1. Using Leveler For Lead Vocals Izotope Rx 1
2. Using Leveler For Lead Vocals Izotope Rx 4

Music Rebalance is a powerful tool that intelligently identifies vocals, bass, percussion, and other instruments in a mix for fast, independent gain adjustments. Leveler Loudness. RX 7 Advanced continues to lead the audio post production industry with powerful restoration tools used in major film and television projects worldwide.

• Apr 20, 2017  Dialogue Isolate in RX 6 Advanced is designed to separate spoken dialogue from non-stationary background noise such as crowds, traffic, footsteps, weather, or other noise with highly variable characteristics. It can be particularly effective at increasing the level of dialogue in challenging low signal to noise ratio conditions.
• Jun 22, 2016  50+ videos Play all Mix - iZotope RX 5 Advanced Using the Leveler for consistent and natural-sounding dialogue YouTube RX Audio Repair Master Class iZotope RX 5 Audio Editor Tips & Tricks.

• Computer / Software >Audio Editors

New in RX5 is an Instant Process option that can really help to speed up repetitive tasks.

The latest version of iZotope’s best-selling restoration software adds powerful new modules, as well as a Post Production Suite bundle aimed at film and TV applications.

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It seems that along with Christmas, another regular annual event we can rely upon is a new version of iZotope’s RX Audio Editor software. Incorporating an ever-expanding collection of sophisticated tools for repairing, restoring and enhancing audio files, RX has now reached version 5, with both standard and Advanced editions available. The company have also released a new flagship product called the RX Post Production Suite; as the name implies, this not only includes RX5, but also the Insight metering system, RX Loudness Control and RX Final Mix products as well. The idea is to provide a full suite of tools that cover all aspects of audio post-production including audio repair, mixing and final delivery.

Insight

I reviewed the impressive Insight audio analysis and metering plug-in (v1.01) in the March 2013 issue of Sound On Sound, so will cover it only briefly here. Insight is included in the Advanced version of RX5 as well as the Post Production Suite and, in brief, provides a customisable loudness and true-peak meter, with support for channel formats up to 5.1 and presets for the international BS.1770 loudness standard variations. It also includes stereo and surround-sound ‘sound stage’ displays, spectrum analysers, and both 2D and 3D spectrogram modes. The display window can also be customised to show or hide the different display options as may be required for different applications or preferences.

It includes more than 400 new Waveforms for Synth Oscillator, Wavetable Synthesis, forceful timbres, various filers, and significantly more to make a stunning sound. Omnisphere 2 Vst Free DownloadA natural UI is there with direct alternatives to upgrade the work process and simple comprehension of the clients. Spectrasonics omnisphere 2 power synth.

The latest version is 1.04, but the only significant changes compared with the version I reviewed, apart from a few small bug-fixes, are to the supported platforms and plug-in formats. For example, Insight now supports Mac OS 10.11 and Windows 10, with host support for Pro Tools 12.3, while DirectX support has been dropped.

RX Loudness Control

RX Loudness Control works as an offline AAX AudioSuite plug-in in Avid’s Media Composer and Pro Tools (v10 to 12), or as an Audio Extension for Adobe’s Premiere Pro. Its functionality is derived in part from the loudness-normalisation algorithms within Insight and the Loudness Modules in RX4/5, but it also has features that go beyond the capabilities of both. In essence, the loudness parameters needed to comply with a particular programme delivery specification — such as the integrated loudness target level and maximum true peak value — are dialled into RX Loudness Control, after which the programme mix (in any format from mono to 5.1) is then rendered through RX Loudness Control.

The audio is analysed (faster than real time) and any transgressions are then displayed to allow the user to manually amend the mix to resolve any detected issues. Alternatively, the audio material can be corrected automatically and transparently through the plug-in’s built-in compression and peak-limiting tools.

RX Final Mix

Designed to simplify and speed up the task of mixing audio, the RX Final Mix plug-in combines automatic dynamic EQ and true-peak limiting tools and is aimed primarily at video editors and for use in TV and film audio post-production. The plug-in can be employed on stems or the final mix bus, supports all surround formats up to 7.1, and is designed to help control and blend multiple mix stems.

Final Mix incorporates dynamic EQ that is optimised to increase the intelligibility of dialogue.

The dynamic EQ is particularly useful in helping to maximise speech intelligibility through intelligent un-masking: pushing down any parts of the mix spectrum that might obscure important speech frequencies, moment by moment. It is equipped with six parametric bands, plus high- and low-pass filters, any of which can be set manually or for automatic programme-dependent operation. The latter has both compression and expansion options with user-adjustable thresholds set independently per band. Different parts of the audio spectrum can therefore be attenuated or emphasised and, when skillfully applied, this provides improved dialogue clarity by reducing any masking elements from background music and effects. It can also increase the dynamic impact of special effects, for example by raising the low-frequency region during explosions, and the like.

