Dialogue Repair: 6 Problems You Thought You Couldn't Fix Nov 12, 2019. Some dialogue problems can’t be fixed. Distortion, errant sirens, wind gumming the microphones—it’s impossible. The truth is, with iZotope RX, you can fix all sorts of previously impossible problems. Here are six tips to get you out of a dialogue bind.
Sep 25, 2014 To learn more about spectrograms, read our blog post on how to fix common audio problems using a spectrogram. How a spectrogram works The aim of any good visualization tool for audio repair and restoration is to provide you with more information about an audible problem. Spectral Repair STD & ADV Overview. Spectral Repair intelligently removes undesired sounds from a file with natural-sounding results. This tool treats selections within the spectrogram/waveform display as corrupted audio that will be repaired using information from outside of the selection. Apr 20, 2017 Dialogue Isolate in iZotope RX 6 Advanced is designed to separate spoken dialogue from non-stationary background noise such as crowds, traffic, footsteps, weather, or other noise with highly. How to Use Music Rebalance in RX 7 Sep 13, 2018. Isolate mix elements from a single track with the new source separation module in RX 7, Music Rebalance. Easily reduce vocals in background music for clearer dialogue, learn how to remove vocals from a song, or separate vocal stems from a track for easy remixing. Rustle cannot be easily removed using the existing De-noise technology found in an audio repair program such as iZotope RX, because rustle changes over time in unpredictable ways based on how the person wearing the microphone moves their body. IZotope’s award-winning RX 6 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.
Once you’ve downloaded the test file called, “Vocal Production_Spectral De-Ess” for this tutorial from the RX web page and opened it in RX by clicking and dragging it into the RX application window, or by opening RX and pressing Command+O or Control+O on a PC to locate and open it, your RX window should look like mine, with the file, “Vocal Production_Spectral De-Ess” in a tab on the top-left of the screen.
In this vocal sample, I’m hearing a lot of sibilance. Harsh frequencies usually audible in words that have an “s” in them. I’m going to play back this sample and see if you can hear those harsh frequencies that I’m talking about. They’re especially present when the vocalist uses the words, “sunrise,” “anticipant,” and “sway.”
I’m going to press return to bring the playback head to the beginning of the sample, and then space bar to play the sample.
[vocals]
Not only can we hear those “s” sounds, but we can see them very clearly in the spectrogram, which allows us to visualize frequencies from zero 20,000Hz on the y-axis.
We can visualize the amplitude of frequencies too, depending on the loudness. Cyan if quiet, and bright orange to white if very loud.
I’m going to use this slider on the bottom left so that I can get a better look at just the frequencies, and not the waveform in blue running across the x-axis. I’ll slide it all the way to the right.
So, the sibilance that we were hearing is visualized really nicely with these bright orange streaks. Let’s take care of the sibilance by using the brand new spectral de-esser in RX 6, which I’ll locate on the right in the de-esser module.
I’ll click on that and set it to spectral from classic. Classic works well too, but the spectral de-esser affords us a more transparent, intelligent, and frequency specific type of de-essing in classic mode by only attenuating events where sibilance is most active.
Let’s quickly go through these parameters, and then we’ll dial in some settings to tame those “s” sounds.
First, we have the threshold. This determines the level at which the de-ess module begins compressing sibilance. The threshold control has two modes that determine how it reacts to incoming signal level. It’s specified in decibels relative to the speech level, that’s relative mode, or full scale in absolute mode.
You’ll see that when I click on absolute, you go from dB to dBFS. I’m going to leave it in relative mode and un-click absolute right now.
The cut-off frequency specifies the crossover point between the speech to be preserved, and the sibilance to be reduced. I can see from the spectrogram that the sibilant events begin at around 4,200Hz and are active upwards from there, so that’s where I’m going to tell Spectral De-Ess to start detecting sibilance.
I’ll just double click here, then type in my values. Perfect. In other words, we’re telling the de-esser to shine a flashlight to look for sibilance up here above 4,200Hz, and don’t bother looking below 4,200Hz.
