Izotope Spectral Repair Download
Jan 13, 2020 Download iZotope RX 7 Audio Editor Advanced 7.01 free latest version offline setup for Windows 32-bit and 64-bit. IZotope RX 7 Audio Editor Advanced 7.01 is a very powerful audio restoration software with a variety of powerful features to enhance the audio and provides better technological qualities. RX 6 includes Spectral Repair allowing you to surgically remove noise issues that can ruin an otherwise flawless performance. Instantly paint away recording issues like air conditioners, fret noise, outdoor traffic, cell phones, and mic bumps in a matter of seconds. Perfect for home recording studios and live performances where ambient noise is an issue.
As with medical diagnostics, the key to successful audio restoration lies in your ability to correctly analyze the subject’s condition. This can be a life-long, never-ending quest, constantly honing the ear to distinguish the noises and audio events that need to be corrected.
To get started, it’s important to identify the problems with your file and identify which tool(s) will give you the results you want. Let’s briefly look at how to examine your audio using the spectrogram and waveform display tools, then consider how to identify audio problems using these displays.
What’s the goal of using a Spectrogram?
The aim of any good visualization tool for audio repair and restoration is to provide you with more information about an audible problem. This not only helps inform your editing decisions, but, in the case of a spectrogram display, can provide new, exciting ways to edit audio, especially when used in tandem with a waveform display.
Hum
Hum is usually the result of electrical noise somewhere in the recorded signal chain. It’s normally heard as a low-frequency tone based at either 50 Hz or 60 Hz depending on where the recording was made If you zoom in to the low frequencies, you’ll be able to see hum as a series of horizontal lines, usually with a bright line at 50 Hz or 60 Hz and several less intense lines above it at harmonics. See the example below:
De-hum works best when frequencies of the hum do not overlap with any useful transient signals. You can learn more about the De-hum tool here.
Buzz
In some cases, electrical noise will extend up to higher frequencies and manifest itself as a background buzz. See the example below:
Hum-removal tools usually focus on low-frequency hum, so when the harmonics extend to frequencies above 400 Hz, the Spectral De-noise tool is often more effective at removing the problem.
Hiss and other Broadband Noise
Unlike hum and buzz, broadband noise is spread throughout the frequency spectrum and isn’t concentrated at specific frequencies. Tape hiss and noise from fans and air conditioners are good examples of broadband noise. In a spectrogram display, broadband noise usually appears as speckles that surround the program material. See the example below:
Clicks, Pops, & Short Impulse Noises
Clicks and pops are common on recordings made from vinyl, shellac and other grooved media, but can also be introduced by digital errors, including recording into a DAW with improper buffer settings, or making a bad audio edit that missed a zero crossing. Even mouth noises such as tongue clicks and lip smacks fall into the clicks category. These short impulse noises appear in a spectrogram as vertical lines. The louder the click or pop, the brighter the line will appear. The example below shows clicks and pops appearing in an audio recording transferred from vinyl:
The De-click tool can recognize, isolate, and then reduce and remove clicks like these.
Clipping
Clipping is an all-too-common problem. It can occur when a loud signal distorts the input to an audio interface, analog-to-digital converter, mixing console, field recorder, or other sound capture device. A spectrogram is not particularly useful for identifying clipped audio—for this you’ll want to work with a waveform display. As you’ll see in the image below, the clipping appears as “squared-off” sections of the waveform.
You can zoom in on a waveform and see in detail where the waveform has been truncated because of clipping.
The De-clip tool can intelligently redraw the waveform to where it might have naturally been if the signal hadn’t clipped. Sometimes, brickwall limited audio will also appear “squared off” when zoomed out, but this doesn’t necessarily mean it will sound as heavily distorted as clipped waveforms that have been truncated. You can zoom in to see if the tops of individual waveforms are clipped.
Intermittent Noises
Intermittent noises are different than hiss and hum—they may appear infrequently and may not be consistent in pitch or duration. Common examples include coughs, sneezes, footsteps, car horns, ringing cell phones, etc. The images below represent two different examples of these noises:
The Spectral Repair tool can help isolate these intermittent sounds, analyze the audio around them and attenuate or replace them.