Moving on to the limiter feature, this can be optimised either for transparency or low latency, with three different sound-character options (clear, smooth or thick), and the ballistics are intelligently programme-dependent. The true-peak limit threshold is adjustable, and a separate gain slider allows the average volume to be increased by up to 20dB, if required.

The other main element of Final Mix is a simple-to-use limiter.

RX5 Advanced Audio Editor

The core RX audio restoration package is already such a powerful and versatile system that it might seem there is little room for practical improvement with each new generation. However, the Advanced version of RX5 included with the RX Post Production Suite manages to squeeze in a number of new workflow enhancements, better default settings, and closer integration with Avid’s Pro Tools — and even a few new processing modules, too!

The dedicated De-Plosive module is a new addition to RX5 Advanced.

The headline feature for the Advanced version of RX5 is a brand new De-Plosive module, which, as its name implies, is designed to remove distracting plosive sounds from dialogue tracks. This is claimed to be an “industry first” (although CEDAR came up with their DeThump algorithm over 15 years ago..). Another all-new module for RX5 Advanced is the versatile Signal Generator, which can create a variety of precise test tones with different wave-shape options, filtered noise, profanity bleeps, and so on. The Leveler and Ambience Match modules from RX4, which are only available in the Advanced version, have also been updated and improved. The Leveler module analyses a dialogue or vocal track and works out an intelligent clip-gain envelope to de-breath, de-ess and generally smooth out the voice level, while the Ambience Match plug-in automatically constructs a consistent background ambience track from whatever ambience already exists, which is particularly useful when rebuilding heavily edited dialogue or working with ADR tracks.

A welcome addition to RX5 Advanced is the new Signal Generator module.

Both the Standard and Advanced versions of RX5 benefit from a new Instant Process tool button, which has been added to the bottom of the main audio display window. This is a semi-automatic version of the Spectral Repair module, and it works much like the ‘magic eraser’ tools found in photo-editing programs. If the Instant Process button is pressed, a problem sound element can be highlighted with the usual shape selection tools, and instantly attenuated, de-clicked, faded or replaced (as pre-selected in a configuration box). This feature provides a much quicker means of removing lots of clicks, for example, and really speeds up repetitive tasks.

Another new module provided in both versions of RX5 is a greatly improved EQ module, now called Corrective EQ. This features six separate parametric bands, plus configurable high- and low-pass filters (with four slope options). The module can also be switched between ‘analogue’ or ‘digital’ modes, with usefully different filter characteristics. A new Module Chain facility is also provided in both versions, and this allows any number of different RX5 modules to be loaded in a specific order, configured, and then operated automatically in sequence with a single click to perform complex audio processing tasks in a single pass.

Now rechristened Corrective EQ, RX5’s equaliser has been considerably improved.

There are a number of other worthy enhancements to this latest version of RX, starting with a subtly improved toolbar layout, with bigger icons and more obvious navigation and zoom controls. Retina screen support has been added for Macs, giving sharper text and graphics. And when working with long audio files, the Marker and Region search facilities have been improved to make finding required sections quicker and easier. Over 60 new ‘problem-oriented’ presets have been provided for the various modules, too.The Module Chain feature allows multiple RX processes to be combined into a single macro.

Impressions

I’ve been an enthusiastic user of iZotope’s RX for a very long time now, and find it an extremely capable audio restoration platform — although it takes some persistence and diligence to properly understand and master its sophisticated processing tools. RX5’s new De-Plosive module is a very welcome addition to the already quite comprehensive suite of tools, and it is highly effective. I also like the improved Corrective EQ module very much, while the new Instant Process feature is handy for simple repetitive spectral fixes. Another useful new facility for more complex repetitive work is the Module Chain, which allows a string of processes to be performed in one click. Experiments with the Ambience Match and Leveller modules showed them to be easy to use and very effective, too, and I can see them becoming popular in audio post-production for film and TV.

Moving beyond RX5 Audio Editor, the full-featured RX Post Production Suite is a very useful collection of tools for the film and TV post-production, world where loudness normalisation is now a crucial element. The Insight metering and Loudness Control plug-ins make it very straightforward to conform with the appropriate loudness standards, either while mixing or to correct pre-recorded material. The Final Mix plug-in is the only element of the suite that was entirely new to me, but I was impressed with the capabilities of its dynamic equalisation and limiter processes — although such powerful tools require great care, as they can wreck a mix more easily than improve one!

Alternatives

CEDAR’s Cambridge Suite offers a similarly comprehensive collection of audio restoration tools that are more advanced and easier to use, but at a much higher price and less oriented towards film and TV post-production.

Pros

• Loudness normalisation made easy with Insight’s metering and Loudness Control’s analytical and corrective facilities.
• Mix enhancement through RX Final Mix dynamic EQ and limiting tools.
• New De-Plosive processing module.
• Greatly improved Corrective EQ module.
• Module Chain and Instant Process features speed up repetitive tasks.

Cons

• Tools this sophisticated and capable will never be cheap!