Now, to be sure that the Spectral De-Esser is only listening for harsh “s” sounds, I’ll click, “output ess only,” and what this will do is it will allow me to hear only what the de-esser is hearing. I’m doing this to make sure that the de-esser isn’t messing with audio that isn’t strictly sibilance.
So if I can hear entire words, or other events not associated with the sibilance when I preview this, it means I’ve gone too far. I need to adjust some parameters to make sure that only sibilant events are being affected by Spectral De-Ess.
Let’s do just that. I’m going to press preview and have a listen.
[Spectral De-Ess, ess only preview]
Great. I feel confident that the de-esser is only listening for harsh sibilant events. I’ll un-tick this box, now let’s keep going through the parameters.
We have fast and slow. Think of these like attack and release settings on a compressor. Settings that are too fast will reduce the high frequency signal too much in the initial transient phase, and create a sound that is too smooth.
If the settings are too slow, the processor won’t recover quickly enough, resulting in too much high frequency compression overall. I’m going to leave it on fast, because some of these sibilant events are close together, and I want to make sure that the de-esser can recover fast enough to catch them all, and personally, it just sounds better to me, given this vocal material, and if it sounds good, it is good.
Next is spectral shaping. This determines how much of the spectral shape the sibilant is changed. A setting of 0% leaves the natural shape of the sibilance by applying uniform compression across all bands. A setting of 100% flattens the shape of the sibilant towards a specified noise profile that we’ve chosen in spectral tilt, which I’ll explain really quickly.
Spectral tilt creates a noise profile for the sibilance. A setting of zero, as we have it now, creates a natural spectral decay, similar to pink noise. Values below or above zero create a profile that is heavier in low frequencies, like brown noise, or high frequencies like white noise.
In other words, moving this shape towards brown noise moves it towards a darker sound. Moving the shape toward white noise provides a brighter result.
I’m going to stay with my pink noise profile, and I’ll push my shaping to around 70% so that it really conforms to the noise profile that I’ve picked in the spectral tilt section.
Now that I’m happy with my settings, I don’t want to forget them, so I’ll save them as a preset by clicking here and choosing “add preset.” I’ll name it “Pink Preset” and press enter.
There’s a few ways to preview these settings. I can choose to preview them using the preview function, or I can quickly A/B this setting among other settings using the compare feature.
However, I’m pretty confident with my settings, and I don’t feel the need to spend time comparing them to a whole bunch of other parameters, so I’ll press “preview” and listen back.
[vocals, previewed after Spectral De-Ess]
That sounded great. So I’ll commit my changes my pressing process.
I’ve clicked out of de-ess, and now I want to focus your attention to this little box on the bottom right. This is our undo history window, and what we can do here is toggle back and forth between the original, initial state, our before, and our newly de-essed track.
Let’s do just that. So here’s before we did any processing with the de-esser.
[vocals, no processing]
And now I’ll switch over to my newly de-essed file. Here’s after.
[vocals, after de-essing]
Hopefully this gives you a good starting point for taking care of sibilance in RX 6 using the new Spectral De-Esser. Be sure to download all the test files, and check out our other in-depth tutorials to make the most of your music and RX 6.
Overview
Below the Spectrogram display is a toolbar that gives you several options for interacting with your audio. The toolbar is split into three main categories, Navigation, Instant Process, and Selection.
The Zoom tools help navigate the spectrogram, the Selection tools help you isolate and edit individual sounds within the spectrogram, and the Instant Process category turns each selection tool into a magic eraser of sorts, which will immediately process any audio problem you paint over.
Zoom Tools
From RX 6 Audio Editor’s main window, you can zoom in horizontally and vertically on both the waveform and spectrogram views.
Zoom Selection Tools
From left to right: zoom in, zoom out, zoom to selection, zoom to whole file, zoom tool.
- Zoom in will zoom in the time domain
- Zoom out will zoom out in the time domain
- Zoom to selection will zoom in on whatever you have selected
- Zoom to whole file will reset zoom
- Zoom tool: allows you to zoom in on a selection. With Zoom tool engaged, you can select the Time, Time/Frequency, or Frequency selection tools to to zoom immediately after making a selection.
