Izotope Rx Leveler Alternative
Overview
The Leveler module automatically rides the gain in your file to even out the variations of the signal level. The algorithm consists of a compressor with a makeup gain to achieve the a smooth signal that’s aiming towards (though may not exactly hit) a desired Target RMS level. Sep 21, 2018 As a fairly new Izotope customer, initially buying RX Elements for $29, I had a steady stream of offers and saved a fair bit of money on RX standard by waiting a while as the upgrade offers became better and better. If errors persist, repeat the steps above for any iZotope product subfolders within /Documents/iZotope that do not have 'Read and Write' permissions for the group or user 7. Then, restart your computer, and re-attempt installation. RX 6 Overview. 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.
The Leveler module automatically rides the gain in your file to even out the variations of the signal level. The algorithm consists of a compressor with a makeup gain to achieve a smooth signal that’s aiming towards (though may not exactly hit) a desired Target RMS level. The compressor has the ability to prevent pumping on speech pauses or breathing sounds, using the Optimization mode, for either Dialogue or Music, in addition to the Ess and Breath parameters.
The level detector stage includes the K-weighting filter that helps equalize the audible loudness, not just RMS level. However, the Leveler module is designed for the smoothing of overall audio signals, rather than taking an entire signal and using a fixed gain to ensure it hits a loudness compliant LKFS level, which is the goal of the Loudness module.
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This all combines to create a transparent, non-destructive Clip Gain curve, without the color or artifacts of a traditional compressor.
Unlike the Loudness module, which applies a constant gain based on Loudness compliant analysis to the whole file, Leveler applies a time-variable gain. For convenience of RX users, the time-variable gain is applied as a Clip Gain envelope, which can be viewed and edited by the user.
Please Note
- If additional processing is applied from another module after running Leveler, the clip gain values assigned by Leveler will be destructively written to the file and the clip gain nodes will return to zero. However, the clip gain settings from Leveler will be saved in the Undo History list).
Controls
- NUMERICAL READOUTS: Numerical Readouts provide you with the Total, Maximum and Minimum readouts for RMS.
- The total value is the overall RMS of your audio signal, which may inform where you choose to set the Target RMS level parameter.
- The total value is the overall RMS of your audio signal, which may inform where you choose to set the Target RMS level parameter.
- OPTIMIZE FOR: Optimize For switches between two modes, Dialogue and Music. Each mode utilizes a slightly different handling of the noise floor.
- Dialogue tends to be audibly juxtaposed against the noise floor, as it’s typically very transient, whereas music often tends to fade into the noise floor, with chords, notes, and other instrumental decays.
- Switching between these two modes will affect the behavior of the Leveler, and prevent pumping.
- Dialogue tends to be audibly juxtaposed against the noise floor, as it’s typically very transient, whereas music often tends to fade into the noise floor, with chords, notes, and other instrumental decays.
- TARGET LEVEL: Target Level sets the desired average RMS level of the recording.
- Note that Leveler uses K-weighted RMS to better level perceived loudness, but that it is not a loudness compliant leveling tool. It uses the Target Level as a guide, but with the goal of smoothing out variations in an audio signal much more transparently than a compressor typically would. As such, it is not unusual to see the resulting output of Leveler not be an exact 1:1 with the defined Target Level.
- At high target levels, the leveler may not be able to hit the target without clipping, so the target level will not be reached.
- Note that Leveler uses K-weighted RMS to better level perceived loudness, but that it is not a loudness compliant leveling tool. It uses the Target Level as a guide, but with the goal of smoothing out variations in an audio signal much more transparently than a compressor typically would. As such, it is not unusual to see the resulting output of Leveler not be an exact 1:1 with the defined Target Level.
- RESPONSIVENESS: Sets the integration time for RMS level detection and is similar to the attack/release setting on a compressor.
- Lower settings will result in more aggressive Leveling, useful if a signal has a lot of sudden variations.
- Higher settings will result in smoother behavior, leveling words or phrases rather than individual syllables.
