IZotope Radius. IZotope Radius™ is a world-class time-stretching and pitch-shifting algorithm. You can easily change the pitch of a single instrument, voice, or entire ensemble while preserving the timing and acoustic space of the original recording. IZotope Radius is designed to preserve the natural timbral qualities of the original file, even when applying extreme pitch shifts. The standard edition of RX 7 takes nearly all the modules provided in RX 6 Standard and implements a graphic overhaul more in line with iZotope's current aesthetic. You'll also find several new processes sure to help out in audio-restoration contexts, including Variable Time, Variable Pitch, Music Rebalance, and the Repair Assistant. IZotope RX 7 Standard Features: NEW Repair Assistant uses machine learning to solve common audio issues quickly and easily; NEW Music Rebalance supplies independent gain adjustment of the elements of a mix after it’s already mixed; NEW Variable time and pitch adjustment.
Time & Pitch
Time & Pitch uses iZotope’s sophisticated Radius™ algorithm to give you independent control over the length and pitch of your audio. It is useful for retuning audio to fit in a mix better, or adjusting the length of audio to deal with BPM or time code changes.
Time & Pitch’s Pitch Contour tab can be used for faster pitch shifting with the ability to correct variations in pitch over time.
iZotope Radius
iZotope Radius™ is a world-class time-stretching and pitch-shifting algorithm. You can easily change the pitch of a single instrument, voice, or entire ensemble while preserving the timing and acoustic space of the original recording. iZotope Radius is designed to match the natural timbres even with extreme pitch shifts.
Algorithm
You should use Solo mode only when processing a single instrument with a clearly defined pitch. The human voice is a good candidate for solo mode, as are most stringed instruments, brass instruments, and woodwinds. For most other types of source material, Radius mode will usually offer better results. If speed is important, use the Radius RT mode.
Solo
In Solo mode, the adaptive window size can significantly affect the quality of Radius's output. If the adaptive window size is too small, you will hear a squeaking noise which sounds like the pitch of the audio is changing very rapidly. If the adaptive window size is too large then the sound will become grainy as you will begin to hear portions of it being repeated.
A good approach is to start with the default window size of 37 ms. If the results are unsatisfactory, increase the window size until the squeaking noise described above does not occur. If you cannot get the distortion to disappear, switch to Radius mode for processing.
Lower pitched instruments and voices may require a longer adaptive window size than the default, but very long adaptive window sizes can cause audible repeating slices of audio.
Formant Correction
Formants are the resonant frequency components of voice that tend to be perceived as characteristics like age and gender. You can shift formants independently of pitch and time by enabling Shift Formants.
Typically you will leave the Formant Shift Strength set to 1 (full strength) and the Formant Shift Semitones set to 0. If you hear what sounds like an EQ adjustment to your audio, you can try lowering the strength to reduce this artifact. To achieve special effects, for example to change the perceived gender of a human voice, try adjusting the semitones to a value other than 0.
Stretch & Shift Controls
Stretch Ratio
Determines how much the resulting audio will be stretched in time. Values between 12.5% and 100% will cause the audio to speed up without affecting pitch, resulting in a shorter audio file. Values between 100% and 800% will cause the audio to slow down without affecting pitch, giving you a longer audio file.
BPM Calculator
If you are using Radius to process audio for a tempo change, you can also adjust the stretch ratio with the BPM Calculator.
Pitch Shift
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Controls the amount of pitch shifting up or down that will be applied to the audio.
Algorithm
The Algorithm drop-down menu has three options:
- Radius — designed to work well with polyphonic material such as mixes with more than one instrument, as well as non-harmonic material such as drum loops or rhythmic audio. This is the highest-quality option for most sources.
- Solo Instrument — designed for monophonic pitched material such as a stringed instrument or human voice.
- Radius RT — good quality, polyphonic, but faster than Radius.
Transient Sensitivity
Determines the algorithm’s handling of transient material. Higher values will result in better preservation of individual transients after processing.
When stretching percussive material, you usually want transient sensitivity set to its default value of 1. If transients in your audio are being 'smeared', a higher value of 2 will tighten up transience at the expense of incurring heavier processing on non-transient audio.
Bowed instruments such as the violin and cello are especially affected by the transient sensitivity setting. If you hear a stuttering artifact, lower the transient sensitivity to eliminate it.
Noise Generation (Radius mode only)
Helps noisy material (like sibilance or snare drums) sound more natural when processed.
This control will generate noise instead of stretching the noise that is already present in the signal and creating new tones. Higher values of the noise generation parameter will cause Radius to generate noise more often, but can cause some phase artifacts.
Pitch Coherence (Radius mode only)
Controls the preservation of the natural timbre of the processed audio.
