RX 10 Advanced Pro Audio Recording Equipment

Product Information

Specifications

• New text navigation feature with automatic speech to text
  transcription of English language audio

• Multiple Speaker Detection ADV feature to automatically find
  and color-code sections of speech associated with different
  speakers

• Fully re-designed Repair Assistant with new analysis,
  processing, and streamlined UI

• Spectral Recovery ADV with neural nets for better quality
  resynthesis of upper and lower frequencies

• De-Hum Adaptive Dynamic Mode to automatically eliminate
  electromagnetic interference and complex noises

• Selection Feathering now includes frequency feathering and has
  been relocated to the main window

• Product tours for new and returning users to learn how to use
  RX and what’s new in RX 10

• Automatic Preset Migration to copy RX 9 presets to RX 10

Product Usage Instructions

1. Navigating the Manual

This help guide is shared by RX 10 Standard and RX 10 Advanced.
Throughout the manual, the “ADV” tag is used to differentiate
Advanced only features.

2. Feature Comparisons

The following tables outline the differences between RX 10
Standard and RX 10 Advanced:

FAQ

Q: What is RX 10?

A: RX 10 is an award-winning audio editor that specializes in
audio repair, restoration, and enhancement. It is used by
professionals in post-production, audio engineering, and video
editing to transform problematic recordings into production-ready
audio.

Q: What are the new features in RX 10?

A: The new features in RX 10 include text navigation with
automatic speech to text transcription, multiple speaker detection,
a re-designed Repair Assistant, improved spectral recovery,
adaptive de-hum mode, enhanced selection feathering, product tours,
and automatic preset migration.

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RX 10 Help Introduction

RX 10 Help Documentation – RX 10 Help

Welcome to RX 10! This version features a new way to navigate and edit speech and dialogue, major improvements to our assistive technology, and a new Repair Assistant plug-in. We’ve upgraded and expanded our frequency resynthesis tech and have added an adaptive (automatic) mode to Dynamic De-hum. And Selection Feathering has been improved and relocated to be more accessible.
New in RX 10
1. Text Navigation: Automatic speech to text transcription of English language audio with a fuzzy search for nding words and variants.
2. Multiple Speaker Detection ADV : Works as part of Text Navigation to automatically nd and color-code the sections of speech associated with different speakers.
3. Repair Assistant: Fully re-designed from the ground up with new analysis, processing and a streamlined UI. And now there’s a new plug-in version.
4. Spectral Recovery ADV : New neural nets deliver substantially better quality for resynthesizing upper frequencies and now have the ability to resynthesize lower frequencies as well.
5. De-Hum Adaptive Dynamic Mode: Automatically eliminate electromagnetic interference and other complex noises that change pitch over time without having to learn a noise pro le.
. Selection Feathering: Now includes frequency feathering and has been moved from Preferences to the main window.
7. First Time User Experience: Product tours for new and returning users on how to use RX and what’s new in RX 10.
. Automatic Preset Migration: RX 9 presets are automatically copied to RX 10.
RX Overview
Table of Contents
1. Navigating the manual 2. Feature comparisons
iZotope’s award-winning RX Audio Editor is the industry standard for audio repair, restoration, and enhancement. It offers a comprehensive suite of tools focused on alleviating common to complex audio issues. Post production
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professionals, audio engineers, and video editors alike use RX to transform problematic recordings into productionready audio.
Navigating the manual
This help guide is shared by RX 10 Standard and RX 10 Advanced. The following tag is used throughout the manual to differentiate Advanced only features: ADV
Feature comparisons
The following tables outline the differences between Standard and Advanced. The rightmost column in each of the tables indicates features that are new or improved in RX 10.
RX 10 Audio Editor Feature Comparison

Features

Standard

Batch Processor

X

Clip Gain

X

Composite View

X

Expandable History list

X

Find Similar

X

First Time User Tour

X

Instant Process

X

Markers & Regions

X

Module Chain

X

Module List View Filters

X

MP3 Export

X

Multichannel Processing

Plug-in Hosting

X

Recording & Monitoring

X

Repair Assistant

X

Restore Selection

X

Spectrum Analyzer

X

Spectral Editing Tools

X

Text Navigation

X

Time/Frequency Feathering X

Waveform Statistics

X

Advanced X X X X X X X X X X X X X X X X X X X X X

New/Improved NEW!
IMPROVED! NEW! IMPROVED!

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RX 10 Module Comparison

Module Name

Standard

Ambience Match

Azimuth

Breath Control

X

Center Extract

De-bleed

X

De-click

X

De-clip

X

De-crackle

X

De-ess

X

De-hum

X

De-plosive

X

De-reverb

X

De-rustle

De-wind

Deconstruct

Dialogue De-reverb

Dialogue Isolate

Dialogue Contour

Dither

X

EQ

X

EQ Match

Fade

X

Gain

X

Guitar De-noise

X

Interpolate

X

Leveler

Loudness Control X

Mixing

X

Advanced X X X X X X X X X X X X X X X X X X X X X X X X X X X X

New/Improved IMPROVED!

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Module Name

Standard

Mouth De-click

X

Music Rebalance X

Normalize

X

Phase

X

Repair Assistant X

Resample

X

Signal Generator X

Spectral De-noise X

Spectral Recovery

Spectral Repair

X

Time & Pitch

X

Variable Pitch

X

Variable Time

X

Voice De-noise

X

Wow & Flutter

Advanced X X X X X X X X X X X X X X X

New/Improved IMPROVED! IMPROVED!

RX 10 Plug-in Comparison
PLUG-IN FORMATS The RX 10 installer will give you the option to install plug- ins in the following formats only:
1. AU 2. AAX 3. AAX Audiosuite 4. VST3 5. AU ARA (Spectral Editor ARA & Music Rebalance ARA – Compatible with Logic Pro only)
All plug-in formats are 64-bit only. VST2 is no longer supported. RX 10 Ambience Match, Dialogue Isolate, and De-rustle plug-ins are available as AAX Audiosuite plug-ins in Pro Tools only.

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RX Plug-ins

Elements

Ambience Match

Breath Control

Connect

De-click

X

De-clip

X

De-crackle

De-ess

De-hum

X

De-plosive

De-reverb

X

De-rustle

Dialogue Isolate

Guitar De-noise

Monitor

Mouth De-click

Music Rebalance

Repair Assistant X

Spectral De-noise

Spectral Editor

Voice De-noise X

Standard X X X X X X X X X X
X X X X X X X X

Advanced
X X X X X X X X X X X X X X X X X X X

IMPROVED! NEW!

Working with Files

Table of Contents
1. Opening Files 2. Supported File Formats 3. Supported Channel Con gurations 4. Creating New Files 5. Managing File Tabs
. Saving Files 7. Saving RX Documents
. Export Options 9. File Info 10. Closing Files

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Opening Files
RX supports opening up to 32 audio les at a time. Files can be opened in the RX Audio Editor using the following methods:
1. Navigate to the File menu, select Open… and choose the les from the system dialog that appears. Alternatively, the following keyboard shortcuts can be used to launch the Open… system dialog: Command+ O (Mac) or ctrl+ O (Windows).
2. Drag and drop les into the main editor window to open them in a new le tab. 3. Drag a le from Finder/Windows Explorer onto the RX Audio Editor icon in the Dock/Desktop. 4. Click on the Open le button that appears in the RX Audio Editor window when no les are loaded. 5. Double-click on the RX logo in the middle of the RX Audio Editor interface when no les are loaded.
Supported File Formats
A number of different le formats can be opened and edited in the RX Audio Editor. The next three sections outline the supported le formats and channel count con gurations that can be opened in the RX Audio Editor. For information about le formats when saving or exporting les in RX, see the Saving Files and Export Format Options sections below.
Supported Audio File Formats
The following audio le formats can be opened in the RX Audio Editor: AAC, AAX (Audible Audiobook Format), AIFF/AIF, BWF, CAF, FLAC, M4A, MP3, OGG, SD2, WAV, WMA
Supported Video File Formats
The RX Audio Editor supports loading video le formats, but does not support video playback. When a video le is opened in RX, only the audio data from that le will be imported.
The following video le formats can be opened in the RX Audio Editor: AVI, M4V, MOV (RX requires that Quicktime is installed in order to open Quicktime le formats, e.g. .mov les.), MPEG, MPV, WMV.
FILE FORMAT DEPENDENCIES Some le formats may have dependencies based on your operating system that may prevent you from importing them into the RX Audio Editor. For example, Windows native formats (like WMA and WMV) may not open on Mac and QuickTime formats (like AAC, MOV, and M4V) may require installing QuickTime on Windows and running the RX Audio Editor in 32-bit mode.
Supported Channel Con gurations
The RX 10 Standard Audio Editor and RX 10 Advanced Audio Editor support opening mono and stereo audio les.
TIP: OPTION FOR OPENING SPLIT STEREO FILES IN ONE TAB Mono audio les with (.L and .R) or (.1 and .2) extensions can be opened as either mono les (2 mono tabs) or split stereo (1 stereo le tab). See Preferences > Misc for more information. Note that this option is only applicable to split stereo les and does not apply to split surround les.
Multichannel File Support
The RX 10 Advanced Audio Editor supports opening audio les with up 10 channels per le tab. Multichannel audio device settings can be con gured in the “Audio” tab of the Preferences menu.

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The channel selector labels can be con gured by selecting an option in the Channel Order menu. To access the Channel Order menu, right-click on the Time ruler and navigate to the “Channel Order” sub-menu. The options available in the Channel Order menu depend on the number of channels in the active le tab.
Creating New Files
To create a new le in RX:
1. Open the File menu 2. Select “New…” 3. You will be prompted for the name, sample rate and channel count of the new le you are creating.

TIP: CREATE A NEW FILE FROM THE CONTENTS OF THE CLIPBOARD If you have existing audio data in your clipboard (for example, if you have copied a selection from an existing le in RX), you can create a new le based on that audio data. Open the “File” menu, choose “New from Clipboard” or use the keyboard shortcut: Command+Shift+N (Mac) or Ctrl+Shift+N (Windows). The new le will match the sample rate and channel count of the audio data present on your clipboard.
Managing File Tabs
RX supports having up to 32 les open at once. You can navigate between tabs by clicking on a tab or using the following keyboard shortcuts:
1. Select tab to the right of current tab: Control+Tab (Mac) or Alt+Tab (Windows)
2. Select tab to the left of current tab: Control+Shift+Tab (Mac) or Alt+Shift+Tab (Windows)
3. If you have multiple les open, an arrow button will appear to the right of the last visible tab. You can access le tabs that are not currently visible by clicking on the arrow button and selecting a tab from the menu.

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1. You can close any tab by clicking it with the center mouse button.
Saving Files
There are a number of ways to save a le in the RX Audio Editor. The Save Operations include:

Name Save
Save As…
Save RX Document Save RX Document As…

Description

Default Mac Shortcut

For uncompressed le formats (.wav or .aiff): Overwrites the original le on disk

Command+S

For compressed le formats: Opens the Export File dialog

Command+S

For uncompressed le formats (.wav or .aiff): Save a copy of your le using the same le format

Command+Shift+S

For compressed le formats: Opens the Export File dialog

Command+Shift+S

Saves le as .rxdoc le extension (more information below)

Default Windows Shortcut Ctrl+S Ctrl+S Ctrl+Shift+S Ctrl+Shift+S

Saves copy of your .rxdoc le

AUTOSAVE The RX Audio Editor will automatically save backups of your editing session by default. When the RX application is launched, it will open your most recent editing session. The option to turn it off is located under the Preferences > Misc tab as “Resume last editing session when app starts.”
Saving RX Documents
You can save a le using the RX Document le format (.rxdoc) to archive your edits. An RX Document includes your original le, all the edits you’ve made to it, and your most recent selection and view state. RX Documents can only be opened in the RX Audio Editor. If you need to save your le so it can be opened somewhere else (like a DAW or media player), you need to export it in another format (like WAV or AIFF).
To save an RX Document, select File > Save RX Document… and select where you would like to store the le. Keep in mind that the size of the RX Document le can be very large, especially if your list of edits include multiple processes on the whole le.

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Export Options
There are a number of different export options in the RX Audio Editor:
1. Export File 2. Export Selection 3. Export Regions to Files 4. Export Screenshot 5. Export History as XML
Export File

1. Select File… > Export 2. Select the le format you want to Export to and adjust the associated settings as desired (available settings
explained in the table below) 3. Click “OK” 4. In the system window, name your le and choose where you would like to save it to 5. Click “Save” to export your le
TIP Checking the Reopen le in RX checkbox will open your exported le in the RX 8 Audio Editor after the export completes successfully

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Export Format Options
The following le formats are available when exporting les from the RX 10 Audio Editor:
1. WAV – Uncompressed 2. AIFF – Uncompressed 3. FLAC – Compressed: Lossless Compression 4. OGG – Compressed: Lossy Compression 5. MP3 – Compressed: Lossy Compression
Uncompressed File Formats
The RX 10 Audio Editor allows you to export les to the following uncompressed le formats: WAV and AIFF.
WAV
The following options are available when exporting les to this le format: 1. Bit Depth: Determines the bit depth of the exported le. Choices include: 16 bit, 24 bit, 32 bit ( oat), 32 bit (int). 2. Dither: Determines the Dither Type to be applied to the exported le. Choices include: None, White Noise (TPDF), Noise shaping (MBIT+) 3. BWF: When selected, the le will be exported with extended information that is included in the le header of a Broadcast Wave File. 4. Preserve Non-Audio Data: When selected, the exported le will retain the metadata of the original le.
AIFF
The following options are available when exporting les to this le format: 1. Bit Depth: Determines the bit depth of the exported le. Choices include: 16 bit, 24 bit, 32 bit ( oat), and 32 bit (int). 2. Dither: Determines the Dither Type to be applied to the exported le. Choices include: None, White Noise (TPDF), and Noise shaping (MBIT+). 3. Preserve Non-Audio Data: When selected, the exported le will retain the metadata of the original le.
Compressed File Formats
The RX 10 Audio Editor allows you to export les to the following compressed le formats: FLAC (Lossless Compression), OGG Vorbis (Lossy Compression) and MP3 (Lossy Compression).

