Izotope Rx Elements Audio Restoration And Enhancement Software Review

Three years since the release of RX2, iZotope have upgraded their acclaimed & unique audio suite with more speed and capabilities. Matthew Loel. T Hepworth dives in to see just how good RX3 really is.

For several years, audio producers and forensic audio specialists alike have relied on iZotope RX to improve and even rescue damaged recordings. Now the team in Boston, MA have upgraded the suite to RX3, which has greatly improved a program that, for many, is an indispensable tool. Let’s see what RX3 has to offer.


Jan 01, 2011  iZotope’s critically acclaimed RX 1 restoration software offered impressive processing for removing clicks, hum, broadband noise and even isolated events such as chair squeaks from audio files. Two updated versions of the software, RX 2 and the more-powerful RX 2 Advanced, add a multitude of features for even more effective restoration. IZotope RX 7 Advanced is loaded with powerful restoration tools: Repair Assistant uses machine learning to solve common audio issues faster than ever. Music Rebalance grants you independent gain adjustment of the elements of a mix — after it's already mixed. Variable Time adjusts the time stretch amount of an audio selection without altering its pitch.

Installation and Application

RX3 is 32- and 64-bit compatible and cross-platform to run on both Mac computers (Snow Leopard and higher) and Windows-based PCs (XP and higher). It is compatible with the iLok, but can also be authorized via serial number without the need for hardware copy protection. It can run in trial mode for 10 days, providing prospective buyers with an unrestricted hands-on experience.

RX3 is a standalone application, or the restoration modules can run as plug-ins in Audio Unit, VST/VST3, RTAS/AudioSuite, and for the first time ever, AAX formats. This provides real-time RX3 processing in virtually any plug-in capable audio program.


Exploring the Interface

RX2, with its brushed aluminum module buttons and pinstripes, looked.. well.. a little campy. But the RX3 interface is a work of contemporary art, with all of the program elements integrated into one screen.

The RX3 interface.


The largest part of the interface is the waveform/spectrogram display, which has a slider to balance each visual element. The zoom and selection tools are located below the timeline. To the right are the frequency and dB scales, which can both be zoomed to reveal more detail.

Also to the right are the Modules. Clicking a Module will reveal the associated restoration tool. Along the bottom, you’ll find the time display, transport controls, VU meters, selection ranges, and the all-important undo list for auditioning ‘before’ and ‘after’ versions of your edits. However, RX3 also includes a new RX Document format, which will save the audio file along with all of its associated edits. This makes it possible to load a file and review all the previous edits.


Reading the Waveform and Spectrogram

Most of you will be familiar with the waveform view because it is the standard for audio visualization. However, the spectrogram is a much more powerful way to ‘see’ your audio. It displays not only the temporal- and volume-based elements, but the frequency-based elements, as well. Things like fundamentals, harmonics, noise, and tonal elements literally jump off the screen and are very easy to see. For example, take a look at the dialog clip in Figure 2.

“The quick brown fox” as shown in the waveform/spectrogram window.


The left-most box in Figure 2 depicts a region that is mostly silent, but the dim spray of orange shows noise or hiss. The center box shows the fundamental and harmonic frequencies of the word “brown”. The right-most box shows the strong ‘x’ consonant in the word “fox”. Once you get the hang of reading the spectrogram, it’s very easy for you to see the kinds of audio elements contained in the waveform.


The Modules and Workflow

The Modules column is split into three regions: restoration, signal processing, and format conversion. Clicking a Module will open its control panel.

The Declip Module (left) and Compare Settings window (right).


Most of the Modules have Preview and Compare buttons, each of which allows for a very useful workflow. Clicking the Preview button will play back the audio while you make changes in the Control Panel, including recalling factory or user presets. After you’ve made some possible settings, clicking the Compare button will open the Compare Settings window and save a processed version of the audio. Then you can make additional changes and hit Compare again, and repeat the process many times. Then take a look at the Compare Settings window. When you want to audition your edits, click an operation from the list and hit the Preview button. When you find the settings you’re happy with, hit the Process button to apply the edit to the audio file, or hit the View settings button to reload them into the control panel for further editing.


Making Selections

Gross edits can be performed on the entire audio file by doing a select-all command. However, more specific edits require a more surgical selection. That’s where the selection tools come in.

The selection tools.


Because you’ll be selecting more than time-based information, you’ll also need to make frequency-based selections, as well. If you’ve used Adobe Photoshop, you’ll already understand most of these tools. There are tools like Lasso, Magic Wand, and Brush, and there’s even an Invert Selection button. Plus, you can make selections of up to ten harmonics for easy tonal editing.

Various time- and frequency-based selections.


Restoration Processes

The name of each Module will inform you of its restoration forte. Got clipping? Use the Declip Module. Got hum? Use the Remove Hum Module. Each Module does a masterful job of repairing various audio anomalies. But you should also know that iZotope recommends a two-step philosophy, meaning that you usually get better results by running two gentle passes. In other words, don’t run the Declicker with radical settings to get rid of all the clicks in one pass. Instead, run one gentle pass, then try another to eliminate any remaining clicks. I’ve found this advice to be sound. (Pun intended.)