- If you find the Leveler is responding to any sudden unwanted sounds, such as a cough, and boosting it, increase the slider to a higher value to see if this results in less aggressive jumps.
- Lower settings will result in more aggressive Leveling, useful if a signal has a lot of sudden variations.
- PRESERVE DYNAMICS: This can be thought of the maximal amount of gain applied by the Leveler. The wider the range of gain adjustments allowed, the further away from the original dynamic range the audio signal will be.
- At lower values, the Leveler will preserve fewer of the original dynamics in the audio signal.
- At higher values, the Leveler will preserve more of the original dynamics in the audio signal.
- At lower values, the Leveler will preserve fewer of the original dynamics in the audio signal.
- ESS REDUCTION: Ess Reduction is aimed at anyone using the Leveler on dialogue or vocals, and utilizes a smart algorithm, inspired by the DBX 902 De-esser, to detect when ess is present in a signal, and then attenuate it accordingly. This avoids adding any boost to esses, which may otherwise be seen as quiet sounds requiring a boost. The slider sets the amount of ess reduction, applied in dB.
- BREATH CONTROL: Breath Control will automatically detect breaths in your vocal takes and attenuate them. This saves time when editing dialogue or vocal tracks, and streamlines a task that is typically done manually.
- Breath Control automatically analyzes the incoming audio and distinguishes breaths based on their harmonic structure. If any piece of the incoming audio matches a harmonic profile similar to a breath, the Leveler will apply a Clip Gain adjustment.
- Different from a ‘Threshold’ based process in which the module is only engaged once the audio has risen to a certain volume, this feature will perform its analysis regardless of level.
- This allows for accurate breath recognition with a multitude of quiet or loud dialogue / vocal styles with minimal adjustment of the module’s controls.
- The slider represents the desired level, in dB, that you wish all detected breaths to be reduced to. This can result in much more natural sounding breath reduction as the detected breaths in your audio are only reduced when necessary.
- Loud and abrasive breaths will be reduced heavily, and quiet, natural sounding breaths will be left at the same volume. The volume level specified by this slider is a guide, but may not result in exact values.
- Breath Control automatically analyzes the incoming audio and distinguishes breaths based on their harmonic structure. If any piece of the incoming audio matches a harmonic profile similar to a breath, the Leveler will apply a Clip Gain adjustment.
- LIMITER: The Leveler has a built-in Limiter in order to avoid introducing any clipping to the audio signal once the Clip Gain envelope has been applied.
- This cannot be adjusted, but you’ll see the Clip Gain envelope smooth off an audio signal if you’re pushing peaks close to 0 dB.
- This cannot be adjusted, but you’ll see the Clip Gain envelope smooth off an audio signal if you’re pushing peaks close to 0 dB.
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Overview
De-hum is designed to remove persistent tonal noise, like the AC hum that can be caused by poor electrical grounding. De-hum includes a series of notch filters that can be set to remove both the base frequency of the hum, usually 50 Hz (Europe) or 60 Hz (USA) as well as any harmonics. The De-hum module is effective for removing hum that has up to seven harmonics above its primary frequency.
Controls
- BASE FREQUENCY: Sets the fundamental frequency of the hum to be removed. The Free option unlocks the Notch Frequency control and allows you to manually identify the fundamental. With Preview engaged, adjust the slider until you find the point where the hum is appropriately reduced.
Tip
You can also use the Spectrum Analyzer to help identify the base frequency of the hum.
- SUGGEST: De-hum can intelligently identify the noise profile of the hum in your audio. Make a selection containing the hum in isolation, and click the Suggest button. This will automatically set the Base Frequency based on the learned profile. If you cannot find a selection of hum in isolation, RX can analyze any audio with prominent hum, but the results may not be as useful.
- ADAPTIVE MODE: Allows De-hum to adjust the notch filters based on changes in the audio over time. In this mode, RX will analyze incoming audio to determine what is hum and what is desired audio material. Adaptive mode will work better with hum that changes in pitch throughout the file.