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FLAC (Lossless)
The FLAC le format offers lossless compression. The following options are available when exporting les to this le format:
1. Bit Depth: Determines the bit depth of the exported le. Choices include: 8 bit, 16 bit, and 24 bit 2. Dither: Determines the Dither Type that will be applied to the exported le. Choices include: None, White Noise
(TPDF), and Noise shaping (MBIT+). 3. Compression Level: Adjusts the compression strength of the FLAC encoder. Stronger compression requires
more CPU time during le encoding but results in a slightly smaller le. FLAC compression setting does not result in any quality change to the signal since FLAC is a lossless format.
OGG (Lossy)
The Ogg Vorbis le format offers lossy compression. The following options are available when exporting les to this le format:
1. Quality: Adjusts the bitrate of the Ogg Vorbis compression algorithm. Higher bitrate values result in higher audio quality, but also increase the le size
2. Prevent Clipping: See the Prevent Clipping section below for more information.
MP3 (Lossy)
The mp3 le format offers lossy compression. The following options are available when exporting les to this le format:
1. Bit rate: Adjusts the bit rate of the MP3 compression algorithm. Higher bit rates result in higher quality audio but will increase the le size.
2. Bit rate control: Determines how (or if) bit rate varies over time. Choices include: Constant bit rate (CBR), Average bit rate (ABR), and Variable bit rate (VBR).
3. Prevent Clipping: See the Prevent Clipping section below for more information.
Prevent Clipping
Predicts and prevents codec clipping when exporting audio in lossy formats (MP3 and OGG) by checking for decoded levels and adjusting levels of the original signal.

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PREVENT CLIPPING PROCESSING TIME Prevent Clipping may run signi cantly slower than regular encoding, since it computes the correct level adjustment depending on the amount of clipping occurring in the le. Files with little to no codec clipping usually will encode quickly, whereas heavily clipping les may take longer.
There are two types of le level adjustments that can be applied:
1. Normalize: attenuates overall level of the le to ensure that the encoded/decoded le does not exceed 0 dBTP.
2. Limiter: attenuates parts of the le that could become clipped to retain the level of non-clipping sections, while overall true peak levels are limited to 0 dBTP.
CHOOSING NORMALIZE OR LIMITER The Limiter will leave larger sections of the le unchanged in level and will only attenuate sections that would experience clipping. However, like any dynamic processing, this may create pumping. The Normalize mode can completely avoid pumping at the expense of slightly reducing the overall level of the le.
Export Selection
This option will allow you to export only the audio that is contained within your current selection, as opposed to the entire audio le.
1. Select File > Export Selection, and the Export File dialogue box appears. 2. Follow the additional aforementioned steps.
Export Regions to Files
This option allows you to export each region in the currently selected le to an individual audio le.
1. Open the File menu and choose Export Regions to Files… 2. Choose the export le format in the Export Files dialog and click “OK” 3. In the Export Regions to Files system dialog:
1. Choose the destination for the exported les. By default, the destination is set to the location of the source le.
2. Enter a su x to append to all exported region lenames. When the default su x of (none) is used, a su x will not be added to the exported le names.

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NOTE The names of the exported les will match the names of the regions with the optional su x appended to the lename. If any regions share the same name, a number will be appended sequentially to the exported lenames to avoid duplication. 4. Click Save to export.
Export Screenshot
This option allows you to export your current Spectrogram/Waveform display as a PNG image le. This can be very helpful for archiving any restoration process or for forensic documentation.

When clicking on Export Screenshot from the File menu, your current Spectrogram/Waveform view will be used for adjusting your screenshot size and position.
NOTE The Spectrogram/Waveform transparency balance must be set before selecting File > Export Screenshot as this cannot be changed in this window.
To de ne the size of your screenshot, simply click and drag in order to enlarge or shrink the screenshot window. The dimensions of your resulting screenshot will update automatically, however these can also be entered manually by clicking once in either Width or Height.
NOTE The max resolution attainable for your screenshot will be limited by the individual computer’s screen resolution.
When you are nished changing the dimensions of your screenshot, click on the Save button to name and save your .PNG screenshot to your chosen directory.

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TIP To save screenshots faster (at the expense of having a larger le on disk), disable Maximum image compression.
Export History as XML
Export the Undo history list of your current le tab to an .xml document.
File Info
The File Info window can be opened by navigating to Window menu > File Info. There are two sections in the File Info window: General Info and More Info. The More Info section lists information dependent on the le type. The following information is available in the General Info and More Info sections of the File Info window:
1. General Info
1. Name: The current lename 2. Duration: Length of the le 3. Sampling rate: The original sampling rate of the le 4. Bit depth: The original bit depth of the le 5. Channels: Mono or stereo
. Size on disk: Size of the le in bytes
2. More Info
1. Timecode 2. Created by 3. Originator reference 4. Date created 5. Time created
. BWF version 7. Coding history
. Track Title 9. Artist 10. Album 11. Date 12. Track Number 13. Comment 14. Genre
Closing Files
The following sections describe different methods availble for closing le tabs in the RX Audio Editor.
Close One File Tab
Single le tabs can be closed using the following methods:
1. Single-click on the `x’ button in the le tab display 2. Select the “Close le” option in the File menu 3. Right-click on any le tab and select “Close” from the context menu

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4. Keyboard shortcuts: Command+W (Mac) or ctrl+W (Windows)
Close Other File Tabs
To keep one le tab open and close all other le tabs: Right-click on the le tab that should remain open and select “Close others” from the context menu.
Close All File Tabs
All le tabs can be closed using the following methods: 1. Select the “Close all les” option in the File menu 2. Right-click on any le tab and select “Close all” from the context menu 3. Keyboard shortcuts: Command+Shift+W (Mac) or ctrl+Shift+W (Windows)
Closing File Tabs With Unsaved Changes
If a le has been edited or processed in the RX Audio Editor and the changes have not been saved, a small dot will appear in the corner of the le tab to indicate that there are unsaved changes. When closing le tabs that have unsaved changes, a prompt will be displayed before the le is closed. The prompt will include options to save, revert changes or cancel before closing the modi ed le.

The following options are available in the prompt:
1. Yes: The modi ed le will be saved as an RX Document le (.rxdoc), a system window will appear to select the save location for the le before closing the tab.
2. No: Unsaved changes will be discarded and the le tab will be closed. 3. Cancel: The prompt will be dismissed and the le tab will remain open.

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Closing The Application With File Tabs Open
The RX Audio Editor application will open all le tabs present when it was last closed if the “Reopen previous audio les when app starts” option in the Preferences > Misc tab is enabled.
If this option is enabled and the application is closed when les with unsaved changes are present, a prompt will not be displayed. Any unsaved changes will be stored in the RX session data folder and will load the next time the application is opened.
If this option is disabled, a prompt will appear to save or discard changes when closing the application if any le tab has unsaved changes. A separate prompt will appear for each le tab with unsaved changes. If any of the prompt dialogs are canceled, the application will remain open.
Recording in the RX 10 Audio Editor
Table of Contents
1. Overview 2. Troubleshooting
Overview
RX supports recording up to two channels at a time.
To record in the RX 10 Audio Editor:
1. Create a new le. 2. Press the Record button once to arm recording. The Record button will ash red when RX is armed to record.
The meters to the right of the transport controls will update based on your input signal when recording is armed. 3. Before recording, you should ensure that your input levels are not clipping and allow for adequate headroom. Alternatively, you can enable input monitoring to set input levels without engaging record arm. 4. After adjusting your input levels, you can start recording by clicking the Record button again. When RX is recording, the Record button will display as solid red. 5. You can stop recording by clicking the Record button again. . After you have stopped recording you can edit and apply processing to the le.
RX 10 SESSION DATA FOLDER After recording, your recorded audio data is stored in the RX 10 Session Data folder. You can set the location of the RX Session Data folder in Preferences > Misc tab. If you use the recording functionality in the RX Audio Editor often, it is recommended that the RX Session Data folder be located on a drive with a su cient amount of free space.
Troubleshooting
If you are having trouble recording in RX, try the following steps:
1. Enable Input Monitoring and look for activity on RX’s level meters. 2. Close other audio applications, DAWs and NLEs open on your computer to make sure no other program is
usurping the sound card. 3. Open Preferences > Audio and make sure the correct device is listed in Input Device. Also check in the

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Channel Routing dialog to make sure the correct inputs are selected. 4. Check your input source. Make sure the hardware connections between whatever you’re recording from and
the inputs on your audio interface are correct.
Transport Controls & Displays
Overview
The following sections include information about the different transport controls, readouts, and displays you will encounter in the RX Audio Editor application.
1. Overview 2. Transport 3. Time and Frequency Readouts 4. Transport Clock 5. Time Format Display
Transport

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Name INPUT MONITOR RECORD

Description
When enabled, allows you to monitor input signal to set levels prior to recording. Input source is con gured in the RX Audio Editor Preferences
Begins recording into a new le. One click puts recording into an armed state for safely setting input levels. The next click begins recording. A third click stops recording. If you already have a le open, hitting Record will prompt you to create a new le for recording.

REWIND [Enter/Return] Brings you back to the start of the le.

PLAY [Spacebar]

Starts and stops playback. Starts or stops recording if Record is armed.

PLAY SELECTION ONLY

When you’ve made a selection of a time range, frequency range, or both, this button auditions just the selection (useful for isolating intermittent noises, etc.)

LOOP Ctrl+L (Windows) Cmd+L (Mac)

Enable this switch to loop the selected audio.

PLAYHEAD FOLLOWS PLAYBACK Ctrl+R (Windows) Cmd+R (Mac)
PLAYHEAD

Toggles the behavior of the playhead on stop. If this is enabled, the playhead will return to the anchor sample (the position before playback began).
To place the playhead, single click anywhere in the Spectrogram/Waveform display. To playback audio while positioning the playhead, click and drag the playhead icon or hold Ctrl (Windows) or Command (Mac) while clicking and dragging in the Spectrogram/Waveform display.

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Time and Frequency Readouts

1. The time display (on the left in the image above) shows the start, end and length time values of the current selection and the current view. The time format used in this display is selected in the time format menu, explained in the section below.
2. The frequency display (on the right in the image above) shows the low frequency boundary, high frequency boundary and frequency range values for the current selection and the current view range.
3. Clicking on any of these elds allows you to manually enter values.
Transport Clock
Indicates the current position of the playhead. Depending on time format display setting, this value is shown in hours/minutes/seconds, time code, or samples.
Time Format Display
You can change the time format display used in the time ruler and time readouts. It can be accessed by right-clicking the time ruler or by clicking the arrow button to the left of the currently selected time format label.

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Format

Name & Description

Samples: The sample counter, starting from 0

Time (h:m:s): Time in hours, minutes, seconds, and milliseconds, starting from 0
Timecode (n fps): The time code in hours, minutes, seconds, and frames, starting from 0
Source Time (h:m:s): Time in hours, minutes, seconds, and milliseconds, starting from the clip’s timecode origin
Source Timecode (n fps): The time code in hours, minutes, seconds, and frames, starting from the clip’s timecode origin. The value of n (the frame rate of the time code) is determined by the Time Scale Frame Rate setting in the Misc tab of the Preferences window
Spectrogram/Waveform Display
Table of Contents 1. Overview 2. Spectrogram Settings 3. Rulers 4. Waveform Displays 5. Waveform Overview
Overview
The RX Audio Editor features a rich visual environment for editing and repairing audio. The central focus of the interface is the Spectrogram/Waveform display. It combines an advanced Spectrogram with a waveform transparency overlay to provide frequency and amplitude information in one highly con gurable window.
USING THE SPECTROGRAM TO IDENTIFY AUDIO PROBLEMS See the Identifying Audio Problems chapter for tips on using the spectrogram to spot common audio issues.

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Anatomy of the Spectrogram Display
The spectrogram allows you to visualize both frequency and amplitude information of an audio recording in one display.
Frequency
The Spectrogram shows frequency information across the vertical axis. Lowest frequency content is displayed at the bottom, highest frequency content is displayed at the top.

This image shows the spectrogram of a sine sweep over pink noise. The sine sweep starts at 20 Hz (bottom of the display) and sweeps to 20 kHz (top of the display) over 4 minutes.
Amplitude and Color
The amplitude of frequency content is indicated by variations in color in the Spectrogram. The color map ruler (to the right of the frequency ruler) shows the color being used to represent a given amplitude value.

