Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. As for the Dynamic Frequency mode, you can both boost or cut frequencies, all while tracking the nearest moving harmonic peak. Along with the Nectar 3, we also get the RX7 Breath Control that’s mostly like the Breath Control from the previous version. With it, you can significantly reduce the volume of all the unwanted breath sounds.
The Breath Control plug-in automatically analyzes the incoming vocal take and distinguishes breaths from sung vocals based on their harmonic structure. If any piece of the incoming audio matches a harmonic profile similar to a breath, the module will suppress that portion of the audio until sung vocals are detected. (Breath Control and Melodyne RX 7 Breath Control can quickly and easily remove errant breath sounds in vocal recordings. Relay provides essential mix operations and connects your entire mix to your iZotope plug-in collection via inter-plugin communication.
Demonstrating Commonly Used Modules
In our 2nd tutorial on iZotope’s audio repair tool RX7, we will be looking at editing using various modules.
Though many modules are included, we decided to focus on what we feel are the most commonly used ones.
iZotope RX 7 Tutorial ② – Video Access
You can find the RX7 modules in the menu on the right.
You can choose what to use from here, so lets try out Breath Control first.
We have a sample here with obvious breath noise so lets hear how it sounds.
We will be applying Breath Control to this sample.
Its controls are simple; use Sensitivity to setup the sensitivity for breath detection, and use Target level to determine how loud the breath will be.
We’ll start by setting the target level to -inf and adjust the sensitivity. Press the Preview button and play to hear the effect in use.
For this sample, even when the Sensitivity is set to the the breath part and normal talking voice manage to be analyzed separately.
If volume reduction is heard on non-breath parts as well, adjust the sensitivity to where it just barely mutes the breath.
If you don’t want to completely remove the breath, adjust the Target level to determine the volume. Though the target level will give you the level shown, you can switch to Gain to get a reduction in level/volume relative to the volume of the breath sound as well.
If the preview sounds good, click the Render button.
Next please give this sample listen.https://sleepfreaks-dtm.com/wordpress/wp-content/uploads/2020/03/Various_Noise.mp3
There is lots of various noise here. Lets try cleaning up this audio sample.
First off, that loud zap sounding noise was troublesome. We’ll use De-click to get rid of this kind of sound.
- Algorithm：The type of analysis used to remove clicks. We recommend previewing the sound while choosing which type to use.
- Frequency skew：Determines frequency band for click detection. Lower frequencies are detected on the left, high frequencies on the right.
- Sensitivity：Determines click detection sensitivity. Raising it too high leads to unnatural results. It’s best to find a balanced point.
- Click Widening：Determines the time of removal applied to a detected click sound. To fix rapid click sounds and other issues from digital waveforms, etc. we would set this setting a little higher, but this will also cause issues when set too high. Find the best point for this setting as well.
For this sample, we used MULTIBAND (RANDOM CLICKS) with a focus on lower frequencies to get a clean result.
Next lets try getting rid of the white noise in this sample.
We will be using Spectral De-noise to do this.
Spectral De-noise analyses unpleasant frequencies and subtracts them from the frequency to remove noise.
It’s best to select a portion containing just noise to analyse the sound.
- Threshold：Lowering it gives a more natural reduction but may often result in plenty of left over noise. Raising it gets rid of more noise but it can also get rid of the sounds you want to keep in the process.
- Reduction：Refers to the amount of noise reduced, and works hand in hand with threshold, making a balance between the two parameters crucial.
- Quality：You can keep the Quality at Best if your CPU can handle it.
- Artifact Control：The lower its set, the better the separation between the noise and the voice. However, it can result in a loss in vocal quality. Raise it to the right up until a point where the vocal quality loss is not noticeable.
- Reduction curve：By ticking the box, a blue line will be displayed in the center of the analyser. You can adjust the strength of noise reduction by frequency using this curve. Click to create a new point, and raising it will lower the noise reduction on that frequency, while lowering it will raise the noise reduction.
- Smoothing：Move this slider to the right to smooth out the Reduction curve.
The noise has been greatly reduced.
Next, we will look at the first “sa” sound, where we have an explosive air sound and try to remove it.
To do so, we will look at the De-plosive module.
- Frequency Limit：Determines the highest point for plosive sound removal. Move to the left if it begins to cut into the low frequencies on your audio.
- Sensitivity：Determines the sensitivity of plosive sound analysis. The higher its set the better it can detect plosive sound, but can interfere with the vocal sound.
- Strength：Determines how strong the removal effect of the plosive sounds are. If set too low you won’t remove any plosive sound, and the higher its set the more reduction on the plosive sounds. However, if set too high the overall performance will lose it’s low end.
By adjusting accordingly, we are able to remove the plosive sounds without cutting into the low-end of the voice.
As a final touch lets remove the Ess sounds. We will be using De-ess.
- Algorithm：Classic reduces the volume of all frequencies on an Ess sound, while Spectral reduces the frequency of the band most associated with Ess sounds.
- Threshold：This helps set the threshold point and will help reduce Ess sounds that go over the volume. Of course lowering it makes the effect more obvious. Though we can look at the gain reduction meter for reference, but by ticking the Output Ess only box here, we can hear just the sounds that are being detected. Adjust it to try and remove just the “Ess” sounds.
- Cutoff Frequency：Determines the cutoff point for what is analysed as an Ess sound and all other sounds, and raising it narrows down the target frequencies, while lowering it applies the effect to include lower frequency Ess sounds. We can use Output Ess only in this instance as well.
- Speed：Determines the attack/release of the De-esser, with a Fast or Slow setting. Though Fast will most likely work in most situations, we can use Slow if the effect doesn’t work well with fast. If Slow makes the reduction too obvious with a pumping effect, use Fast.
- Spectral shaping：Can be considered a detailed adjuster for the strength of the De-esser effect. If the de-esser sounds too strong, lower this fader.
- Spectral tilt：Determine the noise profile of the Ess sounds. Default at 0 is Pink noise which is a natural sound with more midrange. Pulling it to the left targets Brown noise which contains more low frequencies. Pulling it to the right targets White noise which contains more high frequencies.
This completes our noise removal edits.
Here’s how it sounds before and after editing and removing noise.
The sound has been substantially improved and cleaned up.
This completes our look at the most commonly used modules in RX7.
Try these out to bring your troubled recordings back to life!
- Mixing plugins
The Breath Control plug-in will automatically detect breaths in your vocal takes and suppress them. This can be an essential tool when editing a vocal track by streamlining a task that can be time-consuming when performed manually.
Note: The component Breath Control plug-in is only available in Nectar 2: Vocal Production Suite.
How Breath Control Works
The Breath Control plug-in automatically analyzes the incoming vocal take and distinguishes breaths from sung vocals based on their harmonic structure. If any piece of the incoming audio matches a harmonic profile similar to a breath, the module will suppress that portion of the audio until sung vocals are detected. Different from a 'Threshold' based process in which the module is only engaged once the audio has risen to a certain volume, Breath Control will perform its analysis regardless of level. This allows for accurate breath recognition with a multitude of quiet or loud vocal styles with minimal adjustment of the module's controls.
In Gain mode, the Breath Control plug-in will reduce the gain of breaths by an absolute amount, regardless of the level of the breath. In some cases, this is desirable when trying to handle egregious breathing or as a way of removing all breaths from a particular spoken or sung vocal take. Depending on your settings however, this can result in unnatural sounding results as the very quiet breaths may be inaudible, while the loud breaths will be reduced to a normal level.
When in Target mode, the reduction amount of the 'Target' slider represents the desired level 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 while quiet, natural sounding breaths will be left at the same volume.
Note: By default, the Breath Control plug-in will be in Target mode.
This controls how sensitive the breath control plug-in is when detecting the harmonic structure of breaths in your incoming audio.
Sets the desired amount of gain reduction applied to all detected breaths, regardless of level.
Sets the resulting desired level of all detected breaths above the set target.
When enabled, only the audio of the detected breaths will be passed to the output of the module. This can help when setting the Sensitivity control in order to make sure that only the breathing in your audio is being processed.
Gain Reduction Trace
The Gain Reduction Trace is a scrolling meter that displays the incoming signal’s waveform with a superimposed tracing that illustrates the amount of gain reduction taking place in real-time.
In order for the Breath Control plug-in to have time to perform its analysis, it must incur a good deal of latency. The result of this latency is that the incoming audio is delayed in time with respect to the other tracks in your session. Modern audio applications have a feature called 'Delay Compensation' which will recognize the latency (delay) that Nectar requires and will adjust the tracks in your session accordingly - making sure that all of your tracks are aligned and in time with each other. This 'Delay Compensation' can only occur once the audio has been recorded into your digital audio workstation however. When tracking (recording) your incoming audio the latency of the Breath Control module will cause a delay between when the audio comes in to your computer, and when it passes through Nectar.
Note: If your host has a limited number of samples of latency compensation, Breath Control may still cause tracks to be played back out of sync with each other. In these cases, we recommend processing your vocal takes with Breath Control as a separate offline process.