The New Stuff

RX3 is FAST! In fact, I ran a simple Declick operation on a seven minute audio file. The process took 90 seconds in RX2, yet only 45 seconds in RX3. In fact, whether you’re processing audio in one module, or batch processing with many (including your own third-party plug-ins), RX3 harnesses multiple cores on your computer’s CPU. Most operations are at least twice as fast as before, and some are as much as six times faster. You can also record directly into RX3, and using the Time selection tool and the Gain Module will allow you to trim segments of audio, as well as adding fade-ins and fade-outs. You can also load multiple audio files simultaneously.

The variety of other new features you get will depend greatly upon which version of RX3 you have. RX3 Advanced comes with the Dereverb Module, as well as the Dialogue mode in the Denoise module. (The former removes both electronic and naturally occurring reverb, whereas the latter makes quick work of cleaning up dialog recordings.) A complete comparison of the differences between RX3 and RX3 Advanced can be found here:


Conclusions

Because RX3 is such a unique program, finding fault is almost impossible. It truly is the industry standard for audio repair and restoration, and does both easily and quickly. However, there are a few missing pieces. While RX3 does provide some basic audio editing, there’s no crossfade editing, nor are there facilities for reversing the audio or adding a volume envelope. While iZotope did not intend for RX3 to be a full-blown audio editor, I do wish it had a few more of the basics.

However, if you need to repair, rescue, or restore any type of audio recording, RX3 is clearly the most powerful tool on the market. It’s absolutely one of my ‘desert island’ apps, in that I’d be lost without it. But don’t just take my word for it.. Download the trial version from the iZotope website today and see (and hear) for yourself.

  • Pros: Unique and powerful audio restoration made easy, fast processing, uses third-party plug-ins, comes with iZotope Insight plug-in (RX3 Advanced only), and great new features.
  • Cons: Only minimal basic audio editing, and RX3 Advanced, while offering features not found elsewhere, is still an investment.
  • Cost: RX3 $349.00, RX3 Advanced $1,199.00.

Until September 27th, iZotope are offering a discounted price of $249.00 and $749.00 for RX3 and RX3 Advanced respectively! (Another reason to grab it now!)

Web: http://www.izotope.com/products/audio/rx/

Windows

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Figure 1: The stand-alone version of iZotope RX 2 Advanced. The right side of the GUI provides access to processing modules. Clicks in the audio file are displayed as three vertical lines in the center of the golden spectrogram, in which the floating waveform overlay is disabled.

iZotope’s critically acclaimed RX 1 restoration software offered impressive processing for removing clicks, hum, broadband noise and even isolated events such as chair squeaks from audio files. Two updated versions of the software, RX 2 and the more-powerful RX 2 Advanced, add a multitude of features for even more effective restoration and easier archiving.

The software comes in both stand-alone and plug-in versions. The stand-alone version includes a world-class spectrogram with floating waveform overlays and several processing modules that can be used either independently or in combination (see Fig. 1). The Declipper, Declicker & Decrackler, Hum Remover, Denoiser and Spectral Repair processing modules included in the stand-alone version can also be instantiated as separate DAW plug-ins in RTAS, AudioSuite, VST, MAS, AU and DirectX formats. (The Spectral Repair plug-in includes essentially the same spectrogram as the stand-alone software; the plug-in provides offline processing and is not compatible with some hosts.) The stand-alone versions of RX 2 and RX 2 Advanced also offer a 6-band equalizer, gain adjustments (including four types of fades), L/R channel-balancing controls (including phase rotation) and a real-time spectrum analyzer.

Izotope rx elements audio restoration and enhancement software review for mac

NEW TOOLS
Why upgrade from RX 1? RX 2 includes new freehand (paint-brush and lasso) and automatic (Magic Wand) tools for selecting unwanted events (clicks, dog barks, fret buzz and so on) for attenuation or removal in its spectrogram. You can adjust pre- and post-roll around selections in the spectrogram. The new Decrackler is indispensable for restoring vinyl recordings. The Hum Remover can automatically find the base frequency in need of processing, and the Denoiser and Declicker algorithms have been improved since RX 1’s release. You can chain multiple processing modules together when batch-processing files. Your edit history is automatically saved when you quit, and it’s restored after a crash.

RX 2 Advanced includes all of RX 2’s features and more. An adaptive Denoiser mode removes background noise that changes over time, a lifesaver for video post. A new Deconstruct module lets you accentuate or attenuate noisy and pitched components of sound independently. (Imagine making a vocal track sound more breathy.) RX 2 Advanced features third-party plug-in hosting (one AU, VST or DirectX plug-in at a time) for processing spectrogram selections and batch processing. Other features include proprietary 64-bit SRC sample-rate conversion, MBIT+ dithering, Radius pitch-shifting and time-stretching, automatic azimuth re-alignment (for tape restoration) and a time-stamped log (invaluable for forensics and archival work).