Gaps and Drop Outs
Sometimes a recording may have short sections of missing or corrupted audio. These are usually very obvious to both the eye and the ear! See the example below:
Deleting the gap and then applying Spectral Repair to replace any missing audio can help fix these problems.
Getting familiar with Spectral Repair can have you up and running quickly, solving problems like squeaky guitar tracks, which means you can go from a squeaky guitar track like this…[electric guitar]
To this.
[electric guitar, processed]
Spectral Repair intelligently removes undesired sounds from a file with natural sounding results.
This tool treats selections from within the spectrogram waveform display as corrupted audio that will be repaired using information from outside of the selection.
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For example, in this file, noisy guitar squeaks can be heard as the player changes chords.
[electric guitar]
To reduce the severity of those squeaks, I’m going to use the attenuate feature in the Spectral Repair module, which reduces spectrogram magnitudes in the selected area to match magnitudes in the surrounding areas, resulting in the removal of the sound without leaving an audible gap behind.
I’m going to click R to switch to the time frequency selection tool, and make a selection where the first string squeak is occurring.
Once I’ve made my selection, I can preview only the frequency content that I’ve selected by pressing this play button down here.
[squeaking noise]
Now, I’m going to make some choices about where to set the parameters of the attenuation tab. Surrounding region length determines how far around the selection Spectral Repair will look for a good signal.
Watch what happens to the handles, or the wings outside of my selected region as I move the slider of the surrounding region length. First of all, they’re moving vertically. That’s because the direction of interpolation is set to look for information to interpolate north and south of my selection.
If I had direction interpolation set to horizontal, it would extend those handles left and right, or east and west of my selection. Now, because there’s loud signal material left and right of my selection, it makes sense to keep the direction of interpolation vertical. I should add that 2D will create handles north, south, east, and west of the selected area.
Before and after weighting gives more weight to the surrounding audio before or after the selection. In this case, I’m going to move the slider to a value of 8, because it looks as though frequency content far south of my selection is occupied by low end rumble, or hum from the instrument.
Finally, strength adjusts the intensity of the attenuation. In my case, I don’t want to over attenuate the squeaks, so I’m going to leave it where it is at its default setting of one.
Now, I’ll press process.
Now let’s play back that sample after I’ve attenuated the guitar squeak using the attenuate feature in spectral repair.
[electric guitar, after processing]
So for context, here is before.
[electric guitar, no processing]
And here’s after.
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[electric guitar, after processing]
As you can hear, that squeak has been attenuated. Spectral repair can also be useful for attenuating noises that interfere with a performance. Like in this example, where a beeping truck is competing with the sound of an acoustic guitar.
[acoustic guitar]
By switching to the time and frequency selection tool by pressing R, we can identify exactly where the unwanted sound is occurring in the spectrogram and select it.
Now that I’ve made a selection, I can ensure that I’ve only selected the truck beeping, and not important tonal noise from the guitar, by using the play frequency selection tool right here. If I play it back, we’ll hear only what is inside of my selection.
[beeping]
If I use the other playback button, we’ll hear what is inside of my selection and outside of it, too.
[acoustic guitar with beeping]
I’m not hearing anything but the sound of the beeping truck, so now I’ll open Spectral Repair, and use it in attenuate mode, which removes sounds by comparing what’s inside a selection to what’s outside of it. In other words, I’m going to use attenuate to bring the truck beeping down to a level where it’s inaudible, and blends in with the background noise.
I’ve chosen a number of parameters here, but maybe most important is to go with vertical mode, so the information above and below my selection is used to repair the audio. Now let’s hit process.
Now, this is a very noisy truck sound, so I’m going to press process once more and do another pass to really make sure that the truck beeping is properly attenuated.
Now, let’s listen back to our results after using a few passes of attenuate.
[acoustic guitar, after processing]
Here’s before…
[acoustic guitar, before processing]
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And once more, here’s after.
[acoustic guitar, after processing]
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For more information, and to download your own samples to use with RX 6, head to izotope.com/RX.