- FILTER Q: Controls the bandwidth of the notch filters for the base frequency and all of the harmonics.
LINEAR-PHASE FILTERS: Linear-phase enables FIR (Finite Impulse Response) filters with a high FFT size. These filters provide very accurate frequency response with no change in phase at the expense of latency and filter pre-ringing.
Disabling Linear Phase (FIR) filters
- When Linear Phase is disabled, De-hum will use minimum-phase IIR filters. These are also very accurate, and are only susceptible to post-ringing, which is usually less noticeable than the pre-ringing introduced by FIR filters.
- Latency Consideration: Disabling Linear Phase Filters will reduce the latency used by De-hum when it is being used as a real-time plug-in.
- When Linear Phase is disabled, De-hum will use minimum-phase IIR filters. These are also very accurate, and are only susceptible to post-ringing, which is usually less noticeable than the pre-ringing introduced by FIR filters.
HIGH/LOW-PASS FILTERS: These traditional filters come ahead of the De-hum notch filters, and allow for frequencies to pass above or below a certain cutoff point. These can be useful for tackling extreme hum or buzz.
- FREQUENCY [Hz]: sets the cutoff frequency for the filter
- Q: Sets the bandwidth of the filter (or dB/octave cut). In the default IIR filter mode with a high Q setting, you may notice a resonance at the cutoff frequency characteristic of traditional analog filters. That resonance can be mitigated by engaging the Linear-phase filters.
- FREQUENCY [Hz]: sets the cutoff frequency for the filter
NUMBER OF HARMONICS: Because harmonics often accompany the fundamental frequency of a hum, De-hum can also attenuate these overtones with notch filters. Using the Number of Harmonics control, you can select up to 7 harmonics above the fundamental. The spectrogram display can make it easy to identify the harmonics. After selecting the number of harmonics, use the Slope control to set how aggressively the higher harmonics are attenuated.
LINK HARMONICS: Connects the gain controls of the notch filters.
- ALL: presents a single node on the display for controlling the gain of all the notch filters. This is the default setting.
- ODD/EVEN: presents two nodes on the display, one for controlling the gain of the fundamental frequency and even harmonics, and another for controlling the 1st harmonic and any following odd harmonics.
- NONE: presents individual gain nodes for the fundamental and each harmonic.
- ALL: presents a single node on the display for controlling the gain of all the notch filters. This is the default setting.
SLOPE: When harmonics are linked, this controls the harmonic slope of the gain nodes for each overtone. As the harmonic order increases, the gain level resolves closer to 0 dB. When the Link Harmonics control is set to Odd/Even, a separate control appears that affords independent control over the slope for both odd and even harmonics.
HARMONIC GAINS [dB]: This section provides a numerical readout of the notch filter gain settings in decibels. You can also manually enter gain settings for the fundamental, or any of the harmonics if Link Harmonics is set to None.
FILTER DC OFFSET: This checkbox will engage a filter to remove any DC (direct current) offset that sometimes occurs in A/D converters or analog circuits used in the recording process.
OUTPUT HUM ONLY: Selecting this check box will isolate the hum that is being removed. This is useful for fine-tuning your settings. Identify a section of your file where the hum is mixed with other material, select this mode, and click Preview. Now adjust parameters like Filter Q and Slope control to maximize hum removal, thus minimizing the effect on the program material.
More Information
Izotope Rx Leveler Alternatives
Alternative Modules to use for Complex Hum Issues
- Spectral De-noise For hum that has many harmonics that extend into higher frequencies (often described as “buzz”), try using Spectral De-noise. Spectral De-noise features tonal noise reduction controls that can make short work of harmonic hum and buzz across the entire spectrum.
- De-click Some very high frequency buzz can also be removed with the De-click module.
Izotope Rx 2 Free Download
Visual Example
Izotope Rx Leveler Alternative Version
This image shows the spectrogram of a file with 3 harmonics of a 60 Hz Hum: