1. Izotope Rx 6 User Guide
2. Rx 6 Fat Burner
3. Rx 6 Reviews

RX 6 Overview. IZotope’s award-winning RX 6 Audio Editor is the industry standard for audio repair, restoration, and enhancement. It offers a comprehensive suite of tools focused on alleviating common to complex audio issues. Also bundled with RX 3 Advanced is the brilliant iZotope Insight metering suite – of which you can read my in-depth review here. IN USE: RX 3 Advanced is comprised of individual plugins (both real time and AudioSuite) within your host DAW allowing users to fix tracks quickly and efficiently.

• Apr 20, 2017  How to Use Dialogue Isolate in iZotope RX 6. Share; Tweet Start your FREE trial for instant access to our best mixing courses. In this video, I’m going to cover how to use the brand new Dialogue Isolate module in RX 6 in a post-production context, using a sample that features dialogue.
• After 10 days, RX Final Mix will go into Demo mode. In the plug-in, Demo mode will mute audio output periodically. Serial Number Each purchased copy of RX Final Mix contains a unique serial number to authorize your plug-in. If RX Final Mix has been downloaded directly from iZotope.

In this video, I’m going to cover how to use the brand new De-Bleed module in RX 6 in a music production context using a vocal sample.

Once you’ve downloaded the test files, one called “Vocal Production_Active Bleed” and the other, “Vocal Production Click Track (Source)” for the tutorial from the RX web page and opened it in RX by clicking and dragging them into the RX application window, or by opening RX and pressing Command+O or Control+O on a PC, your RX window should look like mine, with the files, “Vocal Production_Active Bleed” and “Vocal Production Click Track (Source)” side-by-side in tabs on the top-left hand side of the screen.

So, De-Bleed reduces the leakage of one signal into another, such as when vocals bleed into a guitar microphone, or when a click track is fed into headphones, and then that bleeds into an open mic, and that’s exactly what I have here for this sample.

So in the recording I’m about to play, we’re going to hear a male vocal that has a faint clicking sound on it. Let’s see if you can hear it.

[vocal sample with click bleed]

So to reduce the sound of the clicking that we’re hearing, I’m going to use the De-Bleed module. I just want to point out one thing before I do though, and that’s if I slide this back to the waveform and spectrogram view, we can’t really see those clicks, can we? In fact, if I go all the way to the x-axis here, we just see the waveform. I can’t see those clicks, but if I slide all the way over to the spectrogram view, I can see them. They’re sort of perforated going up and down the screen. There’s one very pronounced here on the right, so it’s a really handy thing to be able to visualize audio in this way to be able to see and detect those clicks.

So let’s get on to the De-Bleed module. I’ll find that up here, it has a little microphone next to it. So there’s a few things to remember before using De-Bleed. The first is that it requires two files, a source and an active file to be open in the RX audio editor.

Now, we’ve already done that, right? We have our active bleed track here, and our vocal production click track source side by side.

The next thing is that the sample rate of the source and active files must match. If they don’t, that’s okay, we can use the resample module right here to correct the sample rate differences between the files.

The next thing is that the De-Bleed source and active files must be time aligned within a few milliseconds of each other, and this means that if the two audio files were played back together, they would sound in sync, so if the same audio events are occurring at the same points in the timeline for both the source and active tracks, this means they’re time aligned.

If the two tracks aren’t synchronized to within a few milliseconds of each other, we can cut out part of the track or add silence to a track to put the two tracks in sync with each other. We can adjust the length or timing of the files, for example, by using the cut edit operation, so I’ll click and drag to show you. I can go Command+X or Control+X on a PC to cut that file. I’ll Command+Z to get back. Control+Z on a PC. Or I can insert silence using the signal generator down here to adjust the length of the file.

Now let’s go into the De-Bleed module and learn a little bit about it. So I want to make sure that my active track, the name that’s displayed here, Vocal Production_Active Bleed is the one I want to attenuate the bleed from. In this case, it is, right? I played it a moment ago. This is the one that has the vocal and the click track on it. Have a listen.

[vocal sample with bleed]

So that’s good.

The next thing I want to make sure is that the source track from the source track dropdown menu is indeed the click source. In other words, we’re being asked where the bleed is coming from. In our case, that’s the click track, which is this track right here. I’ll play a little bit of that.