In this example, Louder events (speech) are indicated by brighter colors (yellow/bright orange) and quieter events (breaks in speech and noise oor) are indicated by darker colors (dark orange, blue, black)

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Spectrogram Settings
The RX Spectrogram is highly con gurable, you can adjust the default con guration, load a preset or save your own preset in the Spectrogram Settings window.
The Spectrogram Settings window can be opened using the following methods:
1. From the “View” menu of the RX Audio Editor. 2. By right-clicking on the spectrogram display and selecting Spectrogram Settings from the context menu. 3. Using a keyboard shortcut: command+ shift+ , (on Mac) or ctrl+ shift+ , (on Windows).

Spectrogram Type
RX offers different methods for displaying time and frequency information in the Spectrogram. RX’s advanced Spectrogram modes allow you to see sharper time (horizontal) and frequency (vertical) resolution simultaneously. There is always a trade-off of display quality versus processing time, so keep in mind that some modes will take longer to draw on the screen than others.

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TYPE REGULAR STFT

DESCRIPTION
Most common spectrogram type (can be found in other editors) It has a xed uniform time-frequency resolution. This is the simplest and fastest drawing mode in RX.

AUTO-ADJUSTABLE STFT MULTI-RESOLUTION

Automatically adjusts FFT size (i.e. time and frequency resolution of a Spectrogram) according to the zoom level. For example, if you zoom in horizontally (time) you’ll see that percussive sounds and transients will be more clearly de ned. When you zoom in vertically (frequency), you’ll see individual musical notes and frequency events will appear more clearly de ned.
Calculates the Spectrogram with better frequency resolution at low frequencies and better time resolution at high frequencies. This mimics psychoacoustic properties of our perception, allowing the Spectrogram display to show you the most important information clearly.

ADAPTIVELY SPARSE

Automatically varies the time and frequency resolution of the Spectrogram to achieve the best Spectrogram sharpness in every area of the time-frequency plane. This often lets you see the most details for a thorough analysis, but it’s the slowest mode to calculate.

FFT Size
The greater the FFT size, the greater the frequency resolution, i.e. notes and tonal events will be clearer at larger sizes. However, choosing a larger number here will make time events less sharply de ned because of the way this type of processing is done. Choosing Auto-adjustable or Multi-resolution modes allows you to get a good combination of frequency and time resolution without having to change this setting as you work.
FAST FOURIER TRANSFORM (FFT) A procedure for the calculation of a signal frequency spectrum. The greater the FFT size, the greater the frequency resolution, i.e., notes and tonal events will be clearer at larger sizes.
Enable Reassignment
Enables a special technique for Spectrogram calculation that allows very precise pitch tracking for any harmonic components of the signal. When used together with Frequency Overlap/Time Overlap controls, this option can provide virtually unlimited time and frequency resolution simultaneously for signals consisting of tones.
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Window
Selects between the different weighting functions (or windows) that are used for the FFT analysis. Window functions control the amount of signal leakage between frequency bins of the FFT. “Weak” windows, such as Rectangular, allow a lot of leakage, which may blur your Spectrogram vertically. “Strong” windows, such as Kaiser or cos3, eliminate leakage at the expense of a slight loss of frequency resolution.
Frequency Scale
Frequency scale adjustments can help you see useful information more easily. Different scales have different characteristics for displaying the vertical (frequency) information in the Spectrogram display.
1. LINEAR: Displays frequencies spread out in a uniform way. This is most useful when you want to analyze higher frequencies.
2. LOGARITHMIC: This scale puts more attention on lower frequencies. 3. MEL: the Mel scale (derived from the word Melody) is a frequency scale based on how humans perceive
sound. This selection is one of the more intuitive choices because it corresponds to how we hear differences in pitch. 4. BARK: The Bark scale is also based on how we perceive sound, and corresponds to a series of critical bands.
Frequency Overlap
Controls the amount of oversampling on the frequency scale of Spectrogram. When used together with the Reassignment option, it will increase the resolution of the Spectrogram vertically (by frequency).
Time Overlap
This controls the time oversampling of the Spectrogram. In most cases, overlap of 4x or 8x is a good setting to start with. However, using higher overlap together with the Reassignment option will increase the time resolution of a Spectrogram, letting you see transient events clearly.
Color Map
The Spectrogram display allows you to choose between several different color schemes. There is no right or wrong color setting to use and we recommend you try them all to determine your preference. Sometimes certain color modes will make different types of noise stand out more clearly. Experiment!
High-Quality Rendering
Accurate max-bilinear interpolation of the Spectrogram (recommended). Turning this control off makes Spectrogram rendering slightly faster, but you’ll lose some detail and clarity in the Spectrogram image.
Reduce Quality Above
RX’s Spectrogram uses very accurate rendering, letting you see audio problems, such as clicks, even at low zoom levels. However, performing such rendering for long les can be somewhat slow. When the length of the visible

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Spectrogram is above the speci ed number of seconds, the Spectrogram calculation is changed to a fast and less accurate preview mode. When you zoom in, the Spectrogram calculation becomes accurate again.
Cache Size (MB)
Limits the amount of memory used by the Spectrogram.
Rulers
On the right side of the Spectrogram/Waveform display are the Amplitude ruler for the Waveform, Frequency ruler for the Spectrogram, and Color Map ruler for the Spectrogram.
Amplitude Rulers
You can right-click on the spectral Amplitude ruler to reveal a selection of amplitude scales:
1. dB: Shows Waveform levels in decibels, relative to digital full scale (it is the most common type of scale used for spectrum analyzers).
2. NORMALIZED: Shows Waveform levels relative to the full scale level of 1. 3. 16 BIT: Shows Waveform levels as quantization steps of a 16-bit audio format (-32768 to +32767). 4. PERCENT: Shows Waveform levels as percentage from full scale.
Color Map Ruler
This ruler shows what color represents what amplitude in the Spectrogram. The range of this display is the dynamic range of the RX Spectrogram. You can click and drag the map to change the range and use the scroll wheel to make the range larger or smaller. This is useful for seeing very quiet noises without using gain to change the level of your audio.
Frequency Rulers
Right-clicking on the frequency ruler will display the frequency scale options:
1. LINEAR: Linear scale means that Hertz are linearly spaced on a screen. 2. MEL (default) & BARK: Mel and Bark are frequency scales commonly found in psychoacoustics, and re ect
how our ears detect pitch. They are approximately linear below 500 Hz and approximately logarithmic above 500 Hz.
1. MEL scale re ects our perception of pitch: equal subjective pitch increments produce equal increments in screen coordinates.
2. BARK scale re ects our subjective loudness perception and energy integration. It is similar to Mel scale, but puts more emphasis on low frequencies.
3. LOG: in this mode, different octaves occupy equal screen space. The screen coordinates are proportional to the logarithm of Hertz down to 100 Hz.
4. EXTENDED LOG: this extends the logarithmic scale down to 10 Hz, so that it puts even more attention on lower frequencies.
5. PIANO ROLL OVERLAY: A representation of how speci c frequency ranges correlate to the western musical scale can be displayed by right-clicking on the Frequency ruler and selecting Show Piano Roll. If you would like to hide the frequency indicators so they don’t obscure this piano roll, you can disable Show Frequencies and Ticks (which is enabled by default).

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Waveform Displays
Waveform Transparency Balance Slider

The Spectrogram Display features a transparency slider that lets you superimpose a Waveform display over the Spectrogram, allowing you to see both frequency and overall amplitude at the same time. This can be invaluable for quickly identifying clipping, clicks and pops, and other events.

Waveform Overview
An overview of the entire audio le’s Waveform is displayed above the main Spectrogram/Waveform display in order to provide a handy reference point when zooming and making audio selections in RX.
The Waveform overview will always display the entire audio le, and will also display any selections made in the main display. When zooming in on your audio, the currently visible audio region will also be highlighted in the Waveform overview. Click and drag on the highlighted region in order to scroll your main audio display left or right, and click and drag on the edges of the highlighted region in order to make the zoom tighter or wider. To zoom out fully, simply double click on the highlighted visible region.
NOTE Hover over the waveform overview and use your mousewheel to scale the amplitude of the waveform display to provide a clearer overview. This will not affect the amplitude scaling in the main Spectrogram/Waveform display.
Text Navigation
Table of Contents
1. Overview 2. Work ow 3. Search 4. Multiple Speaker Detection 5. Export Transcript

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Overview
Text Navigation converts speech into a transcription that is displayed above the spectrogram and shown in sync with the corresponding audio. Transcribed text is searchable and provides reference points for what is contained in the le. This eliminates the need to audition les in order to manually place markers.
TEXT NAVIGATION NOTE Text Navigation is designed to be an editing navigation tool and not a transcription service. It is optimized for American English. Accuracy may vary if there is noticeable background noise or a speaker has a non-American accent.
Work ow
To get started, drag or import audio into RX and click the Speech Recognition Word Lane button at the bottom left of the spectrogram.

Audio transcription begins immediately and runs in the background at approximately 7 – 9X real time. The transcription populates the tabs in the Word Lane above the spectrogram, indicating the transcription is in process.

AUDIO REQUIREMENTS
1. Audio must be dialogue or speech ­ the transcription of musical lyrics is not currently supported 2. Audio les must be at least 10 seconds long. The speech recognition button is disabled for les shorter
than 10 seconds. 3. Only American English is supported at this time
Clicking the iZotope logo opens a small window that shows the progress of the transcription. At the bottom of this window are buttons for pausing or canceling the transcription.

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Once the transcription is nished, you can zoom in or out of the audio and the transcription expands or contracts accordingly.
1. Mac: Command+= to zoom in, Command+- to zoom out, or swipe up or down with two ngers on a trackpad 2. Windows: Ctrl+= to zoom in, Ctrl+- to zoom out
Click on a word tab to select the corresponding audio in the spectrogram. Drag the handles on either side of a tab to select surrounding words, a phrase, or a sentence.
When zoomed in close enough so there is a single word per tab, double-clicking on the word selects it and makes it editable. Type in a correction for a misspelled word or alter individual words to t your editing needs.
NOTE
1. When editing, typing multiple words in the tab does not split the tab up 2. Typing nothing in the tab will not delete the tab 3. Right-click the Word Lane to Rescan. (Rescanning will overwrite any corrections)
Search
Text Navigation includes a fuzzy search to nd words and variants of words, such as misspellings in the transcript. You can also search for individual letters.
Search is ideal for nding a replacement word, navigating to a speci c section, or locating an alternate take.
Searching three characters or less works like auto-complete, where the search looks for words that begin with those letters. Searching anything else works like a fuzzy search and will try to return results that are similar to the search query.
Click on the Text Navigation Pane button to bring up the search panel.

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NOTE The Word Lane button will also need to be enabled in order to see the transcription above the spectrogram.

Type a word in the search box and hit return/enter. If the word is found, every instance of it will be listed in the order in which it appears in the audio. Variants of the word are also listed. If the word isn’t found, variants are listed only if they are identi ed in the audio.
Clicking on a word in the list moves the playhead to that word in the transcription and highlights the corresponding audio.
If you have a word that needs replacing, search for instances of that word, pick the best one, then copy it and paste it over the original.
Search can be used to target processing to a selected word. Dragging the handles on either side of the word targets processing to the selected audio.
NOTE Search works with edited words, but typing more than a single word or phrase in a tab may negatively impact search results.
Multiple Speaker Detection
Built into Text Navigation is functionality that automatically detects when there is more than one speaker on a track and color codes the sections of speech associated with each speaker.
Multiple speaker detection runs after the text transcription pass has nished. Up to 8 speakers can be detected.
Each speaker receives a unique identifying color, which is indicated in the speaker pane and in the corresponding tabs of the transcription.

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To select all instances of a speaker, click on the speaker name in the speaker pane. This makes it easy to target speci c processing by speaker. Double-click a speaker’s name to edit or change it to t the particular needs of a project.
Export Transcript
To access the Transcript Export menu, click the menu button at the top of the Text Navigation Pane or right-click in the Word Lane.
1. Copy transcript to clipboard: Copy the transcribed text and paste it into a word processing application. 2. Export transcript to le: Export the transcribed text as a .txt le. 3. Rescan speech to text: Transcribe your le again.
Interactive Tools
Table of Contents 1. Overview 2. Zoom Tools 3. Navigation Tools 4. Channel Selectors 5. Channel Order (Multichannel) . Instant Process 7. Selection tools . View Clip Gain 9. Selection Modi ers

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Overview
Below the Spectrogram display is a toolbar that includes several options for working with the spectrogram/waveform display. The toolbar is split into three main categories, Navigation, Instant Process, and Selection.

