modules

Let’s start from the new Dialogue Contour module, which is designed to shape and modify the pitch and inflexion of dialogue parts. Intonation and inflexion are obviously fundamental (not to mention that in some languages they have a distinctive function, and can alter the entire meaning of a word). In some languages, like Italian, for instance, intonation might distinguish an affirmative sentence from an interrogative sentence, because the position of the terms is the same in both cases. Linguistics apart, perfecting inflection before could involve micro pitch shifting or formant shifting using automation or external tools. Now we are just a few clicks away from our goal. Insert the module, isolate a section or the entire file and create your custom curve by adding, moving or deleting individual points, and smoothen the final result. Formant scaling is also available in order to shift specific resonances or attenuations in the spectrum, respecting the natural formants of the human speech.

Dialogue De-Reverb is the new module specifically designed for removing reverb from voice. RX also has a De-Reverb module, but the new one does not require to learn the reverb profile, and it is based on machine learning algorithms. Particularly useful both in audio post, if we don’t have the chance to get our interview in a proper room, or in music production, if we need to record vocals in a reverberant environment. Its controls include Sensitivity and Ambient Preservation in order to balance the result and to identify how much of the incoming signal can be considered as reverb.

Variable Time and Variable Pitch allow the user to select a portion of the audio file and design a custom shape for pitch or time variations in the same way we described for the Dialogue Contour module. What deserves attention here, is the incredible, crystalline audio quality of these tools. Not to mention that these can absolutely wink an eye to Sound Design. I tested Variable Pitch on an entire song, with both time changes and Preserve Time enabled (with the first, the module will behave like a Tape play head changing pitch and speed of the file), and I barely heard artifacts, even with generous pitch variations. Here, too, possible applications are countless, from extreme pitch shifting on raw sound sources to morph them into bizarre effects, or gentle shifts with time changes which reminded me of the old days of sampling material for musical purposes. Pitch Coherence and Transient Sensitivity controls appear on both the modules, allowing for timbre and transient preservation.

Last but not least, the Music Rebalance module, which created a quite a stir when first announced. People are probably asking if it’s true that it can remove vocals from a song or an instrumental leaving just vocals. The answer is yes. Simply divided in Voice, Bass, Percussion and Other, Music Rebalance allows us to set the Sensitivity of the analysis, letting know the module how much of the incoming signal should be considered as Bass, Vocal, etc., and we can set the gain for each of the parts. Low Sensitivity values can reach precise results by completely muting tiny parts of other instruments that might come in the analysis, but at the cost of small artifacts, while if we are after complete clarity, higher values can eliminate glitches, but other instruments might end up in the result. Sometimes reverb can be an enemy of Music Rebalance, probably because of the long tails which can be confused with the voice or the behavior of other instruments. But despite some artifacts, Music Rebalance works very well and it is capable of extracting a cappella voices from an entire song which is more than useable.

Apart from the vocal extraction, Music Rebalance’s main role, I think, resides in other uses, like an intelligent way to give space to various sections, moving entire instruments inside or outside the mix. Or it can completely reshape a song with problems, and in this, Music Rebalance excels, especially for the idea of changing the balance of a track with just a few and intuitive parameters. When everything seems lost, and we probably are in front of a single WAV file, without the possibility of touching any fader in the DAW, it can save the day.

Repair Assistant

Probably the most interesting addition to the whole Suite, Repair Assistant can intelligently analyze an audio file, identify problems and suggest corrections. In the top right of the RX7 standalone interface, just click on the Repair Assistant tab to engage this tool. It is absolutely wonderful to have a personal assistant which will analyze and possibly speed up even more the work. Repair assistant will ask if the file contains musical, dialogue or other material, then starts the analysis searching for clipping, clicks, hum and noise. In the settings, we can also customize its analysis bypassing one of the problems, for instance, we can exclude the hum analysis.

Clever, fast and powerful, Repair Assistant is another magical element in RX that will make the entire suite even easier and quicker to use, and I personally love how smart plugins are becoming lately. Surely, this won’t mean that the human touch is completely bypassed, and the ability to identify problems, solve them, tweak the modules, is still required, but Repair Assistant can work as a huge “learn” function on the entire audio file, allowing us to complete a task in a matter of clicks.

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There’s more, and this is another great proof of flexibility: if problems are found, Repair Assistant will purpose three different solutions, each of them containing a different module chain, so different modules arranged in various ways. Below the various solutions, labelled as A, B and C, if we click on the faders icon, we can set the intensity of the corrections, which is like controlling the overall Dry/Wet of the modules, or, if we aren’t satisfied and we want to use the Repair Assistant’s suggestions as a starting point, we can open the module chains and tweak the single module’s parameters to taste.

Conclusion

RX7 confirms itself as a must have tool of incredible value, for its vast array of modules, precision, clarity and true gems like the possibility to arrange, save and recall entire chains. Absolutely suggested for everyone who is looking for saving, preserving or “only” asking more for their files. Pro Tools users can now enjoy more AudioSuite tools, and engineers working on multichannel files can be enthusiast too. Having a look around, lately the word Ambisonics is popping out more and more, this is the direction I really hope the next RX will take.

Since my latest review of RX (version 6), I must confess I have used the suite almost daily on both musical and sound design jobs, easily rescuing a lot of files, and rarely opening the manual again because of intuitive functions of this software. Now, with the Repair Assistant, these operations will be even quicker.

The new modules and improvements add some shine to the whole tool, especially Music Rebalance, getting even closer to musicians. I think it will be perfected, analyzing and isolating the various parts even better in the future. Separating single instruments from a track wasn’t something I was thinking about very often before seeing this module. I can just guess what will come next. Variable Pitch and Time, let’s say it again, are tools that easily adapt to musical and Sound Design applications, with a really impressive quality.

iZotope RX7 is available in different versions: RX Elements ($129.00 USD), RX7 Standard ($299.00 USD), RX7 Advanced ($1199.00 USD) and it is also included in the Post Production Suite 3 ($1499.00 USD), bundled with Insight 2, Neutron Advanced 2 and Tonal Balance Control. RX7 Advanced is available for both Mac and PC platform, 32 and 64 bits, in AAX (64-bit), Audiosuite DPM, Audio Unit (32-bit and 64-bit), RTAS (32-bit), VST 2 (32-bit and 64-bit), and VST 3 (32-bit and 64-bit) format.

Supported plugin hosts: Audition CC 2017, Cubase 9, Final Cut Pro 10, Live 9, Logic Pro X, Media Composer 8.8, Nuendo 7, Premiere Pro CC 2017, Pro Tools 10-12, Studio One 3.

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I have no idea why it took me so long to write a review on Rx7, Izotope Rx7 solved my worst nightmare: Isolating different elements without accessing multi-tracks or stems, I’ll discuss more on that in a moment.

Izotope Rx7 is a quick and easy tool for fixing audio issues, it also serves as an audio repair tool for movies and Tv shows, which restore damaged noise, clicks, crackers, e.t.c to pristine condition.

This review guide is all about the essential features of Izotope Rx7, the usefulness, and if it really does repair damaged audio issues.

What Does Izotope Rx7 Do Differently?

The reason Rx7 stoodout from the sheer loads of audio tools is the way it uses assistive audio technology, for example, the Repair Assistant can detect noise, clipping, crackle, and it also offers different processing suggestions to choose from.

The Music Rebalance tool that comes with Rx7 identifies bass, vocals, percussion, and other instruments in a mix, and allows for independent gain adjustment of each element.

Izotope Rx7 Feature Breakdown

Rx7 isn’t only a tool but a suite of modules interconnected to work and communicate across your audio session.

Note: Some features are only for advanced edition, make sure you check out the edition you want at the end of this review guide.

Let’s start with…

Oh-Lord! – Repair Assistant

If you have been using Izotope products lately, then you should be aware that Izotope has advanced its machine learning technology. Repair assistant represents the latest advances in Izotope’s assistive audio technology.

Rx7 Repair Assistant intelligently detects common audio problems in selection, for example, it can detect clicks, hum, noise clicking, and much more.

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Having done that, it then provides three processing chains tailored to solving the problems detected during analysis. You also have an option to bypass suggestion such as clipping and other issues using the repair assistant preferences.