[click track]

So now, I’ll return to my active bleed tab. So now, in the active file tab, which is the tab that I’m on right now, we have to make a selection as to where the bleed is most obvious. In my case, the bleed occurs throughout the vocal, so I’m going to click Command+A or Control+A on a PC to highlight the entire track.

Next, I’ll click the learn button in the De-Bleed module. This analyzes the general relationship between the bleed source and the active track.

After a learned pass is complete, we can process the track with a couple of parameters here. Let’s go through them.

The reduction strength control determines the amount of bleed reduction applied during processing. So I don’t want to push this too hard, in case it might eliminate audio I want to keep from the active track, so I’ll keep it at its default setting of one.

Artifact smoothing can help to reduce or eliminate the under-watery sort of noise that we might incur from the processing that powers the De-Bleed module. Again, I’m going to leave it here at its default setting of five and make changes if I need to after I’ve pressed process. And speaking of which, let’s process.

Let’s hear the results of our processing with the De-Bleed module.

[vocals after processing]

Izotope Rx 6 User Guide

I can’t hear the click track at all. Let’s go back to the before just for context. So here is before we used the De-Bleed module to attenuate that click.

[vocals before processing]

And here’s after we used De-Bleed.

[vocals after processing]

The differences there are pretty dramatic.

So for more information and to download your own samples to use with RX 6, visit izotope.com/RX.

In this video, I’m going to cover how to use the brand new Dialogue Isolate module in RX 6 in a post-production context, using a sample that features dialogue.

Once you’ve downloaded the test file called, “Post Production_Dialogue Isolate,” for this tutorial from the RX web page, and opened it in RX 6 by clicking and dragging it into the RX application window, or by opening RX 6 and pressing Command+O or Control+O on a PC to locate and open the sample, your RX window should look like mine, with the file, “Post Production_Dialogue Isolate” in a tab on the top-left hand side of the screen.

Informed by machine learning to recognize and separate spoken dialogue from non-stationary background noise, such as crowds, traffic, footsteps, weather, or other noise with highly variable characteristics, Dialogue Isolate can be particularly effective at increasing the level of dialogue in challenging, low signal-to-noise ratio conditions.

Have a listen to this sample, which features some dialogue, and a very noisy background.

[voice sample]

Let’s use Dialogue Isolate to bring the dialogue center stage, and attenuate some of that background noise.

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First, we see some parameters in the module. Dialogue gain controls the gain of the components in your audio recognized as speech. We can leave this slider at 0dB to reduce noise, or lower the slider to reduce the level of spoken dialogue.

In this case, we want to reduce noise, and bring the dialogue center stage, so we’ll leave it at 0dB.

Noise gain controls the gain of the components in your audio recognized as noise. We can keep the slider low to increase dialogue intelligibility, or increase it to 0dB while turning down dialogue gain to only hear the isolated noise.

Given the nature of our example, I’d like to really bring down the noise gain so that we can focus on the dialogue as much as possible.

Next, we have separation strength. For large values, meaning if I slide it to the right, the processing will more strictly define what it classifies as dialogue, which can result in more background noise reduction at the cost of possible reduction of speech.

For small values, if I slide it to the left, the processing will more broadly define what it classifies as dialogue, which will allow more background noise through, but will reduce the possibility of speech loss as a result of the processing.

Again, dialogue is king in this example, so I’ll bring my separation strength to 10. I should note that Dialogue Isolate will still process, even when the reduction strength is set to zero.

Let’s press process and listen back to our results.

I’ll press space bar to play our newly dialogue isolated track.

[voice sample, processed]

Here’s before.

[voice sample, unprocessed]

Rx 6 Fat Burner

And here’s after.

[voice sample, processed]

Now, I’m still hearing a few clicks in the background, so I’m going to run Dialogue Isolate once more with the same settings to really get the best possible results, given this noisy sample.

Let’s hear the results.

[voice sample, processed twice]

So here’s the initial state before we did any processing with Dialogue Isolate.

[voice sample, unprocessed]

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And here’s after.

[voice sample, processed]

Rx 6 Reviews

For more information, tutorials, and to download your own samples to use with RX 6, head to izotope.com/RX.