Zoom Tools
You can zoom in horizontally and vertically on both the waveform and spectrogram views.
Zoom Selection Tools
The following zoom selection tools are available in the RX Audio Editor:

1. Zoom in: zooms in on the time ruler. 2. Zoom out: zooms out on the time ruler. 3. Zoom to selection: zooms to ll the spectrogram/waveform display with the current selection. 4. Zoom to whole le: resets zoom time and frequency zoom levels to default. 5. Zoom tool: When enabled, the zoom level will update to t the selection to the window when using the Time,
Time-Frequency, or Frequency Selection Tools.
Zoom Sliders

Magnitude Ruler Zoom Slider
The vertical slider in the lower right-hand corner of the spectrogram/waveform display controls the zoom level for the spectrogram or waveform amplitude ruler(s). The buttons above the vertical slider select which ruler it will affect

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when adjusted.
Time Ruler Zoom Slider
The horizontal slider in the lower right-hand corner of the spectrogram/waveform display controls the zoom level of the time ruler.
Navigation Tools
Grab & Drag Tool

When zoomed in on an area, the Grab & Drag Tool [G] can be used to move through the time range by clicking and dragging on the Spectrogram.
Dragging Rulers and Using the Mousewheel
1. The rulers to the right and below the Spectrogram display can clicked and dragged to reposition the spectrogram and waveform to show a different time range, amplitude range or frequency range.
2. In addition the range shown can be adjusted with your mouse wheel, just place your cursor on top of a ruler and the mouse wheel will adjust the zoom for that ruler.
3. To reset any of the rulers to the default display range, double click on the ruler.
NOTE All active selections will be accurately preserved and scaled when zooming the main display.
Channel Selectors
Channel Selectors appear on the left hand side of the spectrogram/waveform display when a le is loaded. Channels can be enabled or disabled individually by clicking on the channel selector buttons. Deselecting a channel will exclude it from playback, selections, and processing.
1. If all channels are enabled, single-clicking on a channel selector will disable all other channels, only the channel that was clicked on will remain enabled.
2. When some of the channels are disabled, single-clicking on a disabled channel selector will enable that channel without affecting the enabled disabled state of other channels.
3. When any channel number of channels are disabled, double-clicking on any channel selector will quickly enable all channels.
KEYBOARD SHORTCUTS: STEREO FILE CHANNEL SELECTORS
1. Select Left Channel Only: Command+Shift+L (Mac); Ctrl+Shift+L (Windows) 2. Select Right Channel Only: Command+Shift+R (Mac); Ctrl+Shift+R (Windows) 3. Select Both Channels: Command+Shift+B (Mac); Ctrl+Shift+B (Windows) 4. These commands only apply to stereo les, they do not apply to les with more than 2 channels.

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Channel Order (Multichannel)
When working with multichannel les, the channel selector label order can be con gured by right-clicking on the time ruler or by clicking on the arrow to the right of the time format display. The channel order options will update based on the number of channels in the active le tab. The “Discrete” option will label all channels as “M” (mono).
Instant Process
Instant Process [I] is a selection tool modi er. Instant Process is only available in RX Standard and Advanced.

When Instant Process is enabled, any new selection made will be immediately processed with the selected module in the Instant PRocess menu. The module settings applied by instant process re ects the current settings in the selected module.
When Instant Process is disabled, processing, editing and selection tools will function as they normally do.
NOTE If you hold Shift while using Instant Process, this will allow you to build up additional selections. Once you release Shift, processing will occur. This is especially useful for tools such as the Magic Wand, which will pick up additional harmonics upon second click. If you don’t like that selection, also hold Alt, and start redrawing a new selection. Release Shift once you’re ready to process.
Instant Process offers several different modes, accessible via a drop down menu, which will instantly process the settings present in the named module/tab. The default settings are used, but if you de ne custom settings in that module, Instant Process will recognize and apply those custom settings. The modes are:
Instant Process: Attenuate
This mode will instantly apply the active settings from the Spectral Repair module’s Attenuate tab. This is particularly useful if you see anything in the spectrogram you don’t wish to remove entirely, but would rather quickly blend into the surrounding audio to make it less obvious or intrusive.
Instant Process: De-click
Applies the active settings from the De-click or Interpolate modules. De-click Instant Process will automatically remove all clicks present in your selection, which is particularly useful for editing a dialogue le, mismatching sample rate clicks and pops, and vinyl clicks.
If you make a selection under 4000 samples in length, this mode will automatically use the Interpolate module. Selection longer than 4000 samples will use the settings from the De-click module. The De-click module is effective on selections above 4000 samples in size, as it is able to identify clicks in relation to desirable audio, and then intelligently separate and remove the clicks. If a selection is less than 4000 samples in length, it is likely a small selection of an individual click, and Interpolate will ll the selection with audio information based on the surrounding audio.
Instant Process: Fade
This mode will instantly apply the active settings from the Fade module. This is particularly useful if you’d like to smooth over a transition or edit point within a complex audio le, especially if it’s a limited bandwidth selection, such as choosing to fade in a certain harmonic or audio event in an audio le without changing the volume of the rest of the audio.

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Instant Process: Gain
This mode will instantly apply the active settings from the Gain module. If you want to quickly adjust certain audio events up or down in volume, you can simply paint over it to see the immediate gain adjustment. For overall volume adjustment, use the Clip Gain line [Cmd+G / Ctrl+G].
Instant Process: Replace
This mode will instantly apply the active settings from the Replace tab in the Spectral Repair module. This is particularly useful if you see anything in the spectrogram you wish to remove entirely, as it will use the audio information that surrounds your selection to instantly and intelligently ll the gap.
Selection tools
The following selection tools are available in the RX Audio Editor:

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Icon

Name

Description

Time selection tool [T]

Select a range of time within the le (horizontally within the spectrogram)

Time-Frequency Selection tool [R]

Makes rectangular selections in the spectrogram display to isolate sounds by time and frequency

Frequency Selection tool [F]

Makes frequency only selection (vertical in spectrogram)

Lasso Selection tool [L]

Makes a selection based on a free-form outline drawn with your cursor on the spectrogram

Draw a free-form selection using a de ned brush size in time and frequency in RX’s spectrogram. The size of the Brush Selection tool can be adjusted by clicking and holding on the Brush Tool icon.

Brush Selection tool [B]

NOTE
With the brush tool selected, you can also hold Control/Command and move the mouse wheel to make the brush size larger or smaller.

Magic Wand Selection tool [W]

Automatically selects similar harmonic content surrounding the selected material. Click on the spectrogram to select the most prominent tone under the cursor when the magic wand is selected. Clicking on an existing selection with the Magic Wand tool will automatically select the overtone harmonics or related audio components of your current audio selection.
NOTE
You can use the Brush or Lasso tools rst to broadly de ne a sound and then use Magic Wand to re ne your selection to include relevant harmonic material.

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Icon

Name

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Harmonic Selection tool [Shift+Cmd+H / Shift+Ctrl+H]

Duplicates your current selection to include harmonics above it. Start by selecting the fundamental frequency of audio with harmonics, then add or remove harmonic selections with this tool before processing.

Selection Feathering tool [Shift+F]

Allows for crossfading of processed and unprocessed audio on both time and frequency axis. Adjust these controls depending on how precise you want the edits to be [Alt/Option+F]. Higher feathering values will introduce longer crossfades, while lower values will create sharper edits. Use the feather icon to enable/disable this feature.

SELECTION FEATHERING NOTES 1. When Feathering is disabled, the default time feathering of 20 ms remains on the selection to prevent the introduction of unwanted sonic artifacts. 2. When feathering is enabled, there is potential for the selection visualization to lag slightly.
View Clip Gain
Quickly enable/disable the clip gain curve overlay.

Selection Modi ers
[Shift] – Add to selection
Hold down shift after making a selection in order to add another, separate selection. If any part of the new selection overlaps any other, the selections will be grouped into one. This can be especially powerful when combining several selection tools to create multiple selections of different size and shape.

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Multiple selections made using the Shift modi er key with different selection tools
[Alt/Option] – Subtract from Selection
Holding down Alt/Option will allow you use the currently chosen selection tool to remove or erase any portion of an existing audio selection. This can be especially useful with the Lasso or Brush tools, allowing you to edit or re ne any piece of an existing selection.
This is also useful for re ning complicated free-form selections. First make your lasso, brush, or magic wand selection, and then hold alt while using the time, frequency, or time and frequency tools to exclude entire time and frequency ranges from processing. Holding Alt/Option effectively turns the Brush tool into a selection eraser for broad re nements and Lasso into a selection “X-Acto knife” for detailed selection revision.

Selections re ned to perfection using the Alt key modi er
LINKING SELECTION STATE TO UNDO HISTORY EVENTS Using Ctrl/Cmd-Z to undo any particular process will also bring back the previous audio selection exactly as it was before applying any processing. In order to make use of this feature, be sure that Store Selections with Undo History is enabled inside of RX’s Preferences > Misc menu.
[Ctrl/Cmd] – Move Playhead without affecting Selection state
Hold down Ctrl/Cmd to move the transport’s playhead to any position without erasing your current audio selections. This can be especially useful with previewing or comparing complex audio selections without having to remake these speci c audio selections.

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[Mouse Over] – Grab and Drag Selection
After using any of RX’s tools to select a portion of your audio, when the mouse is subsequently placed on top of any selection, a Grab and Drag hand cursor will be displayed automatically, allowing you to change the position of that selection.
Undo History
Overview
In addition to the Undo and Redo commands, the Undo History list allows you to see a timeline of changes you’ve made and non-destructively revert back to earlier states. RX keeps a log of all your edits in this Undo History. When modifying Clip Gain or processing with the Module Chain related edits will be added under parent items, named “Clip Gain” and “Module Chain” respectively, in the Undo History list.

NOTE You can rename items in the undo history by double-clicking them. You can save an .rxdoc of your current le to retain the undo history list, you can nd more information on RX documents in the Working with Files chapter.
Export History
You can use the Export History feature to save an XML le, listing the entire undo history for your particular le. For forensic and archival purposes, it is often useful to have an o cial record of all edits that were made to a particular
le. When a le’s history is exported, the following information will be stored in an XML le:
1. RX Version Number 2. Time and Date 3. Corrected File 4. Number of Channels 5. Sampling Rate/Bit Depth
. Edit History: Parameters and Selections
Restore Selection
You can now restore selected regions to earlier states in the Undo History. When hovering your cursor over an item in the History Pane with a selection made in the spectrogram, an icon appears in line with the text. Clicking this icon will restore your selection to that point in history.

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This is the same as going back to that point in undo history, except only for your current selection.
Expandable History List
The History list is now expandable, so you can see more of your edit history without scrolling.

Application Menus
Table of Contents 1. File 2. Edit 3. View 4. Modules 5. Transport . Window 7. Help
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File
The le menu provides options for creating, importing and exporting les. For information about le management in the RX Audio Editor, see the Working with Files chapter.

Edit
The Edit menu includes the following options:

1. Undo [Ctrl/Cmd-Z] Reverses the last action taken. 2. Redo [Ctrl/Cmd- Shift-Z; Ctrl/Cmd-Y] Cancels the undo.
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UNDO HISTORY
The RX Audio Editor includes an Undo History event list in each le tab. The Undo History list stores a list of all processing or edit operations applied to a given le.
1. Cut[Ctrl/Cmd-X] Removes the currently selected audio and stores it temporarily on the Clipboard. 2. Copy [Ctrl/Cmd-C] Makes a copy of the currently selected audio and places it on the Clipboard. 3. Paste[Ctrl/Cmd-V] Places audio that has been copied or cut to the Clipboard at the current cursor point. 4. Paste Special Provides additional options for placing the Clipboard data:
1. Insert [Ctrl/Cmd-Alt/Opt-V]: Inserts the audio from the Clipboard and moves audio in the project [does not overwrite] 2. Replace [Ctrl/Cmd-Alt/Opt- Shift-V]: Replaces audio in the project with audio from the Clipboard 3. Mix [Shift-V] Combines the audio from the Clipboard with audio in the project 4. Invert and Mix [Alt/Opt-V] Inverts the audio in the Clipboard and then mixes it with audio in the project.
This is useful when you want to compute the difference between two signals. 5. To Selection [Alt/Opt-Shift-V] Pastes audio from the clipboard only within the selection bounds,
regardless of the copied audio’s length. If the copied audio is longer than the new selection, the audio will be cropped to t. If the selection is longer than the audio being pasted, silence will be inserted to ll the remaining space. . To Clip Gain Only [Ctrl/Cmd-Shift-V] Pastes only clip gain information to the current selection
5. Deselect [Ctrl/Cmd-D] If audio is selected, deselects it and places the anchor sample at the start of the selection.
. Reselect [Esc] Restores the last selection if you have no current selection. 7. Select All [Ctrl/Cmd-Shift-D] Selects the entire open le.
. Invert Selection [Ctrl/Cmd-Shift-I] Selects everything that isn’t currently selected. 9. Invert Selection Frequencies [Ctrl/Cmd-I] Selects everything in the current time range that isn’t selected. This
is useful for re ning processing by rst selecting what you don’t want to process, then inverting the selection frequency. 10. Select Harmonics [Ctrl /Cmd-Shift-H] Re nes the current selection to include more harmonics. For this feature to work well, try it with a simple selection that includes only the fundamental harmonic of what you are trying to select. You can also use the Magic Wand tool to automatically re ne a selection to include the appropriate harmonics. 11. Begin Selection at Playhead [Left Bracket] during playback only If audio is currently selected, this will automatically adjust the selection to begin at the current playback position. 12. End Selection at Playhead [Right Bracket] during playback only Automatically create a selection between the current playhead position and the original anchor playhead position. 13. Delete Selection [Delete on a time selection] Deletes the selected audio and closes the space with audio from either side of the timeline. 14. Silence [Delete on a frequency, time-frequency, or freeform selection] Deletes selected audio and replaces it with silence. 15. Trim to Selection [Ctrl/Cmd-T] Deletes all audio except for the selected audio. 1 . Add Marker or Region [M] This will create a new marker point at the current location of the cursor/playhead or create a new region if any audio is selected. 17. Edit Cursor Mode Changes the behavior of the editor cursor to select by time and/or frequency, or to zoom.