Summary

A comprehensively equipped package of audio management, restoration and enhancement tools, now incorporating a Post Production Suite aimed at the film and TV market.

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Overview

Using Leveler For Lead Vocals Izotope Rx 1

The Leveler module automatically rides the gain in your file to even out the variations of the signal level. The algorithm consists of a compressor with a makeup gain to achieve a smooth signal that’s aiming towards (though may not exactly hit) a desired Target RMS level. The compressor has the ability to prevent pumping on speech pauses or breathing sounds, using the Optimization mode, for either Dialogue or Music, in addition to the Ess and Breath parameters.

The level detector stage includes the K-weighting filter that helps equalize the audible loudness, not just RMS level. However, the Leveler module is designed for the smoothing of overall audio signals, rather than taking an entire signal and using a fixed gain to ensure it hits a loudness compliant LKFS level, which is the goal of the Loudness module.

This all combines to create a transparent, non-destructive Clip Gain curve, without the color or artifacts of a traditional compressor.
Unlike the Loudness module, which applies a constant gain based on Loudness compliant analysis to the whole file, Leveler applies a time-variable gain. For convenience of RX users, the time-variable gain is applied as a Clip Gain envelope, which can be viewed and edited by the user.

Please Note

• If additional processing is applied from another module after running Leveler, the clip gain values assigned by Leveler will be destructively written to the file and the clip gain nodes will return to zero. However, the clip gain settings from Leveler will be saved in the Undo History list).
  

Controls

Using Leveler For Lead Vocals Izotope Rx 4

• NUMERICAL READOUTS: Numerical Readouts provide you with the Total, Maximum and Minimum readouts for RMS.
  
  • The total value is the overall RMS of your audio signal, which may inform where you choose to set the Target RMS level parameter.
    
• OPTIMIZE FOR: Optimize For switches between two modes, Dialogue and Music. Each mode utilizes a slightly different handling of the noise floor.
  
  • Dialogue tends to be audibly juxtaposed against the noise floor, as it’s typically very transient, whereas music often tends to fade into the noise floor, with chords, notes, and other instrumental decays.
    
  • Switching between these two modes will affect the behavior of the Leveler, and prevent pumping.
    
• TARGET LEVEL: Target Level sets the desired average RMS level of the recording.
  
  • Note that Leveler uses K-weighted RMS to better level perceived loudness, but that it is not a loudness compliant leveling tool. It uses the Target Level as a guide, but with the goal of smoothing out variations in an audio signal much more transparently than a compressor typically would. As such, it is not unusual to see the resulting output of Leveler not be an exact 1:1 with the defined Target Level.
    
  • At high target levels, the leveler may not be able to hit the target without clipping, so the target level will not be reached.
    
• RESPONSIVENESS: Sets the integration time for RMS level detection and is similar to the attack/release setting on a compressor.
  
  • Lower settings will result in more aggressive Leveling, useful if a signal has a lot of sudden variations.
    
  • Higher settings will result in smoother behavior, leveling words or phrases rather than individual syllables.
    
  • If you find the Leveler is responding to any sudden unwanted sounds, such as a cough, and boosting it, increase the slider to a higher value to see if this results in less aggressive jumps.
    
• PRESERVE DYNAMICS: This can be thought of the maximal amount of gain applied by the Leveler. The wider the range of gain adjustments allowed, the further away from the original dynamic range the audio signal will be.
  
  • At lower values, the Leveler will preserve fewer of the original dynamics in the audio signal.
    
  • At higher values, the Leveler will preserve more of the original dynamics in the audio signal.
    
• ESS REDUCTION: Ess Reduction is aimed at anyone using the Leveler on dialogue or vocals, and utilizes a smart algorithm, inspired by the DBX 902 De-esser, to detect when ess is present in a signal, and then attenuate it accordingly. This avoids adding any boost to esses, which may otherwise be seen as quiet sounds requiring a boost. The slider sets the amount of ess reduction, applied in dB.
  
• BREATH CONTROL: Breath Control will automatically detect breaths in your vocal takes and attenuate them. This saves time when editing dialogue or vocal tracks, and streamlines a task that is typically done manually.
  
  • Breath Control automatically analyzes the incoming audio and distinguishes breaths based on their harmonic structure. If any piece of the incoming audio matches a harmonic profile 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 the audio has risen to a certain volume, this feature will perform its analysis regardless of level.
    
  • This allows for accurate breath recognition with a multitude of quiet or loud dialogue / 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 the detected breaths in your audio are only reduced when necessary.
    
  • Loud and abrasive breaths will be reduced heavily, and quiet, natural sounding breaths will be left at the same volume. The volume level specified by this slider is a guide, but may not result in exact values.
    
• LIMITER: The Leveler has a built-in Limiter in order to avoid introducing any clipping to the audio signal once the Clip Gain envelope has been applied.
  
  • This cannot be adjusted, but you’ll see the Clip Gain envelope smooth off an audio signal if you’re pushing peaks close to 0 dB.