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.
Plug-in Only |
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Overview
The RX Connect plug-in sends a clip, or multiple clips, to the RX 6 standalone application for editing and repair. This gives you access to all of RX 6’s modules in one place, and provides the benefits of RX’s offline processing and visual interface. RX Connect is available from the AudioSuite menu in Pro Tools, or as an AU or VST plug-in from your host’s effects menu.
Controls
There are two modes for using RX Connect:
SEND FOR REFERENCE: This is meant for analysis only. The clips are imported into RX 6 but cannot be sent back to your host.
Note about Reference Mode
This mode of RX Connect will not open RX 6 Audio Editor automatically. Opening the Audio Editor after using send for reference will reveal the file in the RX Audio Editor.
SEND FOR REPAIR: Selected clips are sent to the RX 6 Audio Editor for repair, and you can send them back to your host from the RX Audio Editor.
More Information
- For more information on using RX Connect in different hosts, please refer to the following sections, or refer to the knowledgebase for a more detailed list.
Host Specific Instructions
The following sections outline host specific instructions for using RX Connect to Send audio to the RX Audio Editor and back to your host application:
Adobe Audition CC RX Connect Workflow
- Inside of Audition, select the Waveform view.
- Highlight the area of audio that requires editing.
- In the Effects menu, load the RX 6 Connect plug-in from VST (or VST3) > Restoration> iZotope, Inc. (If you do not see the RX 6 Connect plug-in, open the Audio Plug-in Manager and Scan for Plug-ins, then make sure RX 6 Connect is enabled).
- When the plug-in window opens, click Apply.
- RX 6 will automatically load. Perform your desired audio edit, then click “Send Back” to send the audio back to Adobe Audition. The Waiting for Connect message will appear.
- Re-load the RX 6 Connect plug-in from the Effects menu. It will now display a message “Press Apply to commit changes.” Click Apply to apply the audio edit from RX to your audio file in Adobe Audition.
Avid Media Composer RX Connect Workflow
When using Media Composer, there are two separate workflows for using RX Connect depending on whether you are operating in Master Clip mode or Timeline Mode.
Master Clip Workflow
1. Open the AudioSuite Window from the Tools menu
2. Drag the Master Clip that you wish to edit onto the AudioSuite Window
3. Choose “iZotope RX 6 Connect” from the Plug-in Menu Selection
4. Click the purple Activate Current Plug-in button
5. Press the SEND button in Media Composer 7.0.x, or Optional in Media Composer 8.1.x to send the audio master clip over to RX
6. When you have finished editing your audio in RX, click the “SEND BACK” button
7. Back in the AudioSuite Window, press the OK button, and then Render Effect to commit changes
8. A new Master clip will now be generated into the designated bin
1. Open the AudioSuite Window from the Tools menu
2. Drag the Master Clip that you wish to edit onto the AudioSuite Window
3. Choose “iZotope RX 6 Connect” from the Plug-in Menu Selection
4. Click the purple Activate Current Plug-in button
5. Press the SEND button in Media Composer 7.0.x, or Optional in Media Composer 8.1.x to send the audio master clip over to RX
6. When you have finished editing your audio in RX, click the “SEND BACK” button
7. Back in the AudioSuite Window, press the OK button, and then Render Effect to commit changes
8. A new Master clip will now be generated into the designated bin
Timeline Workflow
1. Open the AudioSuite Window from the Tools menu
2. Select a single audio track in the Timeline, and then choose “iZotope RX 6 Connect” from the Plug-in Menu Selection
3. Click the Activate Current Plug-in button
4. Press the SEND button in Media Composer to send the audio master clip over to RX.
5. When you have finished editing your audio in RX, click “SEND BACK” button
6. In the AudioSuite Window press the OK button, and then Render Effect to commit changes
1. Open the AudioSuite Window from the Tools menu
2. Select a single audio track in the Timeline, and then choose “iZotope RX 6 Connect” from the Plug-in Menu Selection
3. Click the Activate Current Plug-in button
4. Press the SEND button in Media Composer to send the audio master clip over to RX.
5. When you have finished editing your audio in RX, click “SEND BACK” button
6. In the AudioSuite Window press the OK button, and then Render Effect to commit changes
Recommendations
When rendering RX Connect as an AudioSuite effect in Media Composer, the resulting audio will exist in a rendered effect container for the duration of that clip on the timeline. If the clip length is extended beyond those bounds, the rendered effect will become un-rendered, as indicated by a blue dot.
To avoid losing the audio in the rendered effect container, we recommend either:
To avoid losing the audio in the rendered effect container, we recommend either:
- Achieve locked picture prior to the audio edit
- Extend the bounds of the clip prior to the audio edit, perform the audio edit with RX Connect, mixdown the clip to a new audio file, and then reduce the bounds back to the original size
- If you make extensive repairs inside of the RX Audio Editor, you can also save an .rxdoc of the file, which will preserve all your adjustments so you can modify them later if you need to.
Monitoring the output of RX Audio Editor
With some audio hardware systems, Media Composer will has control of your audio drivers so that you aren’t able to hear the output of RX.
However, we’ve built the RX Monitor tool to solve just this problem.
- Create a dedicated auxiliary audio track for monitoring RX
- Insert RX Monitor from the “Noise Reduction” or “Sound Field” menus.
- Now, go to the “Preferences” menu in the RX Audio Editor by clicking on the wrench icon in the top-right of the window.
- In the “Audio” tab, set your Driver type to be “RX Monitor.”
- Now you can hear the output of the RX Audio Editor through the audio output chain that Media Composer is using.
Avid Pro Tools RX Connect Workflow
- Choose the audio to be sent to the RX Audio Editor by selecting the audio clip(s) in the timeline that you want to edit, and opening RX Connect from the AudioSuite ‘Noise Reduction’ menu.
- If you just need to load a noise profile or analyze some audio, choose ‘Reference’ to send the audio one-way, but for the complete round-trip workflow click ‘Repair’ and then hit ‘Send’. You’ll see this opens the audio in the RX Audio Editor.
- With HDX systems, Pro Tools will have control of your audio drivers, so you aren’t able to hear the output of the RX Audio Editor. However, the RX Monitor tool is built to solve just this problem. In Pro Tools, create a dedicated aux track for monitoring RX, and insert RX 6 Monitor from the ‘Noise Reduction’ or ‘Sound Field’ menus,
- Then, go to the ‘Preferences’ menu in the RX Audio Editor by clicking on the wrench icon in the top-right of the window. In the ‘Audio’ tab, set your Driver type to be ‘RX Monitor’. Now we can hear the output of the RX Audio Editor through your Pro Tools output chain.
- After you’ve made the desired edits in RX, click ‘Send Back’ at the top of the window. Back at the RX Connect window inside of ProTools, click ‘Render’, and the repaired audio will be placed back into your session.
Tips
- Some engineers might choose to create duplicate playlists before making any repairs to their audio, but you can ‘undo’ these RX Connect changes just like any AudioSuite process.
- If you make extensive repairs inside of the RX Audio Editor, you can also save an .rxdoc of the file, which will preserve all your adjustments so you can modify them later if you need to.
Audiosuite modes:
When using Audiosuite plug-ins, there are various user definable input and output options, which affect how you may use RX Connect. These options are:
Input
- Clip-by-clip: Recognizes individual clips in the timeline, as well as fades.
- Entire selection: Treats the entire selected area as one clip.
Modes
- Mono mode: Treats mono, dual mono and stereo clips, as well as multi-channel clips, all as discrete mono clips (e.g. a stereo clip will send as two separate mono files).Mono mode notePlease note, this can result in large groups of audio clips being sent to RX, potentially exceeding the maximum file limit of 16.
- Multi-input mode Treats dual mono and stereo audio clips as one entity.
Output
- Overwrite files Destructive processing of the audio clip(s) in the session, overwriting the original file with the new file sent from RX.
- Create individual files: Nondestructive processing of the audio file(s) in the session, replacing them with the audio processed in RX. This mode preserves individual clips and fades/handles.
- Create continuous files: Nondestructive processing of the original audio file. Creates a new audio file with the audio sent back from RX, consolidated into one continuous clip.
More Information
For the most up to date information on the expected behaviors when using the recommended configurations, please click here
Steinberg Cubase & Nuendo RX Connect Workflow
- In Cubase/Nuendo, select the audio clip for processing.
- Select the RX 6 Connect plug-in from the the plug-ins menu (Audio > Plug-ins)
- The RX 6 Connect plug-in window will open.
- Depending on your requirements please select one of the following choices:
a. Send for reference: meant for analysis only. The clips go to RX, but do not come back.
b. Send for repair: the clips are sent to RX and, after they are cleaned up, you can send them back to your DAW. - Once you have made your choice, press the process button to send the audio to RX.
The RX 6 application will automatically open and receive the audio (if you selected send for reference, you will need to manually open RX and the file will appear). - You can now carry out any repair, restoration or cleaning using the full selection of RX modules.
- Once you are happy with the edits, you can simply press the “send back” button at the top of the open window to send the audio back to your DAW.
- Once complete RX will show a window asking to re-open the RX 6 Connect plug-in.
- Back in Cubase/Nuendo, select the RX 6 Connect plug-in from the “Audio Plug-ins” menu.
- Press the process button to commit the changes to the original audio file.
RX 6 as an external audio editor
Some hosts don’t support the use of RX Connect for round-trip editing, please refer to the instructions below for host specific workflows.
Adobe Premiere Pro CC with RX as an external audio editor
- Inside of Premiere, right-click on an audio clip in your timeline and select “Reveal in Finder” (OS X) or “Reveal in Explorer” (Windows).
- Open the resulting file in RX 6 Audio Editor.
- Perform necessary processing in the RX application
- When you have made the desired changes to your file, go to the RX File menu and select Overwrite Original File
Note
- If you have Adobe Audition installed as well, you can right-click on an audio clip in your timeline, and select “Edit Clip In Adobe Audition.” Then follow these steps for using RX Connect with Adobe Audition CC
Apple Final Cut Pro X with RX as an external audio editor
RX is a powerful audio editor that Apple Final Cut Pro X users can use to get better sounding audio in their video projects.
- Select the clip you want to edit in your Final Cut Pro project
- Hit Cmd-Shift-R to Reveal in Finder
- Open the revealed file in RX 6 Audio Editor and make any necessary edits.
- When you are done, in RX choose File>Overwrite Original File to automatically update the clip in your Final Cut Pro project, or File/Export to make a new file, and then import that edited file into Final Cut Pro
Apple Logic Pro X with RX as an external audio editor
RX is a powerful audio editor that Apple Logic Pro X users can use to get better sounding audio. To use RX with Logic, you must first set it up as an external audio editor.
How to set up RX as an external audio editor
- Open Logic Preferences and go to Advanced
- Under Additional options, enable the “Audio” check box.
- In Preferences, click the “Audio” tab and select the “Audio File Editor” tab.
- Under Audio File Editor, click on the External Sample Editor to select RX 6 from your applications folder
Workflow
- Select the clip you wish to edit in your timeline
- Click Edit > “Open in iZotope RX 6 Audio Editor”, [Shift+W]
- The file will open in RX 6. Once you’ve completed your edits, in RX 6 click File > Overwrite Original File
- Close the tab, navigate back to Logic Pro X and wait for the waveform to update
- 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.
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.
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
Izotope Rx 5 Connection
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.
information
Post Production Suite £1029; RX5 Advanced £815; RX5 £239. Prices include VAT.Time + Space +44 (0)1837 55200
Post Production Suite $1499; RX5 Advanced $1199; RX5 $349.