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These modes can also be selected from the Cursor Mode buttons.
1. Select Time [T] Makes a time selection 2. Select Time/Freq [R] Makes a Rectangular time-frequency selection 3. Select Freq [F] Makes a frequency selection for the duration of a le 4. Lasso [L] Selects everything in a freely de ned area 5. Selection Brush [B] Selects everything in a prede ned radius
. Selection Wand [W] Intelligently selects material similar to whatever is under your cursor [magic wand] 7. Zoom Time [Z] Zooms in time
. Zoom Time/Freq [Shift-Z] Zooms in time and frequency 9. Zoom Freq [Alt/Opt-Z] Zooms in frequency 10. Grab Time [G] Grabs and drags the view in time 11. Grab Time/Freq [Shift-G] Grabs and drags the view in time and frequency 12. Grab Freq [Alt/Opt-G] Grabs and drags the view in frequency 1 . Snap [Ctrl/Cmd-Shift-;] Snap selections to the boundaries selected in the “Snap To” sub-menu. 19. Snap to:
1. Markers 2. Ruler Coarse 3. Ruler Fine 4. Zero Crossings 5. All
. None
View
The View menu includes the following options:

1. Collapse/Expand Module Panel Collapses the module list panel of RX into a row of icons. 2. Time Format RX’s time scale and playhead location counter can be set to show different time units. Learn
more about changing the time format in the Transport chapter 3. Follow Playhead [Ctrl/Cmd+P]: Toggles whether or not the current view follows the playhead position during
playback.
1. In Page mode, the view will follow the playhead one view length at a time. 2. In Continuous mode, the view is centered on the playhead as it moves across the le.
4. Effect Overlays: This sub-menu allows you to turn special display features for the De-clip and Spectral Repair modules on and off.For an overlay to be visible, you need to have the option selected in the view menu, and the

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corresponding module window needs to be open.
1. De-clip Threshold When the waveform is visible, the threshold settings and controls appear as white lines within the display. This display can be used to adjust the de-clip threshold settings.
2. Spectral Repair Source Regions Displays effective region bounds when using the Spectral Repair module.
5. Clip Gain: Enables/disables the Clip Gain envelope in the main editor window. The Clip Gain curve can also be toggled on or off by clicking the “View Clip Gain” button to the right of the selection tool buttons, or by using the following keyboard shortcuts: Command+G (Mac); Ctrl+G (Windows).
. Show Channels Separately: Toggles how channels are displayed in the spectrogram/waveform view. When enabled, each channel will be drawn in its own lane in the main editor view. When disabled, the channels are drawn in one summed view. This allows for greater vertical resolution, especially when working with multichannel les. This option can also be toggled on or off by: clicking the Channel View button to the left of the mini waveform overview display or by using the following keyboard shortcuts: Command+Shift+C (Mac); Ctrl+Shift+C (Windows).
7. Spectrogram Settings: Opens the Spectrogram Settings window. . Enter full screen: Enables full screen mode.
Modules
The Modules menu includes options for opening module windows, running Learn on the current selection without opening the module window, and rendering module settings on the current selection without opening the module window.
Open Module Window
Open a module window by selecting it from this menu.

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Learn
Run a Learn pass on the current selection without opening the associated module window.

Render
Render settings for any module on the current selection without opening the associated module window.

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Transport
The Transport menu includes the following options:

1. Input Monitor [Alt/Option-I] Enables input monitoring. When input monitoring is enabled, the input signal of RX will be routed to the output signal of RX.
2. Arm for Recording / Record / Stop Recording [Alt/Option-Space] Runs the next possible step for recording. If you have not opened a new le, Arm for Recording will open the New File dialogue box for you.
3. Rewind [Return] Sets the playhead to the beginning of the le. 4. Play/Stop [Space] Starts or stops playback. If Input Monitoring is enabled, starting playback will temporarily
suspend Input Monitoring. 5. Loop Playback [Control/Command-L] Toggles playback looping. If nothing in the le is selected, the end of the
le will loop back to the beginning. . Playhead Follows Playback [Control/Command-R]: Toggles the behavior of the playhead on stop. If this is
enabled, the playhead will return to the anchor sample (the position before playback began).
1. This is useful for comparing processing. If this is disabled, the anchor sample will be set to the current playhead position. This is useful for moving through a le while listening for irregularities.
Window
The Window menu includes the following options:

1. Batch Processing [Ctrl/Cmd+B]: This gives you access to le based batch processing, as explained in the Batch Processor chapter.
2. Waveform Statistics [Alt/Opt+D]: This gives you access to informational readouts on a variety of amplitude measurements, as explained in the Waveform Statistics chapter.
3. Spectrum Analyzer: The Spectrum Analyzer displays an analytical view of your audio. More information is located in the Spectrum Analyzer chapter.
4. Markers and Regions [Alt+M]: Markers and regions allows you to de ne and save particular points or selections in time for your audio le. More information is located in the Markers and Regions
5. Close All Floating Windows/Reopen Closed Windows [Ctrl/Cmd+Opt+W]: Closes or reopens all oating windows.
. File Info: View metadata and other information about the audio le, as explained in the Working with Files

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chapter. 7. Next File (Control-Tab) Changes RX’s current le tab to the next le in the window order.
. Previous File (Control-Shift-Tab) Changes RX’s current le tab to the previous le in the window order.
Help
The Help menu includes the following options:
1. Launch Help: Open the product help documentation 8 Keyboard Shortcuts: Open the Keyboard Shortcut Guide 2. Getting Started: Launch the First Time User Tour 3. What’s New See the new features and tools RX 10 4. Online Video Tutorials: View articles and tutorials on iZotope.com 5. Give Feedback: Send feedback directly to the iZotope team

Preferences
Table of Contents
1. Audio 2. Display 3. Keyboard 4. Misc 5. Auth and Updates
. Plug-ins 7. Assistant

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Audio

RX 10 Help Documentation – RX 10 Help

1. Driver Type: Selects the audio device driver type (for example: ASIO, CoreAudio, or RX Monitor)
NOTE
Some hardware devices monopolize the audio drivers when sending audio clips to RX via RX Connect. If you are not able to hear the audio sent to RX from your DAW with RX Connect, change the audio driver to RX Monitor in the Driver type menu.
2. Input/Output Device: Choose the device/sound card you want RX to use for playback and recording. 3. Buffer Size: The total playback buffer size. In general, lowering these buffer sizes will improve meter
responsiveness and lower latency, but increase CPU needs. Raising buffer sizes will lower CPU cost but increase latency. It’s worth exploring these ranges to nd values that work best on your system. 4. Num Buffers: Number of playback sub-buffers. (Windows MME Only.) 5. Composite View gain reduction: Nondestructively reduces the output gain of all clips included in the Composite View tab by the amount speci ed in the dropdown. . Channel Routing: Opens the Channel Routing window. Input and output channel routing can be con gured in this dialog when working with ASIO/CoreAudio driver types or to con gure multichannel output routing.

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7. Preferred Layout (Multichannel only): Selects the default channel ordering option when multichannel les are loaded in the application. ADV
. Stereo Downmix (Multichannel only): Selects the stereo downmix con guration to use when monitoring multichannel les with a stereo audio output device. ADV
DOWNMIX NOTE RX does not support downmixing or upmixing les when saving or exporting. The downmix option only applies to playback of multichannel les on stereo systems.
9. Con gure Driver: Launches the manufacturer’s driver con guration dialog. 10. Release when not in use: Auto-closes the audio device when playback in RX stops, freeing it for use in other
audio applications. Disable this if playback from RX isn’t responsive enough. 11. Test Tone: The test tone generator is useful for testing your speakers, audio hardware and listening
environment. Tones at set frequencies or at a custom frequency can be used as test tones, as can white or pink noise. In addition, a Channel Identi cation mode will identify left and right speakers.
1. Enable: Starts playback of a test tone. 2. Type: Sets the type of test tone to play. 3. Volume: Sets the volume of the test tone. 4. Frequency: Sets the frequency of the test tone.
12. Output Gain: Output gain allows you to nondestructively adjust the playback level of RX 10 Audio Editor.

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Display

RX 10 Help Documentation – RX 10 Help

1. Show tooltips: When enabled, hovering over an RX feature with the mouse cursor will show a short description of the feature.
2. Display cursor coordinates in status bar: When enabled, the time coordinate of the cursor is shown in the status bar at the bottom of the RX main window. The amplitude of the audio at the cursor position and the frequency at the cursor position is also shown.
3. Show analog waveform: When digital audio is played back, it is converted to analog. The peak values in the analog waveform can be larger than the peaks in the digital waveform, leading to clipping in the output of a digital-to- analog converter. When Show analog waveform is enabled, RX will compute an analog waveform in the background. Any peaks will be highlighted in red on top of the existing digital waveform.
NOTE
RX will automatically display an analog waveform when zooming in at extreme zoom levels.
4. O oad waveform calculations: When enabled, RX’s waveform display will be computed in the background. This allows very large les to be loaded very quickly, but it slows down RX’s waveform displays.
5. Waveform interpolation order: If you zoom into the waveform so that individual samples become visible, RX will display an upsampled analog waveform as well as the individual digital samples. The interpolation order controls the quality of upsampling. Higher values yield more accurate analog waveforms at the expense of CPU usage.
. Brightness: Adjusts the general brightness of the RX interface, allowing you to make RX more readable on your speci c display.
7. Floating window opacity: Changes the opacity for RX’s oating windows. This can be useful if you wish to leave oating windows on top of the spectrogram and waveform without completely obscuring the display.

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Keyboard
CUSTOMIZING KEYBOARD SHORTCUTS While RX includes default keyboard shortcuts, you can also customize them to your liking. Refer to the Keyboard Shortcut Guide to reference a list of default key commands and internal shortcut command names used by RX. Referring to the guide can help you quickly identify the name of the key commands you want to customize and search for them in the “Show commands containing” eld (explained below.)

1. Presets: Save groups of key assignments with this tool. 2. Show commands containing: Lets you search by keyword for a command you want to assign to a keystroke. 3. Shortcuts for selected command: Shows if there are any keystrokes assigned to the command selected in the
above menu. 4. Remove: Removes the currently assigned keystroke from a command. 5. Press Shortcut Key: To assign a new keystroke to a command, select the command from the menu, then click
in this eld and press a key or combination of keys. . Assign: Assigns the entered keystroke to the current command. The shortcut will only be assigned to the
current command if you press this button. 7. Shortcut key currently used by: Lists commands that the current keystroke is assigned to.
USING THE ALT MODIFIER ON WINDOWS
On Windows systems, by default, “Alt + a letter” will open the corresponding menu for your currently open application. Alt + V for example will open RX’s View menu drop down. By default, none of RX’s shortcuts should con ict with these keyboard shortcuts, however if you wish to assign Alt + V to another operation, it will take precedence over the View menu.

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Misc

RX 10 Help Documentation – RX 10 Help

1. Session data folder: Allows you to choose a different folder to save RX’s temporary session data. These les are created to allow actions to be undone and sessions to be recalled in RX. Because these can be very large, it is best to set this to the drive on your computer with the most free space.
2. Time scale frame rate: This sets the frame rate used to draw the time scale when RX is set to display the time code (see View menu or right-click the time ruler to change this setting). Choose from a list of standard frame rates or click in the combo box to de ne a custom frame rate.
3. Default full-bandwidth paste mode: This controls RX’s behavior when pasting a full-bandwidth audio selection. Insert will move aside existing audio, Replace will overwrite existing audio, and Mix will add to existing audio.
4. Default limited-bandwidth paste mode: Similar to the full-bandwidth paste mode, this controls RX’s behavior when pasting a limited-bandwidth audio selected.
5. Reopen previous audio les when app starts: When enabled, RX will open all of the les (including edits, processing and undo history events) that were present when RX was last closed. Disabling this option will open the RX Audio Editor in its default state (no les loaded.)
. Reopen previous oating windows when app starts: When enabled, any oating windows that are open when the application is closed will be reopened the next time the application is opened.
7. Automatically open les ending with .L and .R as split stereo: Mono audio les with (.L and .R) as well as (.1 and .2) extensions will be opened as stereo les when this option is enabled.
. Recall selections during undo/redo: When this is enabled, RX will recall the selection used for an item in the undo history. When stepping through the undo history events, selections that were used for each event will be restored along with the audio.