If no problems are detected, you will see “No Problems Detected” in the dialog, which is fine, if you feel you need a basic cleanup processing, you can use the one’s generated by Repair Assitant during the analysis pass.

Up Next…

Balance the Elements – Music Rebalance

Music Rebalance is my favorite tool in Rx7, it looks skeptical at first. I was amazed of how a tool could be so fantastic when I tried it out, just the perfect tool I have been looking for so many years.

The function of music rebalance is to identify and separate elements in a mix- Bass, Voice, and Percussion using a machine learning algorithm.

That is not all, any element that is not identified as Vocal, Bass, and Percussion would be categorized as other.

Cases Where Music Rebalance Can be Used

1. Music Rebalance can be useful for rebalancing the gain of a particular mix element when the stems aren’t available.
2. It can be used to isolate a single mix element by reducing the level of other elements, e.g in cases where you want to create a remix of a song, and you aren’t provided the stems, in the context of an acapella, you can use music rebalance to reduce the levels of other three elements (Bass, Percussing and others). If all you want is only the instrumental, then you reduce the gain of only the vocal element.

Does it Work In all Case

No!

Some audio files won’t work accordingly, audio tracks are made differently. I would say it works in 90% of the cases.

What else do we have in music rebalance…

Sensitivity Control

Sensitivity can be useful in cases where you want a specific or more element to be narrowly defined. Each element has its own sensitivity knob, let say you want the vocal element to be barely heard, all you need to do is lower the value of the vocal sensitivity and vice versa.

Note: Sensitivity control work in relation to one another, setting all sensitivity controls to something like 6.0 has the same effect as setting all sensitivity controls to a value of 8.0, you get the idea 😉

Coming up next…

Correcting The Contours [Dialogue Contour – Advanced Only]

Rx7 is specifically designed for post-production professionals, one of the ways it solves the demanding needs of post-production pro is remodeling the performance of a line with Dialogue Contour.

Dialogue Contour remodels/correct the intonation of performance, it can also be used for manipulating the pitch envelope of a dialogue selection.

Cases, where a dialogue contour can be useful, is when some words aren’t flowing or don’t fit with the rest of the dialogue in the clip.

This feature comes bundled with Rx7 repair suite only, if you are a music producer (Just like me), who only cares about audio issues in a mix, then you simply do not need this option. Ipl 8 patch download for pc.

Optimize the Reverb [Dialogue Reverb]

This is tailored to remove unwanted reverb from dialogue clips using advanced machine learning technology.

Dialogue reverb is pretty straight forward:

• You use the learn button to teach the de-reverb tool how much reverb is in your signal
• When the learn operation completes, the reverb profile and tail length control will be set to their suggested values. Feel free to tweak to your desired value.

This tool is designed specifically for post-production professionals and bundled with the Advanced edition.

Other Useful Tools in Izotope Rx7

Variable Time: Useful for correcting timing issues or to adjust the time stretch of a portion of an audio selection without altering its pitch.

Breath Control: Can be used to control the level of breath between words and phrases.

De-click: Clean up vinyl clicks, soften up clicky bass guitars, and more. The new low-latency algorithm enables you to use De-click right within your DAW or NLE without introducing sync issues.

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De-clip: Repair digital and analog clipping artifacts to restore distorted audio.

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De-hum: Remove ground loop hum and line noise.

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De-ess: Tame overly aggressive sibilance. The new Spectral De-ess mode transparently attenuates sibilance with iZotope’s Spectral Shaping technology.

and more…

► System Requirements:

Operating Systems:

• Mac — OS X 10.8.5 Mountain Lion (Pro Tools 10 only), 10.9.5 Mavericks – macOS 10.15 (64-bit only)
• PC — Win 7 – Win 10

Plug-in Formats:

• Standalone Application, Modules: AAX, AU, RTAS, VST, VST3

Supported Hosts:

Izotope Rx 7 Free 7.01

• Audition CC 2018, Ableton Live 9 – 10, Cubase 9.5, Digital Performer 9, Final Cut Pro X*, FL Studio 12, Logic Pro X, Nuendo 8, Premiere Pro CC 2018, Pro Tools 10 – 12, Reaper 5, Reason 10, Studio One 3 – 4

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