The SRC, Time/Pitch and Spectral Repair processors work only offline in both RX 2 and RX 2 Advanced. All the other modules work in real time. I reviewed RX 2 Advanced in stand-alone mode and its plug-in versions in Digital Performer Version 7.21 (DP) using an 8-core Mac Pro running OS X 10.5.8.

Izotope Rx Elements Audio Restoration And Enhancement Software Review For Mac

Figure 2: The Denoiser plug-in allows independent attenuation of tonal and broadband noise components.

CLEAN-UP TIME
RX 2 Advanced proved invaluable while re-recording (engineering the final mix for) an independent documentary video. During one outdoor scene, the Denoiser greatly tamed broadband noise from distant traffic that all but buried very quiet dialog. I could achieve more than 4 dB of noise reduction without producing any watery artifacts or dulling high frequencies. In another scene, the Declipper completely rebuilt squared-off waveforms and purged distortion on a dialog track that had been recorded too hot and had clipped hard. Amazing.

The Hum Remover includes a mode that supposedly lets you hear only the hum component of an audio file for easier adjustment of control settings, but I heard total silence instead. While moving some of the plug-in’s controls, audio is momentarily passed through unprocessed, which is a distraction when fine-tuning settings. Despite these annoyances, the Hum Remover was phenomenally effective in removing 60Hz hum and its first and second harmonics from a dialog track recorded with a poorly grounded lavalier mic. I could completely remove the hum without significantly changing the track’s timbre. And on a Foley track, Free mode let me manually dial in the corrective frequency and Q settings to eliminate a 153Hz hum of unknown origin.

On a voice-over track, Declicker seamlessly removed lip smacks while only very slightly reducing depth. And the Denoiser transparently reduced broadband noise around 9 dB on a noisy music track (see Fig. 2).

THE MIRACLE WORKER
Spectral Repair can remove sounds that no other processor can touch. It uses interpolation of surrounding material to seamlessly fill in the resulting holes. I felt most comfortable using the plug-in version of Spectral Repair. As the audio files for the video didn’t include timecode metadata, exporting to the stand-alone version would have made subsequent lock-to-picture of the repaired files prone to error after importing them back into DP. That said, the interfaces for the stand-alone and plug-in versions need improvement.

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The plug-in version offers real-time previewing (allowing you to hear the results of your control settings before rendering), while the stand-alone version currently doesn’t and requires a workaround. With the stand-alone version, you can undo, change your settings and process your selections again to hear the result of different settings. Alternatively, you can use the included Compare function to cache the effect of different settings for comparison purposes before committing permanently; after the caching is completed, you initiate playback to hear the cached results in turn. Neither the Undo nor Compare workarounds allow pre- and post-roll playback around the events you wish to process (the plug-in allows this), forcing you to evaluate the processing of split-second-duration events in isolation from the surrounding material you wish to preserve.

Despite its shortcomings, the stand-alone version of Spectral Repair offers a few advantages over the plug-in. Its spectrogram has a scrolling playback wiper that makes it much easier to identify the exact location of noises you want to eliminate. (iZotope hopes to include this feature in the plug-in in a future release.) The stand-alone version can also automatically find similar events to the one you’ve currently selected; this makes it much easier to, for example, remove several chair squeaks in turn without having to separately search for and manually select each one for processing.

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I got my best results using the Lasso tool to select multiple objects—by drawing a border around them with my mouse while holding the Shift key—to process in the spectrogram. To my amazement, I was able to completely remove three very closely spaced and loud broadband clicks embedded in a music production’s final mix without inflicting any audible penalty whatsoever on the desired material. (The frequency bandwidth of the clicks was too wide for the Declicker to be effective.) Like removing sugar from a cake after it had already been mixed and baked, Spectral Repair did the impossible.

MAYBE I’M AMAZED
Most of the modules for RX 2 Advanced work brilliantly. The Hum Remover is a little buggy but nevertheless yields terrific results. The user interface for Spectral Repair needs improvement but won’t stop you from attenuating or removing seemingly intractable noises. The learning curve is a little steep due to a somewhat poorly written and insufficient operating manual.

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Few products astonish this seen-it-all engineer. RX 2 Advanced—especially Spectral Repair—floored me. RX 2 Advanced offers a world-class toolset that’s indispensable for anyone involved in audio restoration and archiving, forensics, post-production, music mastering and cleaning up noise-riddled tracks recorded in poorly isolated home studios.

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Izotope Rx Elements Audio Restoration And Enhancement Software Review Top Ten Review

contributing editor Michael Cooper is the owner of Michael Cooper Recording in Sisters, Ore.

Izotope Rx Elements Audio Restoration And Enhancement Software Review 2017

Click on the Product Summary box above to view the RX 2 Advanced product page.