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DISABLING THE SELECTION UNDO/REDO OPTION Sometimes it is useful to turn this off if you need to compare undo history items and not break your current selection (like a useful loop).
9. Play only selected channels: If only a single channel of audio is selected and this option is enabled, all other channels will be muted during playback.
10. Calculate RMS using AES-17: Uses the AES-17 1998 standard for RMS calculations (0 dB is a full scale sine wave) in the level meter, Waveform Statistics and Leveler modules. The other option is when 0 dB is the RMS of a full-scale square wave. These options differ by 3 dB.
11. Pre- and Post-Roll during preview (ms): When Previewing audio processing in any module, the speci ed time amount will be added to the beginning and end of the previewed selection in order to provide contrast between unprocessed and preview-processed audio.
12. Max Processing Threads: When RX is applying resource-intensive processing it can slow down your computer. At the expense of speed, adjusting the Max Processing Threads to a lower value limits the memory resources RX consumes in order to have a smoother experience while doing other tasks as RX runs in the background. This is especially useful when using the Batch Processor. The default value is `Auto’, and the minimum value is 1 thread.
License and Updates

1. Authorization: Provides options to authorize or de-authorize RX (explained in the Authorization chapter). 2. Help iZotope improve RX by sending anonymous usage data: Enables sending anonymous usage data to help
us improve our products.

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Plug-ins
RX 10 Audio Editor supports the use of the following plug-in formats in the “Plug-in” module:
1. VST2: Windows and Mac (Intel and Rosetta only) 2. VST3: Windows and Mac 3. AU (AudioUnit): Mac Only
UPDATE YOUR PLUG-INS Please make sure your third-party plug-ins are updated to their latest version in order to ensure that RX will be able to scan them correctly. Contact your plug-in manufacturers for updated installers, if necessary.

ABOUT THE ABOVE SCREENSHOT Only Windows users and Mac users working on Intel- based systems (or Silicon-based systems running Rosetta) will see the option for VST2. For all other systems, this format is unsupported and will not appear as an option.
1. Plug-in Lists: Displays plug-ins that have been scanned for use in the “Plug-in” hosting module of the RX Editor. 2. Enable: Enables that plug-in format for use in the RX Audio Editor. This will trigger plug-in scanning to begin in
the background. 3. Disable: Disables the associated plug-in format. This will clear the scanned plug-in list for that format. Re-
enabling that plug-in format will prompt RX to re-scan that plug-in format.
NOTE If a plug-in failed scanning for any reason, the plug-in’s name will be pre xed with an error tag (ex: [Crashed] or [Failed]) to help troubleshoot the failure.
4. VST plug-in folders: Allows you to add or remove custom VST2 plug-in folder paths. RX uses the system VST2 plug-in folder by default. If you are using a custom directory for VST2 plug-ins, use this option to ensure that those VST2 plug-ins will be scanned.

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NOTE ABOUT SUB-FOLDERS WHEN SCANNING FOR PLUG-INS RX will scan the rst level of sub-folders in the custom VST2 folder. If some of your plug-ins do not show up when you scan them, and you know they’re in a subfolder of your plug-in folder, try moving them up one directory level. 5. Group plug-ins by name in plug-in menus: When enabled, the RX plug-in menu will group plug-ins by common rst words, usually the manufacturer’s name. When disabled, the RX plug-in menu will appear as a single, alphabetically sorted list. . Rescan: If RX detects that a plug-in is unstable, it will blacklist it and prevent it from being opened. The rescan option allows you to clear the blacklist of unsupported plug-ins and rescan all installed plug-ins in case an RX update or an update from the plug-in manufacturer resolves the issue.
Assistant

1. Enable Repair Assistant analysis and processing suggestions for: Informs what common audio problems will be considered when Repair Assistant analyzes a selection. When an option is checked in this list, the associated audio problem will be included in analysis and processing suggestions. Options include:
1. Clipping 2. Clicks 3. Hum 4. Noise 5. Reverb
. Ess
Composite View

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STD & ADV
Table of Contents 1. Overview 2. Work ow 3. Important Notes
Overview
The Composite View feature in the RX Audio Editor combines all active tabs into one “Composite” tab that allows you to apply the same processing to multiple les simultaneously. Composite View can be a valuable tool for increasing e ciency when performing repetitive spectral editing functions.
Work ow
To enter Composite View mode, click on the Enter Composite View button.

When you are done making changes in Composite View, click on the Exit Composite View button to continue working with your individual tracks.

Important Notes
1. Composite View is designed to function as a bulk editor, it is not intended for mixing. A maximum of 32 les can be collapsed into a Composite view tab.
2. Composite View assumes that all les start at the same point.
USE THE SIGNAL GENERATOR MODULE TO INSERT SILENCE If needed, you can adjust le start times by inserting Silence with the Signal Generator or using edit commands to modify timing before collapsing your les into a Composite View tab.
3. Composite View learns on the rst track only. 4. Sample Rates: Composite View requires all les to have matching sample rates.

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RESAMPLE FILES USING THE RESAMPLE MODULE Use the Resample module to conform each le tab to the same sample rate value. 5. Spectrogram Display: Composite View displays a summed composite spectrogram/waveform display for all les collapsed into the Composite tab. To view individual le displays, simply exit Composite View. . Editing and Processing: All processing and edits applied in Composite View will be applied to all tracks. 7. Undo: To revert edits made in Composite View on a subset of tracks you can exit composite view and use the Undo History list to undo changes made to individual les. . Playback: Composite View plays back the sum of all les included in the Composite tab.
1. Channel selection states in individual tabs are not respected in Composite View playback or processing.
9. Markers and Regions are not supported in Composite View. 10. Compare Settings functionality is not supported in Composite View. 11. De-bleed is not recommended for use in Composite View. 12. Wow & Flutter will not work in Composite View. 13. Loudness Control will not work in Composite View.
Batch Processor
Table of Contents
1. Overview 2. Input 3. Module Chain 4. Output
Overview
The Batch Processor allows you to process multiple les at once with a custom module chain, streamlining timeconsuming tasks. The Batch Processor can run simultaneously with the RX Audio Editor, allowing you to process in bulk while working in RX.
The Batch Processor window can be opened using the following methods:
1. Navigate to the RX Audio Editor “Window” menu and select “Batch Processor”. 2. Open the Batch Processor window using the default keyboard shortcuts: Cmd+B (Mac); Ctrl+B (Windows).

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Batch Processor Presets
Click here to save, load, or update a Batch Processor preset. Output options and module chain contents can be saved together as presets.
LEARN MORE ABOUT SAVING PRESETS More information about saving presets is covered in the Common RX Module Controls chapter.
Input
The Input section allows for les to be added for processing. Added les will display the channel count, bit depth, sample rate and le length.
Adding Files
Files can be added to the Batch Processor window by using one of the following methods: Click the Add les button at the top of the Input section. Drag and drop les or folders from Finder (Mac) or Windows Explorer (Windows) into the Input les section of the Batch Processor window. Folders that are added will retain their folder structure in the output directory.
TIP Add multiple les from the same folder by holding the Command key (Mac) or ctrl key (Windows) when selecting
les from the Finder or Windows Explorer dialog.

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Removing les

RX 10 Help Documentation – RX 10 Help

Individual les can be removed from the Batch Processor by clicking the X’ that appears when hovering over a le. Clicking the Remove all les button at the top will clear all les from the input section. Module Chain Processing steps can be con gured in the Module Chain area of the Batch Processor window. You can create a new Module Chain or recall a Module Chain preset by selecting it from the dropdown menu. LEARN MORE ABOUT THE MODULE CHAIN See the Module Chain chapter for more information about the controls available in the Module Chain. NOTE Wow & Flutter is not available in the Batch Processor. Output The Output Section includes options for selecting the location of the processed les, modifying le names, and setting the output le format. Use the “Choose folder…” button to select the destination for the processed les from the system dialogue that appears. To send les to the same folder they are sourced from, click the ellipsis button in the output panel and choose Same as Original Location’.

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Input folder structure will be retained in the output location of your choice.
Naming
To modify a le name, add the desired text to the naming eld and select the Before “|<-” or After “->|” icons.
File Format
Choose the output le format and con gure the options associated with the selected le format (e.g. bit rate, quality, etc…). Available File Formats:
1. WAVE 2. AIFF 3. FLAC 4. Ogg Vorbis 5. MP3
Repair Assistant
Table of Contents 1. Overview 2. Repair Assistant Module 3. Repair Assistant Plug-in 4. Repair Assistant Preferences
Overview
Repair Assistant is designed to detect common audio problems in a recording and quickly provide suggested settings for removing them. Repair Assistant is available in the RX Audio Editor as a module and as a plug-in.
Repair Assistant Module
To open Repair Assistant in the RX Audio Editor application, simply click the Repair Assistant button in the upper right-hand corner of the RX Audio Editor window.

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After opening the module, choose your Source Type. This affects the type of processing chains generated and is used in analysis to measure noise amounts and determine processing chain components and settings. The options are Voice, Musical, Percussion, and Sound FX. Next, click Learn to analyze your audio. Repair Assistant is designed to be trained on audio that contains dialogue/music/SFX. It’s not necessary to learn on noise-only segments of audio, which you may be accustomed to doing in other modules like Spectral De- noise. Repair Assistant analyzes any selection you have made in the Spectrogram (if no selection is made it will analyze your entire track) and automatically adjust the settings for optimal repair of your audio. After analysis is complete, you are able to adjust the effect of each module using a single gauge. Each module has a Power button which will bypass that module when deactivated, and an Ear button which allows you to hear only the elements that are being removed by that module. To apply Repair Assistant’s recommended processing to the current selection, select the processing option in the Repair Assistant window and click the Render button in the bottom right-hand corner of the window.
The “Open as Module Chain” feature allows you to save Repair Assistant’s recommendations as a Module Chain preset, or make changes to the generated settings before rendering. To open Repair Assistant’s recommendations in the Module Chain, click the Open as Module Chain button in the Repair Assistant footer area. (This feature is available in RX 10 Advanced only).
Repair Assistant Plug-in
The experience in the Repair Assistant Plug-in is very similar to that of the Audio Editor, but the plug-in analyzes your audio as you play audio, as opposed to analyzing the entire le/selection.

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To use the plug-in, simply choose your Source Type, click Learn, and play your track. Keep playing it until Repair Assistant has nished listening to your audio and creating a suggestion.

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After analysis is complete, you are able to adjust the effect of each module using a single gauge. Each module has a Power button which will bypass that module when deactivated, and an Ear button which allows you to hear only the elements that are being removed by that module.
CLIP LENGTH NOTE Clips must be longer than 7 seconds. When using Repair Assistant in AudioSuite or as an AAX and learning a clip less than 7 seconds long, the plug-in will “Learn” inde nitely and appear to hang in this state.
Repair Assistant Preferences
To bypass analysis by any of the Repair Assistant modules, click on the gear button in the upper right-hand corner of the Repair Assistant window to open the Assistant Preferences. All modules are selected by default, and deselecting any module will remove it from Repair Assistant’s analysis.

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These preferences apply only to Repair Assistant in the RX 10 Audio Editor application, not the plug-in. For more information about the RX Preferences menu, see the Preferences chapter.
Common Module Controls
Table of Contents
1. Overview 2. Presets 3. Module Footer Controls 4. Preview 5. Compare
Overview
The RX Audio Editor is designed to give you a range of processing options. Most of the modules in RX feature multiple processing modes, ranging from fast algorithms that sound great on most material to very time-intensive algorithms for critical applications. Understanding the Presets, Preview and Compare controls will help you save time, especially when taking advantage of RX’s more powerful processing modes.
Presets

Each module in the RX Audio Editor features a preset menu that allows you to choose between factory presets and custom presets that you have saved. Any preset saved in a module in the RX Audio Editor can be opened in the corresponding RX plug-in, when applicable.

1. Add Preset: Creates a new preset. 2. Remove Preset: Removes a preset from the drop-down list. 3. Rename Preset: Changes the name of a preset. 4. Set Preset Shortcut: Allows you to de ne a keyboard shortcut for any preset in order to recall and apply
different module settings quickly. 5. Import Preset: Allows you to import presets (from another machine or another user, for example).
. Reload Preset: Rescans your preset directory for this module in order to refresh the available preset list. 7. Explore Preset/Reveal Presets in Finder: Opens Windows Explorer or Finder window to the location of your
presets on disk.
When you open RX 10 for the rst time, RX 9 user presets that are saved in the default locations are automatically copied over to RX 10.

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PRESET DIRECTORY LOCATIONS:
1. Windows factory preset install location: C:Program FilesiZotopeRX Pro Audio EditorPresets
2. Windows user preset save location: C:usersusernameDocumentsiZotopeRX Audio EditorUser Presets
3. Mac factory preset install location: /Library/Application Support/iZotope/RX Pro Audio Editor/Presets/
4. Mac user preset save location: ~/Documents/iZotope/RX Audio Editor/User Presets/
If you previously installed RX Pro, then your presets folders will be in these locations:
1. Windows user preset save location (RX Pro previously installed): C:usersusernameDocumentsiZotopeRX Pro Audio EditorPresets
2. Mac user preset save location (RX Pro previously installed): ~/Documents/iZotope/RX Pro Audio Editor/Presets/
Preset Dirty Flag
Making changes to a preset will add an asterisk [ * ] to the preset name to show that it has been modi ed.

