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Author Topic: iZotope Rx 7  (Read 18196 times)

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Offline voltronic

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Re: iZotope Rx 7
« Reply #90 on: February 17, 2020, 08:05:10 PM »
So, I'm getting the "Loyalty" come on by iZotope to buy Neutron 3 for really cheap. Anyone using it effectively for our stuff?

I have never used Neutron.  Personally, I don't see any of the modules as all that useful for post work on live concert recordings, unless you are looking to change the sound of your capture rather significantly. 

On a related note, I find Ozone highly useful.  EQ, Compressor, and Maximizer are all top-notch.  Too bad they removed the excellent reverb module a couple versions back.
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Offline adrianf74

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Re: iZotope Rx 7
« Reply #91 on: February 24, 2020, 09:55:07 PM »
For my process, if there's also clapping around the whoo or whistle I'll use the De-Click plugin first. This allows you to see the pattern of the whistle or whoo more clearly (you're gonna want to get rid of the claps eventually anyway). I've found that setting DeClick for "Multiband (Random Clicks)" works best. A general setting for me is sensitivity 3.7 and width at 2.3.

The way I determined this was to highlight the clapping and check output clicks only. I previewed the selection and adjusted until the claps/clicks were either attenuated sufficiently or eliminated and didn't affect drums or the overall sound.

Just wanted to say thank you for this.  I was able to apply to play around with this suggested setting this morning a little on a recording I made over the weekend.  I know somebody after you had suggested using "Vinyl De-click" at default but after trying that and your suggestion of "Multiband (Random Clicks)" with your "general setting", I was able to get an almost perfect removal with very little of the drums being affected.  It was great for those who couldn't clap to time or wanted to clap randomly.  This feature, alone, is a huge god-send for what we do.  I'm only using Elements so I don't get to use Spectral Repair or De-Reverb.  On that note, I'm curious to see how De-Reverb works on the same recording so I may have to see if I can find a demo version.
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Offline voltronic

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Re: iZotope Rx 7
« Reply #92 on: February 25, 2020, 06:02:58 AM »
For my process, if there's also clapping around the whoo or whistle I'll use the De-Click plugin first. This allows you to see the pattern of the whistle or whoo more clearly (you're gonna want to get rid of the claps eventually anyway). I've found that setting DeClick for "Multiband (Random Clicks)" works best. A general setting for me is sensitivity 3.7 and width at 2.3.

The way I determined this was to highlight the clapping and check output clicks only. I previewed the selection and adjusted until the claps/clicks were either attenuated sufficiently or eliminated and didn't affect drums or the overall sound.

Just wanted to say thank you for this.  I was able to apply to play around with this suggested setting this morning a little on a recording I made over the weekend.  I know somebody after you had suggested using "Vinyl De-click" at default but after trying that and your suggestion of "Multiband (Random Clicks)" with your "general setting", I was able to get an almost perfect removal with very little of the drums being affected.  It was great for those who couldn't clap to time or wanted to clap randomly.  This feature, alone, is a huge god-send for what we do.  I'm only using Elements so I don't get to use Spectral Repair or De-Reverb.  On that note, I'm curious to see how De-Reverb works on the same recording so I may have to see if I can find a demo version.

I generally start de-clapping with the "Vinyl Record" preset, but I'll have to try these settings next time I need to attenuate claps.

BTW, Spectral Denoise is the one module of the Standard edition I cannot live without.  Most of my recordings are choirs, and my mics always seem perfectly positioned to capture the HVAC system. :-\   
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Offline Gutbucket

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Re: iZotope Rx 7
« Reply #93 on: February 25, 2020, 11:57:50 AM »
Catching up on this thread, I came across this-

De-Bleed, nope.

Point something like a wide cardioid straight down at the talkers around your stand.   Use it as the bleed source to subtract from your main mics......

You can't go very far with it, and it's a slow offline process, but it can make a difference.   Test for sound quality on a very small section before committing to any larger selection.

I expect for this to work well one will want to mic it so as to isolate the undesirable bleed (the nearby talkers) as much as possible in that channel while excluding the desirable sound as much as possible.  With that in mind, rather than a subcardioid I'd try something like a supercardioid pointing 45 degrees down and to the rear, such that the least sensitive sector of its pickup-pattern faces the stage and PA. 