Zoom Sliders
The slider controls to the lower right of the spectrogram can be adjusted to control zoom. The vertical slider can be set to control either the waveform or the spectrogram: their ranges can be controlled independently. The currently selected mode for this control is indicated by the illuminated icon.
Grab & Drag 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
- 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.
- 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.
- 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.
- All active selections will be accurately preserved and scaled when zooming the main display.
Channel Selectors
Channel Selectors [Ctrl/Cmd-Shift-L[eft]/R[ight]/B[oth]] Appear on the left hand side of the spectrogram/waveform display and allow you to select or deselect individual channels of a stereo file. This is useful for auditioning, making selections and processing on only one channel of a stereo file.
- Single-clicking on either channel selector will select only that channel.
- Double-clicking on either channel selector will select both channels.
Instant Process [STD & ADV]
Instant Process [I] is a mode that may be toggled on/off and affects the behavior of the selection tools.
When Instant Process is enabled, any selection you make is immediately processed by the module selected in the instant process menu. The module settings applied by instant process reflects 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 define 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 file, 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 fill 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 file, especially if it’s a limited bandwidth selection, such as choosing to fade in a certain harmonic or audio event in an audio file without changing the volume of the rest of the audio.
Instant Process: Gain
Izotope Spectrogram Rx- 6 2
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 fill the gap.
Selection tools
One of the key benefits of RX is that it allows many options for selecting audio not just by time, but also by frequency. This allows you to do work with sounds that fall in only part of the frequency range at a given point in your project. This is very helpful for isolating and repairing a variety of audio problems, including intermittent background noises.
Izotope Spectrogram Rx- 6 7
| Icon | Name | Description |
|---|---|---|
| Time selection tool [T] | Select a range of time within the file (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 | |
| Brush Selection tool [B] | Draw a free-form selection using a defined 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. 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 first to broadly define a sound and then use Magic Wand to refine your selection to include relevant harmonic material. | |
| Harmonic Selection tool [Shift+Cmd+H / Shift+Ctrl+H] | The will duplicate 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. |
View Clip Gain
Quckly enable/disable the clip gain overlay.
Selection modifiers [PC/Mac]
[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.
Use Shift to combine different selection types:
In the My Songs browser, swipe until you see the song you want to open, then tap the song. To see the songs in a folder, tap the folder. You save the current song by opening the My Songs browser. Tap the Navigation button in the control bar, then tap My Songs. Jan 06, 2020 50+ videos Play all Mix - How to Save a Garageband File as an Mp3 iOS (iPhone and iPad) YouTube How to share/export your GarageBand iOS songs (iPhone/iPad). Apr 03, 2011 Export a song from Garageband on the iPad. OBEDIA tutor Brian shows you how to export your song from Apple's Garageband app on the iPad. How to Save a Garageband File as an Mp3. Share songs with GarageBand for iPad. You can share a song as a GarageBand project or as an audio file. You can share GarageBand songs to a Mac, to SoundCloud or to another app on your iPad. You can also send a song in an email, share it to nearby devices using AirDrop, or use it as a ringtone. How to save song from garageband as mp3 ipad. Oct 21, 2019 And there is no way to save GarageBand files as MP3 on your iPhone or iPad. The only way is to use a converter tool to convert GarageBand to MP3. Before converting, you need to transfer your music files to the computer. Then convert your GarageBand files with a converter tool.
This can be especially powerful when combining several selection tools to create multiple selections of different size and shape.
Multiple selections made using the Shift modifier 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 refine any piece of an existing selection.
This is also useful for refining 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.
Use Alt/Option modifier to remove from the active selection:
Holding Alt/Option effectively turns the Brush tool into a selection eraser for broad refinements and Lasso into a selection “X-Acto knife” for detailed selection revision.
Selections refined to perfection using the Alt key modifier
Izotope Rx Tutorial
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 specific audio selections.
[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.