You can use Update Preset to commit your changes, or Add Preset to create another preset with your new settings.
Module Footer Controls

Preview
Many RX modules feature a Preview button in the bottom panel of the module window. Some modules don’t support Preview because of the time-intensive nature of their processing, in many of these cases the Compare settings option is available (explained below).
Preview allows you to make adjustments to controls and hear the results without the need to process and undo processing multiple times to achieve your desired results.
Preview will apply to your active selection or if no selection is made, Preview playback will start from the current playhead position. When Loop is enabled in the Transport, Preview playback will loop.
1. Preview [Shift-Space]: Plays a pre-rendered preview of the module’s current settings on the selected audio. During preview, module settings can be adjusted and adjustments will be heard within the length of the current preview buffer. For most modules, the Preview buffer size is about a half of a second long, but the Preview Buffer Length can be adjusted by accessing the Preview Options, explained below.

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2. Bypass [Shift-B] Bypasses module processing during preview.

3. Preview Options [+]: Allows adjustment of the Preview Buffer size.

For more CPU-intensive settings, like the highest quality algorithms in Spectral De-noise and the highest quality Declick settings, RX can buffer playback to allow you to preview these slower than real-time processes.
NOTE ABOUT PREVIEW BUFFERING When Previewing module processing, the active buffer length for preview rendering is tinted red in spectrogram/waveform display.
Pre- and Post-Roll
When previewing an effect, it is often very helpful to hear a small portion of the unprocessed audio before hearing your processed selection. This can provide a much clearer comparison and allow you to more easily discern whether or not the current processing settings are producing the desired effect.
By default, RX will play back one second of unprocessed audio before and after the current selection when previewing your processing. The Pre- and Post-roll times can be de ned in the Preferences > Misc window. RX can play up to ten seconds of audio before or after the previewed selection. Pre- and Post-Roll will also occur when previewing a looped region of audio
HOW TO DISABLE PRE- OR POST-ROLL Set the Pre- and Post-roll times in the Preferences > Misc tab to 0.
TIP Pre- and Post-roll can also be simulated manually by holding Control (Windows) or Command (Mac) to set the playhead to any desired position while preserving your audio selection. Once the playhead is set, clicking on Preview in the desired module will then start the Preview playback from the playhead position.
Compare
When you want to quickly try a lot of different settings, use the Compare feature. In some cases, you might not know what settings of a module will give you the best, most transparent results. By hitting the Compare button instead of

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the Process button, you can audition multiple settings of the same module and then audition the results side by side in the Compare Settings.
While one group of settings is processing in the background, you can return to the module and try a different group of settings. Learning to use the Compare Settings tool can save you from having to apply and undo a process multiple times just to nd the right settings, making it a valuable time-saving feature.
Another advantage to using the Compare Settings tool is seeing the effect your settings have in the spectrogram/waveform display and spectrum analyzer.

1. Process Comparison List: Each time settings are sent to the Compare window, a new list item is created, by default titled “Settings 1,” “Settings 2,” etc.
2. Preview: To hear (and see) the result of an item in the list, select that item and hit Preview. 3. View Settings: Updates the controls to re ect the settings selected in the Process Comparison List 4. Remove: Remove an item from the list. 5. Rename: Allows you to rename items with more descriptive names.
. Render: Apply the selected list item to the audio le.
Module List
Table of Contents
1. Overview 2. Saving module list lters
Overview
The Module List in the RX Audio Editor groups modules into the following categories: Repair, Utility, and Measurement. The modules displayed in the module list can be customized by saving a module list lter. The module categories can also be collapsed by clicking on the category header.

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Repair

Utility

Measurements

Ambience Match Azimuth
ADV

ADV Find Similar

Breath Control
STD & ADV

Dither
STD & ADV

Markers

Center Extract

EQ

ADV

STD & ADV Spectrum

De-bleed
STD & ADV

EQ Match

ADV

Waveform Stats

De-click

Fade

De-clip

Gain

De-crackle

Leveler

STD & ADV

ADV

De-ess
STD & ADV

Loudness Control
STD & ADV

De-hum

Mixing

De-plosive
STD & ADV

Normalize

De-reverb
STD & ADV

Phase

De-rustle

ADV Plug-in

De-wind

Resample

ADV

STD & ADV

Deconstruct
ADV

Signal Generator

Dialogue Contour Time & Pitch

ADV

STD & ADV

Dialogue De-reverb Variable Pitch

ADV

STD & ADV

Dialogue Isolate

Variable Time

ADV

STD & ADV

Guitar De-noise
STD & ADV

Interpolate
STD & ADV

Mouth De-click
STD & ADV

Music Rebalance

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Repair
STD & ADV
Spectral De-noise
STD & ADV
Spectral Recovery
ADV
Spectral Repair
STD & ADV
Voice De-noise
Wow & Flutter
ADV

Utility

Measurements

Saving module list lters

1. From the menu on the right of the List Filter Selector, select “Add List Filter” 2. Choose a name for your new List Filter, hit return/enter to save the name 3. Use the checkboxes to select the features you want to include 4. Click the “Done Editing” button to save your new lter
Module Chain
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Overview
The Module Chain section allows for the processing of multiple modules in series. You can choose from a variety of factory presets to get started or con gure your own custom chain and save a preset to use it again in the future. This section includes options for adding, removing, rearranging and customizing the processing of a module.
Controls

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Name

Description

Preset Menu

Save or load a module chain preset. More information about saving presets is covered in the Common RX Module Controls chapter.

Add Module

Click the [+] to add a module from the module list to the end of the module chain.

Remove Module

Click the “X” icon to remove the associated module from the module chain.

Power Button Enables/disables module processing.

Reorder Module

Click and drag a module panel up or down within the Module Chain to change its order in the signal ow.

View Module

Opens the module window with settings loaded for the associated step in the module chain.

Frequency Selection Settings

Options for processing a module only over a selected frequency range.

NOTE Wow & Flutter is not available in the Module Chain.
Ambience Match

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ADV Module & Plug-in (Audiosuite Only)
Table of Contents 1. Overview 2. Work ow
Overview
The Ambience Match module lets you match the noise oor of one recording to another recording. For example, you can apply the ambience of a location recording to your ADR tracks.

Ambience Type
Complex
Ideal for variable ambiences with movement and texture, Complex mode generates a more dynamic ambience based on your learned source. Each time you render, Complex mode will generate a new random ambience.
Static
Perfect for unchanging ambience like room tone, air conditioners, or fans, the static Ambience Match algorithm analyzes an audio selection and nds the lowest common denominator (the noise that is common across the audio
le) and treats that as the ambient pro le.
Controls
1. AMBIENCE THRESHOLD: Discards dialogue or noises above the ambience threshold when learning for

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complex ambience pro les. Complex mode only. 2. AMBIENCE TYPE: Chooses between Complex or Static ambience. 3. MOVEMENT: Higher values have more variety. Lower values remove distinctive elements for a more uniform
sound. The elements that are removed as the movement value is reduced are greyed out in the Ambience Match spectrogram. Complex mode only. 4. RANDOMNESS: Higher values allow the generated ambience to differ more from the learned input and encourage more variation. Lower randomness will try to match the learned input closely and may sound more like copy-pasting. The default Randomness setting will typically provide the most natural sounding results.Complex mode only. 5. GAIN: Trims the level of the generated ambience. . OUTPUT AMBIENCE ONLY: When checked, the selected region will be replaced by the generated ambience. When unchecked, the ambience will be mixed with the selected audio.
Work ow
Using Ambience Match module in the RX Audio Editor
To train Ambience Match, provide it with a selection of raw noise. If there is no single fragment of raw noise, or you want to save time, selections with speech can be used. In Complex mode, the Ambience threshold can be used to ignore speech or other loud sounds in the selection. In Static mode the algorithm will intelligently discard speech and only leave noisy parts in the noise print.
The Spectrogram in Ambience Match
Ambience Match has a helpful spectrogram that re ects your learned noise pro le. In Static mode, the spectrogram will display what will be rendered after you learn. In Complex mode, the spectrogram will display your learned audio, and takes into account the ambience threshold setting.
To match the ambience between selections:
1. Open the Ambience Match module in the module list 2. Make a selection in a le. 3. Click Learn. 4. Make another selection. 5. Adjust the Gain level as desired. The Gain control adjusts the level of synthesized ambience.
. Select Output Ambience Only if you want the selection replaced with only the ambience from the rst selection.
7. Click Render.
NOTE The Ambience Match module cannot reduce the amount of ambience that already exists in the selection, it can only increase it. To reduce the ambience, use the Spectral De-noise module.
To create an Ambience Match preset:
1. In Ambience Match, click the gear icon to the right of the preset drop- down menu. 2. Select Add Preset. 3. Enter the name for the new preset. 4. Press Enter.
Using Ambience Match as an AudioSuite Plug-In
In addition to applying Ambience Match inside of the RX Audio Editor, it can also be used as an AudioSuite plug-in inside of Avid’s Pro Tools or Media Composer.

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When using Ambience Match inside of Pro Tools or Media Composer, we recommend not learning from audio that contains fades within the selection or the handles. As Ambience Match establishes an ambient pro le using the lowest common denominator, learning from audio that’s being faded in may result in inconsistent detection of the noise oor. Handles can be preserved by using Ambience Match in clip-by-clip mode.
NOTE ABOUT LEARNING AMBIENCE ON FADES When using Pro Tools, you may see an inconsistent result as a result of Pro Tools adding dithering to fades, which varies based on the session’s bit depth. Since this dithering noise almost certainly doesn’t match the material’s noise pro le, this will throw off Ambience Match. If you’re running a session in 16 bits, the dither added by a fade will be su cient enough to affect the detection algorithm. The problem is less pronounced in 24 or 32 bits. To adjust the bit depth of your session, go to Setup > Session in Pro Tools.
Breath Control
STD & ADV Module & Plug-in
Table of Contents
1. Overview 2. Controls
Overview
The Breath Control module intelligently detects breaths in dialogue or vocal recordings and suppresses them. Removing and reducing breaths in recordings can be a time-consuming process for dialogue editors and music producers alike. Breath Control can help reduce the time spent on repetitive editing without sacri cing the quality of your dialogue or vocal recordings.
The Breath Control module analyzes your le and distinguishes breaths from dialogue or sung vocals based on their harmonic structure. If any piece of the incoming audio matches a harmonic pro le 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 for a multitude of quiet or loud vocal styles with minimal adjustment of the module’s controls.

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Controls

RX 10 Help Documentation – RX 10 Help

1. GAIN MODE: When Gain Mode is selected, the Breath Control module will reduce the gain of detected breaths by an absolute amount, regardless of the level of the breath. In some cases, this is desirable when trying to handle heavy breathing or as a way of removing all breaths from a particular spoken or sung vocal take. Depending on your settings, 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.
1. GAIN (dB): Sets the desired amount of gain reduction applied to all detected breaths, regardless of level.
2. TARGET MODE: When in Target mode, the reduction amount of the `Target’ slider will set the level of detected breaths. This can result in more natural sounding breath reduction as detected breaths 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.
1. TARGET LEVEL [dBFS]: Sets the resulting desired level of all detected breaths above the set target.
3. SENSITIVITY: This controls how sensitive the breath control plug-in is when detecting the harmonic structure of breaths in your audio.
4. OUTPUT BREATHS ONLY: 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.
Center Extract
ADV

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Table of Contents
1. Overview 2. Controls 3. Use Cases
Overview
The Center Extract module preserves (using Keep Center) or removes (using Keep Sides) the center channel of a stereo le. Extracting the center will retain the center of a stereo eld and attenuate everything on the sides, such as signals panned to the left or right. See the Use Cases section below for more contextual examples and additional information about Center Extract processing.
Controls

1. KEEP CENTER: When the signal you want to preserve is even in both channels and noise is uneven between channels, extracting the center can remove a lot of noise.
2. KEEP SIDES: If you want to preserve the wide stereo information and remove the center information, you can keep the sides of the signal instead.
1. ALGORITHM: Two different algorithms are available:
1. TRUE PHASE: Cancels the center with phase information and retains the original panning of the sides.
2. PSEUDO PAN: Extracts the side information and arti cially stereo-izes it into two channels.
3. REDUCTION STRENGTH: Controls the level of the preserved signal. Lower values will retain more information, higher values will discard more information.
4. ARTIFACT SMOOTHING: Helps to reduce or eliminate the “musical noise” that is often characteristic of FFTbased processing. Musical noise can be described as how something may sound underwater. Increase this slider if your output sounds watery, but decrease it when too much smoothing makes your audio sound dull.

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WHAT IS AN FFT? Fast Fourier Transform: a procedure for the calculation of a signal frequency spectrum. The greater the FFT size, the greater the frequency resolution, i.e., notes and tonal events will be clearer at larger sizes. However, when using FFT-based processing, the more audio you remove from your source, the more likely you are to create undesirable artifacts. 5. DRY MIX [%]: Controls the amount of unprocessed signal mixed into the processed signal. Useful for reducing artifacts introduced by processing by preserving the original characterisitics of your audio.
TIP: USE AZIMUTH BEFORE CENTER EXTRACT FOR BEST RESULTS It is often a good idea to make sure stereo channels are balanced by running Azimuth correction before using Center Extract.
NOTES ON CENTER EXTRACT AVAILABILITY
1. Center Extract is not available when Composite View is active. 2. Center Extract processing is not available on mono les. The nature of Center Extract processing makes it
unapplicable to mono les because they lack stereo eld information.
Use Cases
1. Using Center Extract as an alternative to Mid-Side Encoding: Center channel extraction will preserve a stereo image if the side channels are retained. This can make it more desirable in some cases than Mid-Side encoding (which would sum left and right hard pans into one channel).
2. Use Keep Center to Reduce noise in stereo les transferred from a mono source: A mono record transferred to a stereo tape would have side channel noise that would be suppressed by extracting the center channel using Keep Center.
3. *Use Keep Sides to Remove vocals from a stereo recording:
1. The lead vocal track, in many popular mixes, is typically panned to the center of the mix. Panning something to the center results in equal information being present in the side (Left and Right) channels.
2. Using the “Keep Sides” processing mode will retain the unique side channel information present in a le, and reduce the Center channel.
3. This is useful for karaoke-style removal of vocals from a song, especially because the process results in a coherent stereo image.
De-bleed
Table of Contents
1. Overview 2. Work ow 3. Controls

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Overview
De-bleed reduces the leakage of one signal into another, such as when vocals bleed into a guitar microphone, or when a click track fed into headphones bleeds into an open mic. The De-bleed module learns a bleed relationship between two tracks. In the descriptions below, these two tracks are referred to as:
1. BLEED SOURCE TRACK: This track contains only the bleed source audio. 2. ACTIVE TRACK: This track contains the audio present in your source track (bleed), mixed in with the audio you
want to preserve.
De-bleed relies on a relationship existing between your Active track and Bleed Source track in order to function properly and provide the best results. In order to properly establish the relationship between the Active and Bleed Source tracks, the following requirements must be met:
1. At least two les are open in the RX Audio Editor: De-bleed requires 2 tracks (a Bleed Source Track & an Active Track) to process.
2. The Bleed Source and Active Track have matching sample rates: The sample rates of the Bleed Source Track and Active Track must match in order to process using De-bleed. Using tracks of different sample rates may indicate that the tracks are not related.
TIP: HOW TO CORRECT SAMPLE RATE DIFFERENCES If you need to correct the sample rates of your bleed source and active track selections in the De-bleed module, you can use the Resample module in the RX Audio Editor to correct sample rate differences between your les, if necessary.
3. The Bleed Source and Active tracks are time aligned:
1. The Bleed Source Track and Active Track must be time aligned within a few milliseconds of each other. 2. Time aligned means that if the two les were played back together, they would sound in sync. So if the
same audio events are occurring at the same points in the timeline for both the Bleed Source and Active tracks, this means they’re time aligned.
TIP: HOW TO CORRECT TIME ALIGNMENT ISSUES You can adjust the length or timing of les in the RX Audio Editor by:
1. Using the `Cut’ Edit operation, Command+X (Mac) or Ctrl+X (Windows), to remove the active selection. 2. Insert Silence using the Signal Generator module to adjust the length of your le.
Work ow
1. Import the bleed source le (Bleed Source Track) and the le you are removing bleed from (Active Track) into the RX Audio Editor. Ensure that the les are in sync (instructions above).
2. Open the De-bleed module. 3. Ensure that the Active Track name that is displayed in the De-bleed module is the le you wish to modify. 4. In the De- bleed module, select the Source Track from the Bleed Source Track drop-down menu. 5. In the active le tab (Active Track), make a selection where the bleed is most obvious.
. Click the Learn button in the De-bleed module. Learn analyzes the general relationship between the Bleed Source and the Active Track. 7. After the Learn pass is complete, select part or all of the Active Track and click Process.

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Controls

RX 10 Help Documentation – RX 10 Help

1. BLEED SOURCE TRACK SELECTION MENU: Select the Bleed Source track from this dropdown. 2. ACTIVE TRACK: Displays the name of the track tab you are currently viewing. 3. LEARN: Learns the relationship between the two tracks. 4. BLEED PROFILE DISPLAY: After learning the bleed pro le, this displays a portion of the relationship captured
between the two tracks. Toggle between the Bleed Source and Active track displays to check that the bleed present in the bleed source track is present and aligned with the bleed in your active track.
Bleed source display:

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Bleed active track display:

1. STRENGTH: Determines the amount of bleed reduction applied during processing. Higher Strength values may result in the removal of audio you wish to preserve. It is recommended you start with lower strength values and increase the values if needed to achieve the most desirable results.
2. ARTIFACT SMOOTHING: Helps to reduce or eliminate the “musical noise” that is often characteristic of FFTbased processing. Musical noise can be described as how something may sound underwater. Increase this slider if your output sounds watery, but decrease it when too much smoothing makes your audio sound dull.
WHAT IS AN FFT? Fast Fourier Transform: a procedure for the calculation of a signal frequency spectrum. The greater the FFT size, the greater the frequency resolution, i.e., notes and tonal events will be clearer at larger sizes. However, when using FFT-based processing, the more audio you remove from your source, the more likely you are to create undesirable artifacts.
De-click
Module & Plug-in

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Table of Contents
1. Overview 2. Controls 3. Instant Process Tool
Overview
The De-click module’s sophisticated algorithm analyzes audio for amplitude irregularities and smoothes them out. This means that you can use De-click to remove a variety of short impulse noises, such as clicks caused by digital errors, mouth noises, and interference from cell phones.
Controls

1. ALGORITHM: Provides options for adjusting the con guration and processing quality of click interpolation, depending on the types of clicks and pops present in the audio.
1. SINGLE BAND: Processes quickly and works well on very narrow “digital” clicks 2. MULTI-BAND (PERIODIC CLICKS): Uses multi-band processing for removing regularly repeating clicks
with a wider spectrum, or regular clicks that have concentrated low or high energy (like thumps or optical soundtrack perforation noise) 3. MULTI-BAND (RANDOM CLICKS): Uses multi-band processing for wider vinyl clicks and thumps, with a protective algorithm for preserving periodic audio elements characteristic to certain instruments such as brass or vocals 4. LOW LATENCY: Works well on mouth clicks and other clicks that cannot be handled by other algorithms. This mode has very low latency and is suitable for real-time work in RX De-click plug-in.
2. SENSITIVITY: Determines how many clicks are detected in the signal. Increasing sensitivity can impact plosives, which can in turn reduce or damage the original signal.
3. FREQUENCY SKEW: Adjusts the weighting of click removal toward higher or lower frequency clicks. Negative values are more suitable for generic clicks such as those found on vinyl recordings. A setting of zero or above targets mouth clicks in the middle frequencies.

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NOTE Frequency skew is not available when using the Single Band Algorithm option. 4. CLICK WIDENING: Extends the repair area around detected clicks, compensating for mouth sounds such as lip smacks that have a decay. 5. OUTPUT CLICKS ONLY: Outputs the difference between the original and the processed signals (suppressed clicks).
Instant Process Tool
The Instant Process Tool offers a smart De-click mode, which instantly applies the active settings from the De-click or Interpolate modules. Simply put, you may make any selection, and this mode will automatically remove all clicks present in that selection. This is particularly useful for editing a dialogue le, mismatching sample rate clicks and pops, and vinyl clicks.
If you’ve made a selection under 4000 samples in length, Instant Process will automatically use the Interpolate algorithm. Interpolate will ll the selection with audio information based on the surrounding audio.
For selections above 4000 samples, Instant Process will use the current settings of the De-click module. De-click is effective on selections above 4000 samples in size, identifying clicks in relation to desirable audio, and intelligently separating and removing the clicks.
For example, if the De-click module is indicating that a preset named Remove mouth clicks’ is loaded, these settings will be applied every time you use the Instant Process Tool inDe-click’ mode (on selections longer than 4000 samples).
De-clip
Module & Plug-in
Table of Contents
1. Overview 2. Controls 3. More Information
Overview
De-clip repairs digital and analog clipping artifacts that result when A/D converters are pushed too hard or magnetic tape is over-saturated. It can be extremely useful for rescuing recordings that were made in a single pass, such as live concerts or interviews, momentary clipping in “perfect takes”, and any other audio that cannot be re-recorded.
De-clip will process any audio above a given threshold, interpolating the waveform to be more round. Generally, the process is as easy as nding the clipping you want to repair, then setting the threshold just under the level where the signal clips.

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Controls

RX 10 Help Documentation – RX 10 Help

1. HISTOGRAM METER: Displays waveform levels for the current selection as a histogram. The histogram meter helps you set the Threshold control by displaying the audio level where the waveform’s peaks are concentrated. This usually indicates at what level clipping is present in the le. The longer the line for the histogram is, the more energy is present at that amplitude.
2. HISTOGRAM ZOOM CONTROLS: The histogram’s range can be scaled if you need a better view of your signal. Use the (+) and (-) buttons to scale your display and value resolution for the De-clip module. These buttons reduce (+) and/or expand (-) the range of the threshold slider and histogram. You may want to extend the histogram range when the clipping point is lower than what you can see on a histogram or if you don’t see anything on the histogram.

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RX 10 Help Documentation – RX 10 Help

NOTE ON HISTOGRAM UPDATING IN THE APPLICATION VS. THE DE-CLIP PLUG-IN
1. In the RX Audio Editor, the Histogram meter updates based on selection: Select a section of the recording where clipping is prominent and De-clip will analyze the levels of the program material. If clipping is present in the selection, it will usually appear as a horizontal line in the histogram that extends all the way across the meter.
2. In the De-clip Plug-in, the histogram runs as a real-time meter.
WHAT IS A HISTOGRAM?
1. A histogram is an analytical tool that displays how many samples are present at a given signal level over a window in time. The longer the line for the histogram is, the more energy is present at that amplitude.
2. If a lot of energy tends to collect near the top and bottom edges of a waveform, that waveform is probably clipped and distorted.
3. THRESHOLD [dB]: De nes the level used for detection of clipped intervals. Generally, this should be set just below the actual level of clipping. To set the threshold, move the Threshold slider until it lines up with the place in the histogram just below where clipping is concentrated. UNDERSTANDING THE CLIPPING THRESHOLD OVERLAYS
1. Adjusting the Clipping Threshold will display a blue line within the histogram and a gray line on the waveform itself (when the De-clip Threshold effect overlay). These lines indicate the audio information that will be considered as “clipping” by the de-clip algorithm.
USING THE DE-CLIP THRESHOLD EFFECT OVERLAY IN THE SPECTROGRAM/WAVEFORM VIEW
1. By default, De-clip Threshold is enabled in the View > Effect Overlay menu. 2. When enabled and the De-clip module is open, the De-clip threshold overly will be displayed in the
spectrogram/waveform display. 3. You can adjust the Threshold controls in the De-clip module by adjusting the Threshold overlay lines
in the spectrogram display. 4. You can use the mousewheel on the waveform amplitude ruler to adjust the threshold control values.
4. THRESHOLD LINK: Toggles the ability to adjust positive and negative clipping thresholds independently.

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RX 10 Help Documentation – RX 10 Help

1. When this option is enabled, you can adjust the positive and negative clipping Threshold controls independently. This is useful in cases where more clipping is occurring on one side of your waveform.
2. You can also set asymmetric de-clipping thresholds directly from the waveform by toggling the lock box between the threshold controls on the waveform display.
5. SUGGEST: Calculates suggested threshold values based on the levels in your current selection. . QUALITY: Controls the interpolation processing quality. There are three quality modes in the De-clip module: Low, Medium, and High.
DE-CLIP QUALITY MODE NOTES
1. Low quality mode processes very quickly. 2. High quality mode processes slowly but is capable of achieving better results. 3. In many cases you will nd that Low quality mode gives you great results. To save time, always start
by previewing the Low quality modes rst. You can also use the Compare feature to try multiple modes and preview the results.
7. MAKEUP GAIN [dB]: Selects the gain to be applied to the selection after De-clip.
WHEN TO USE THE MAKE-UP GAIN CONTROL
1. The De-clip process causes an increase in peak levels. The Makeup gain control can be used to prevent the signal from clipping after processing. It is also useful for matching the level after processing to unprocessed audio outside of the selection.
. POST-LIMITER: Applies a true peak limiter after processing to prevent the processed signal from exceeding 0 dBFS.
1. De-clip usually increases signal levels by interpolati

References

• Flexible and Economical UTF-8 Decoder
• CC BY 4.0 Deed | Attribution 4.0 International | Creative Commons
• GmbH in der Schweiz gründen. Einfach. Online.
• iZotope | Plugins for Audio Restoration, Mixing, Mastering and More
• SIL Open Font License
• SRC Comparisons
• Home
• Apache License, Version 2.0
• The FreeType Project
• www.grinninglizard.com
• opensource.apple.com/source/cups/cups-59/cups/md5.c
• Creativity First — Our Passion for Music Inspires | Steinberg
• Identifying Audio Problems - RX 10 Help
• Authorization - RX 10 Help
• Azimuth - RX 10 Help
• Batch Processor - RX 10 Help
• Center Extract - RX 10 Help
• Composite View - RX 10 Help
• De-bleed - RX 10 Help
• De-click - RX 10 Help
• De-clip - RX 10 Help
• De-crackle - RX 10 Help
• De-hum - RX 10 Help
• De-reverb - RX 10 Help
• Deconstruct - RX 10 Help
• Dialogue Contour - RX 10 Help
• Dialogue De-reverb - RX 10 Help
• Fade - RX 10 Help
• Find Similar - RX 10 Help
• Gain - RX 10 Help
• Interactive Tools - RX 10 Help
• Interpolate - RX 10 Help
• Keyboard Shortcuts - RX 10 Help
• Loudness Control - RX 10 Help

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