One might imagine a vertically oriented fig-8 would be best to isolate local chatter beneath the mics while being least-sensitive to the desired sound arriving along the horizontal plane, and perhaps it will be for this specific application.  However, I've found the null plane of a fig-8 is generally too narrow to effectively isolate pickup of distant sources that have significant level in comparison to a cardioid or supercard facing away from the source.  The fig-8 null is deeper, especially in comparison to the rear-lobe of a super pointed directly away, but the more important attribute is how much reduction in sensitivity is achieved across a relatively wide angle.  It's the reduction in average sensitivity over a region that is more important in real world taper situations. 

It is for that reason I use rear-facing supercardioids rather than cardioids (or sideways oriented 8's) for the ambient channels in my OMT rig.  Even though it might seem pointing a cardioid null at the PA should maximully minimize the pickup of it, I've found that pointing the rear lobe of a supercardioid at the PA reduces pickup even more, due to the supercardioid's reduced average sensitivity across the entire rear-hemisphere in comparison to a cardioid.


Apologies for going OT on this, but it represents a very interesting, potentially powerful technique with applications beyond reduction of nearby talkers.  One of the driving forces behind the design my OMT rigs is arranging things so as to limit direct-sound bleed into the ambient channels and ambient/reverberant bleed into the direct-sound channels, while working with the relatively limited pattern directivity of first-order microphones and the need for sufficient correlation between adjacent imaging microphone pairs.  This technique could potentially be applied to actively manage this differentiation in useful ways, without needing additional microphone channels other than those already in the array.

Conceptually, it is akin to the DSP processing applied to the rear-facing supercardiod integrated into the Schoeps Super CMIT shotgun which further increases forward directivity over that of a typical interference tube shotgun design.  I'm talking about the potential of extending this from the domain of a single microphone to the entire multichannel array.
« Last Edit: February 26, 2020, 09:11:26 AM by Gutbucket »
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Offline checht

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Re: iZotope Rx 7
« Reply #94 on: February 26, 2020, 01:27:32 AM »
[snip]
I'd try something like a supercardioid pointing 45 degrees down and to the rear, such that the least sensitive sector of its pickup-pattern faces the stage and PA. 
So the rear lobe of the supercard would be facing the stage and at a 45 degree up angle. Would that not catch a lot of the desirable sound coming from the stage? Would a shotgun pattern pick up less of that sound energy?
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Offline jerryfreak

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Re: iZotope Rx 7
« Reply #95 on: February 26, 2020, 03:51:40 AM »
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Offline Gutbucket

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Re: iZotope Rx 7
« Reply #96 on: February 26, 2020, 10:09:03 AM »
[snip]
I'd try something like a supercardioid pointing 45 degrees down and to the rear, such that the least sensitive sector of its pickup-pattern faces the stage and PA. 
So the rear lobe of the supercard would be facing the stage and at a 45 degree up angle. Would that not catch a lot of the desirable sound coming from the stage? Would a shotgun pattern pick up less of that sound energy?

The collective direct sound and strong early reflections from stage and PA emanate from an area which covers a significant portion of the front hemisphere forward of the recording rig, let's assume around +/- 45 degrees horizontally and somewhat less vertically for sake of argument, more or less a 90 degree wide window.  What's most important is how much sensitivity is reduced on across that entire window.  As I mentioned above-

Even though it might seem pointing a cardioid null at the PA should maximully minimize the pickup of it, I've found that pointing the rear lobe of a supercardioid at the PA reduces pickup even more, due to the supercardioid's reduced average sensitivity across the entire rear-hemisphere in comparison to a cardioid.

So while a supercardioid has more sensitivity to sound positioned directly behind than a cardioid, the cardioid actually picks up more sound across that rear window (great movie BTW).  It still a good idea to orient the supercard such that the least sensitive sector of its pickup pattern, somewhere between 130-160 degrees off axis, faces toward the loudest sources and fortunately angling the mic down and to the rear serves to do that while simultaneously placing it on-axis with the mouths of folks immediately behind, which are the sound sources we want to focus on with this hypothetical arrangement.

I often angle my rear-facing ambient pickup pair of supercardioids so that each faces directly away from the PA speaker on the opposite side.  Sort of reverse PAS which typically results in an angle between them of around 40 degrees or so, which is desirable given their spacing and relation to the other mics in the array.  This does not increase pickup of the PA significantly compared to orienting those mics parallel to each other so that they face directly away from the stage, which comes closer to placing the PAs on the nominal "null" axis of both supercards.   

My take away is that it is generally more useful to think about pickup pattern sensitivity averaged over an area rather than in terms of specific null and lobe angles.

Hope that helps. 

Please pardon my interruption.  I'll now point this OT mic away from this thread so you all can return to discussion of the real world application of these powerful software tools as they currently exist.
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Offline capnhook

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Re: iZotope Rx 7
« Reply #97 on: February 26, 2020, 10:12:49 AM »
De-click "Multi-band (random clicks)" with Sensitivity at 5 and Click widening at 4ms did a perfect job taming some outdoor New Years Eve fireworks.  Wow, just right, they settle right in to the mix now, instead of sounding like gunshots.

I am using the Spectral De-noise to try to eliminate some terrible white noise in a SBD pull for a different show.  It sounds like the ocean in the background.  It's cool how you can even lasso the right bit of high-energy noise you need to make your sample, and subtract it from the whole recording.

Well worth the $ I paid for it.
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Re: iZotope Rx 7
« Reply #98 on: February 26, 2020, 12:28:51 PM »
De-click "Multi-band (random clicks)" with Sensitivity at 5 and Click widening at 4ms did a perfect job taming some outdoor New Years Eve fireworks.  Wow, just right, they settle right in to the mix now, instead of sounding like gunshots.

I am using the Spectral De-noise to try to eliminate some terrible white noise in a SBD pull for a different show.  It sounds like the ocean in the background.  It's cool how you can even lasso the right bit of high-energy noise you need to make your sample, and subtract it from the whole recording.

Well worth the $ I paid for it.

I think there is an Izotope tutorial on youtube somewhere when the guy is doing a seaside interview and edits out the ocean and some seagulls.  I bet that would help your use case Kev
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Re: iZotope Rx 7
« Reply #99 on: February 29, 2020, 05:21:54 PM »
I recorded a couple of concerts at the same venue recently and find the vocals a bit echo-ey (instruments sound good to me).

Should I invest in the standard version of Izotope ($299) and "fix" it with the deverb-functionality or would that be a wasted uphill struggle on a live recording (versus a studio recording)?
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Re: iZotope Rx 7
« Reply #100 on: February 29, 2020, 06:19:32 PM »
Standard  iZotope Rx 7 gives you "Music Rebalance", also.  Might do the trick for you.
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Offline EmRR

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Re: iZotope Rx 7
« Reply #101 on: March 01, 2020, 06:43:33 AM »
I recorded a couple of concerts at the same venue recently and find the vocals a bit echo-ey (instruments sound good to me).

Should I invest in the standard version of Izotope ($299) and "fix" it with the deverb-functionality or would that be a wasted uphill struggle on a live recording (versus a studio recording)?

Deverb is heavy handed and obvious, I wouldn’t expect satisfaction from it.
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Re: iZotope Rx 7
« Reply #102 on: March 01, 2020, 10:26:53 AM »
Thanks for the input, it looks intriguing.
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Re: iZotope Rx 7
« Reply #103 on: March 02, 2020, 05:39:00 PM »
Any tips for removing PA hum/noise in RX7? I’ve tried de-hum but it just killed the dynamics. Taped Tim O’Brien at a church and clearly, a church quality PA was the culprit.

Thanks!


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Offline checht

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Re: iZotope Rx 7
« Reply #104 on: March 02, 2020, 05:47:44 PM »
Any tips for removing PA hum/noise in RX7? I’ve tried de-hum but it just killed the dynamics. Taped Tim O’Brien at a church and clearly, a church quality PA was the culprit.

Thanks!

I ended up using spectral de-noise rather than de-hum in a similar situation. Key is to find a couple seconds when there isn't music, just the hum, and train the module on that.

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