The Pitch coherence control in the Radius control panel helps preserve the timbre for pitched solo voices, such as human speech, saxophone or vocals. While traditional vocoders can smear these signals in time and randomize phase, the pitch coherence parameter of Radius preserves phase coherence for these signals.
High values of pitch coherence will avoid phasiness in Radius's output at the expense of roughness (modulation) in processed polyphonic recordings. Try turning this up for better results if you’re processing a solo voice or a small group of related instruments.
Phase Coherence (Mix mode only)
Preserves the coherence of phase between the left and right channels of the processed audio.
This should be increased if there's any change in the perceived stereo image after using Radius. It can be decreased when processing a multichannel signal where different channels contain completely different instruments.
Adaptive Window Size (ms) (Solo mode only)
Adjusts the window size in milliseconds of Radius' Solo algorithm.
If the adaptive window size is too small, you will hear a squeaking noise which sounds like the pitch of the audio is changing very rapidly. If the adaptive window size is too large then the sound will become grainy as you will begin to hear portions of it being repeated.
Increase this if you have trouble getting good results pitching or stretching low-pitched instruments or voices.
Shift Formants
Processes formant frequencies independently of other pitch and time processing.
When this option is enabled, formant frequencies can be shifted independently of other pitch shifting performed by Radius.
When Radius performs pitch-shifting without Formant Correction, it will shift these resonant frequencies along with the rest of the audio.
- Strength — adjusts the amplitude strength of the formant correction filter.
- Shift — how much formant frequencies are shifted. Typically this control can be set to 0, which leaves the formant frequencies unshifted during processing. Adjust this control to fine-tune the formant correction algorithm or for special effects.
- Width — controls the bandwidth of the formant detection filter. Smaller values of this control will offer more precise formant correction in the processed audio. Higher values will include a wider band of formant frequencies.
Pitch shifting single instruments (especially bass instruments) can benefit from some adjustments to formant correction. Try enabling formant correction and moving the strength between 0.1 and 0.2. Move the Formant Correction semitones part of the way towards your pitch shift amount. For example, if you're pitch shifting +4 semitones, move the Formant Correction Semitones between 2 and 3. This can help bring back subtle percussive elements in the original source material.
The formant frequencies of the human voice can actually shift slightly when we sing. You can use the Formant Correction Semitones control to compensate for this. For example, if pitch shifting a human voice by +7 semitones, try setting the Formant Correction semitones between 0 and +2 for more natural results.
Pitch Contour Controls
The Pitch Contour mode of the Time & Pitch module lets you change the pitch of a selection over time. This can be used to quickly correct small pitch variations or gradual pitch drifts over time.
The Pitch Contour changes pitch by continuously changing the playback speed of the audio. The effect is similar to speeding up or slowing down a record or tape deck while it is playing back.
Because the Pitch Contour uses resampling to synchronously change time and pitch, it cannot be used to adjust pitch without also adjusting time.
Pitch Contour
The horizontal axis shows the length of your current selection. If you have no selection, the horizontal axis represents the entire length of your file.
The vertical axis shows the amount of pitch shifting that will be applied. A curve through the top half of the display will create a higher shift in pitch and shorten the audio correspondingly. A curve through the lower half of the display will create a lower shift in pitch and lengthen the audio correspondingly.
You can correct a gradual pitch drift over time by adjusting the points at the far left or right of the display, drawing a straight sloping line from the beginning of your selection to the end. These points are locked to the vertical axis.
Clicking on the contour display will create a new pitch node. You can create up to 20 pitch nodes to achieve very complicated pitch shifts.
Clicking and dragging a pitch node to move it around will change the pitch curve.
Double clicking on a pitch node will set its value to 0 (no change at that point).
Right clicking on a pitch node will delete it.
Holding control/command while dragging will give you fine control over a pitch node’s position.
Smoothing
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Larger values create a smoother pitch curve when multiple pitch nodes are present. This is useful when correcting a nonlinear change in pitch.
Reset
Clears all pitch nodes and returns the Smoothing control to its default value.
Izotope Rx Time And Pitch Free
Mighty RX, a complete suite for audio repair, has just been updated to version 7, with additions, enhancements, and much more. This huge, complex, precise suite just got bigger.
by Vincenzo Bellanova, Nov. 2018
An Incredible Suite
The renowned RX suite just got a major update, with several new improvements and additions. iZotope RX7 is an absolute essential suite, no matter if you’re working on music, field recording, sound design or audio post production, it can save not only a lot of time (avoiding re-recording), but it can literally fix problems transparently in most cases. Noise, mouth clicks, lavalier rustle, hum, wind rumbles, digital clicks, crackles, plosives and breaths, as well as less exoteric operations like levelling, normalizing, resampling, and this on one or more files, on the whole audio file or just in a time or frequency selection. The scenarios in which RX can operate are countless, but what is important to note is that we have everything in the same workspace if we’re focusing on repair, or we can open single plugins in our DAW for fast fixes. RX7 plugins are now available as AudioSuite plugins too, and the family just got bigger, as we will see.
A great number of videos, and the new Repair Assistant, will make corrections even easier, showing you the essential techniques, problems and how to fix them. The different versions of RX also offer flexibility in terms of needs, price and use. RX is getting closer and closer to musicians, and the new Music Rebalance module is a demonstration of the attention iZotope pays to the different targets.
In this review we will focus only on the new elements, but if you’re new to the RX world, you might be interested in reading more about what is RX and its amazing modules in the two previous reviews on the Soundbytes Magazine website.
RX 5: https://soundbytesmag.net/rx5-by-izotope/
RX 6 Advanced: https://soundbytesmag.net/review-rx6-advanced-from-izotope/
What’s New
As anticipated, the list is not short, starting from a light UI refinement, to multichannel support and, of course, entire new modules.
Pro Tools users now can enjoy Dialogue Isolate, De-rustle, Breath Control and the new Music Rebalance modules as AudioSuite plugins. AudioSuite is a Pro Tools format of audio plugins which can be used on a single audio clip or on multiple clips at once instead of on an insert track. The processing through AudioSuite plugins needs to render the processed files, replacing the clips we treated with new ones.
Multichannel is now supported up to 7.1.2 (10 channels) Dolby Atmos, meaning that you can process one or all the channels with the same module and in just one instance. Such a powerful new feature that will further speed up the work of audio engineers working on films or where multichannel audio is required.
Dialogue Isolate and De-Rustle modules’ performance has been enhanced, starting from the new Preview function for checking their operations on the go.
Another important new feature is the possibility to select a frequency range of action for the modules directly in the Module Chain. This truly gives extra power to the Module Chain, allowing to arrange even more specific corrections per single module.
New Modules
Let’s start from the new Dialogue Contour module, which is designed to shape and modify the pitch and inflexion of dialogue parts. Intonation and inflexion are obviously fundamental (not to mention that in some languages they have a distinctive function, and can alter the entire meaning of a word). In some languages, like Italian, for instance, intonation might distinguish an affirmative sentence from an interrogative sentence, because the position of the terms is the same in both cases. Linguistics apart, perfecting inflection before could involve micro pitch shifting or formant shifting using automation or external tools. Now we are just a few clicks away from our goal. Insert the module, isolate a section or the entire file and create your custom curve by adding, moving or deleting individual points, and smoothen the final result. Formant scaling is also available in order to shift specific resonances or attenuations in the spectrum, respecting the natural formants of the human speech.
Dialogue De-Reverb is the new module specifically designed for removing reverb from voice. RX also has a De-Reverb module, but the new one does not require to learn the reverb profile, and it is based on machine learning algorithms. Particularly useful both in audio post, if we don’t have the chance to get our interview in a proper room, or in music production, if we need to record vocals in a reverberant environment. Its controls include Sensitivity and Ambient Preservation in order to balance the result and to identify how much of the incoming signal can be considered as reverb.
Learn how to use iZotope's RX software for noise reduction and audio restoration with these tips and tutorials. Buy Now Try Now What's New in RX 7 Sep 13, 2018. Learn about the groundbreaking new ways to quickly and easily fix and manipulate audio in RX 7, including source separation in Music Rebalance, Repair Assistant, and more. Feb 06, 2018 DOWNLOAD iZotope RX Audio Editor 6.10.2340 for Windows. DOWNLOAD NOW. IZotope RX Audio Editor 6.10.2340 add to watchlist send us an update. Izotope rx 6 10. 6. 8 1.
Variable Time and Variable Pitch allow the user to select a portion of the audio file and design a custom shape for pitch or time variations in the same way we described for the Dialogue Contour module. What deserves attention here, is the incredible, crystalline audio quality of these tools. Not to mention that these can absolutely wink an eye to Sound Design. I tested Variable Pitch on an entire song, with both time changes and Preserve Time enabled (with the first, the module will behave like a Tape play head changing pitch and speed of the file), and I barely heard artifacts, even with generous pitch variations. Here, too, possible applications are countless, from extreme pitch shifting on raw sound sources to morph them into bizarre effects, or gentle shifts with time changes which reminded me of the old days of sampling material for musical purposes. Pitch Coherence and Transient Sensitivity controls appear on both the modules, allowing for timbre and transient preservation.
Last but not least, the Music Rebalance module, which created a quite a stir when first announced. People are probably asking if it’s true that it can remove vocals from a song or an instrumental leaving just vocals. The answer is yes. Simply divided in Voice, Bass, Percussion and Other, Music Rebalance allows us to set the Sensitivity of the analysis, letting know the module how much of the incoming signal should be considered as Bass, Vocal, etc., and we can set the gain for each of the parts. Low Sensitivity values can reach precise results by completely muting tiny parts of other instruments that might come in the analysis, but at the cost of small artifacts, while if we are after complete clarity, higher values can eliminate glitches, but other instruments might end up in the result. Sometimes reverb can be an enemy of Music Rebalance, probably because of the long tails which can be confused with the voice or the behavior of other instruments. But despite some artifacts, Music Rebalance works very well and it is capable of extracting a cappella voices from an entire song which is more than useable.
Apart from the vocal extraction, Music Rebalance’s main role, I think, resides in other uses, like an intelligent way to give space to various sections, moving entire instruments inside or outside the mix. Or it can completely reshape a song with problems, and in this, Music Rebalance excels, especially for the idea of changing the balance of a track with just a few and intuitive parameters. When everything seems lost, and we probably are in front of a single WAV file, without the possibility of touching any fader in the DAW, it can save the day.
Repair Assistant
Probably the most interesting addition to the whole Suite, Repair Assistant can intelligently analyze an audio file, identify problems and suggest corrections. In the top right of the RX7 standalone interface, just click on the Repair Assistant tab to engage this tool. It is absolutely wonderful to have a personal assistant which will analyze and possibly speed up even more the work. Repair assistant will ask if the file contains musical, dialogue or other material, then starts the analysis searching for clipping, clicks, hum and noise. In the settings, we can also customize its analysis bypassing one of the problems, for instance, we can exclude the hum analysis.
Clever, fast and powerful, Repair Assistant is another magical element in RX that will make the entire suite even easier and quicker to use, and I personally love how smart plugins are becoming lately. Surely, this won’t mean that the human touch is completely bypassed, and the ability to identify problems, solve them, tweak the modules, is still required, but Repair Assistant can work as a huge “learn” function on the entire audio file, allowing us to complete a task in a matter of clicks.
There’s more, and this is another great proof of flexibility: if problems are found, Repair Assistant will purpose three different solutions, each of them containing a different module chain, so different modules arranged in various ways. Below the various solutions, labelled as A, B and C, if we click on the faders icon, we can set the intensity of the corrections, which is like controlling the overall Dry/Wet of the modules, or, if we aren’t satisfied and we want to use the Repair Assistant’s suggestions as a starting point, we can open the module chains and tweak the single module’s parameters to taste.
Conclusion
RX7 confirms itself as a must have tool of incredible value, for its vast array of modules, precision, clarity and true gems like the possibility to arrange, save and recall entire chains. Absolutely suggested for everyone who is looking for saving, preserving or “only” asking more for their files. Pro Tools users can now enjoy more AudioSuite tools, and engineers working on multichannel files can be enthusiast too. Having a look around, lately the word Ambisonics is popping out more and more, this is the direction I really hope the next RX will take.
Since my latest review of RX (version 6), I must confess I have used the suite almost daily on both musical and sound design jobs, easily rescuing a lot of files, and rarely opening the manual again because of intuitive functions of this software. Now, with the Repair Assistant, these operations will be even quicker.
The new modules and improvements add some shine to the whole tool, especially Music Rebalance, getting even closer to musicians. I think it will be perfected, analyzing and isolating the various parts even better in the future. Separating single instruments from a track wasn’t something I was thinking about very often before seeing this module. I can just guess what will come next. Variable Pitch and Time, let’s say it again, are tools that easily adapt to musical and Sound Design applications, with a really impressive quality.
iZotope RX7 is available in different versions: RX Elements ($129.00 USD), RX7 Standard ($299.00 USD), RX7 Advanced ($1199.00 USD) and it is also included in the Post Production Suite 3 ($1499.00 USD), bundled with Insight 2, Neutron Advanced 2 and Tonal Balance Control. RX7 Advanced is available for both Mac and PC platform, 32 and 64 bits, in AAX (64-bit), Audiosuite DPM, Audio Unit (32-bit and 64-bit), RTAS (32-bit), VST 2 (32-bit and 64-bit), and VST 3 (32-bit and 64-bit) format.
Supported plugin hosts: Audition CC 2017, Cubase 9, Final Cut Pro 10, Live 9, Logic Pro X, Media Composer 8.8, Nuendo 7, Premiere Pro CC 2017, Pro Tools 10-12, Studio One 3.
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