It’s no secret that iZotope’s series of RX de-noising and waveform editing products have dominated the market for several years. They are the go-to processing effects for many post-production engineers and editors. That being said, it may be argued that releasing annual or even biennial paid updates without significant improvements is a bit exploitive. Many developers are guilty of this and sadly, this approach is integral to their business model and to the financial detriment of a loyal customer base.

• Izotope Rx 7 Review
• Izotope Rx 7 De Reverb 3

De-reverb gives you control over the amount of ambient space captured in a recording. It can make large cathedrals sound like small halls and make roomy vocals sound like they were recorded in a treated space. De-reverb processes audio according to the reverberant/direct ratio (also known as wet/dry ratio) detected in the signal.

So when RX7 came out, I was immediately suspicious as to the true value and necessity of yet another update. But as I soon discovered, RX7 represents a significant advancement and builds on the areas of artificial intelligence and machine learning in which iZotope seems to be leading the way with other offerings such as the Neutron and Ozone bundles.

New Features

The Repair Assistant detects problems and suggests three ways to repair the problems, giving you a choice of repair processing effects chains that can be auditioned prior to rendering. You select the file and identify the nature of the material as dialog, music or other so the algorithm can be optimized for that purpose. The intensity or aggressiveness of each processing alternative can be changed overall with the slider just beneath the spectrogram displays.

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You can mouse over the previews in the interface to see the effects chain that has been applied or click on the [Open as Module Chain] button to edit the effects order, individual parameters, specific frequency ranges to be processed, bypass selected effects or replace, remove or add the effects being used.

The processing by default focuses on clipping, clicks, hum and noise, or you can disable any of these and remove them from the analysis if they seem inappropriate based on the material.

For less experienced users, the Repair Assistant will definitely seem like magic and more experienced users will benefit from a faster workflow and the ability to tweak the settings used in the automated process.

The Music Rebalance feature allows you to change the level of various musical elements in a bounced file. It works surprisingly well. You can also isolate or remove vocals from a mix and it captures similar material from left and right channels as well as the center. Great for creating remixes!

The Dialog Contour effect can change the inflection of spoken words, especially useful for correcting the annoying habit some people have of saying everything in the form of a question?

The Dialogue De-Reverb is similar to past D-reverb setting powered by machine learning to reduce the presence/reverb specifically around dialogue.

RX7 now offers multichannel support up to Dolby Atmos 7.1.2 and Audio Suite versions are available for classic repair effects: Dialogue Isolate, De-rustle, Breath Control and the new Music Rebalance.

Conclusion

Anyone that has ever used iZotope’s RX products in the past does not have to be sold on their utility. They are essential and unparalleled processing effects for audio repair, de-noising, dialog editing, spectral processing and useful in post-production for image-based sound as well as music production. For existing users, the new intelligent processing features will significantly accelerate your workflow, making this upgrade a worthwhile investment.

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Overview

De-reverb gives you control over the amount of ambient space captured in a recording. It can make large cathedrals sound like small halls and make roomy vocals sound like they were recorded in a treated space.

De-reverb processes audio according to the reverberant/direct ratio (also known as wet/dry ratio) detected in the signal. It can learn your audio to suggest some frequency and decay time settings, or you can estimate these yourself.

Izotope Rx 7 Review

Controls

• LEARN: Teaches De-reverb how much reverb is in your signal.
  
  • The Learn feature analyzes the signal and determines the wet/dry ratio per frequency of your signal, as well as the overall rate of decay of reverb.
    
  • When the Learn operation completes, the Reverb Profile and Tail Length controls will be set to their suggested values.
    
  • The Learn operation can be performed on any reverberant audio.
    

    Recommendation

    • We strongly recommend using the Learn feature on a selection of audio that starts with some noise floor (or room tone), is several seconds long, and includes both the direct signal and its reverberant tails.
      
    
    
• METERING
  
  • The top meter shows a comparison between the input and output signal energy over the past five seconds of playback.
    
  • The bottom meter shows the amount of reverb reduction over time. It is the difference between input and output plotted on a flat line.
    
  • Both of the meters together give you an idea of what De-reverb considers reverb and help you refine your settings.
    
• REDUCTION: Controls the applied amount of De-reverb.
  
  • Larger amounts mean more reverb is removed.
    
  • Smaller amounts perform less processing.
    
  • This control represents the target wet/dry ratio for processing. In other words, if it is set very high, it will treat the signal as though it has more reverb and process it more.
    

    Note: Negative Reduction Values

    • Negative Reduction values will increase the amount of reverb in the signal.
      
    
    
• REVERB PROFILE: Controls the amount of De-reverb effect applied per band.
  
  • These controls are set automatically by the Learn feature.
    
  • If a group of reverberant tones are more prominent in a signal, increase the control for that band.
    
  • Generally you want to set these controls to match the reverb originally present in your signal. For example, if reverb takes longer to decay (or is more present) in a particular band, set that control higher.
    
  • These controls can also be used to address more prominent ringing or resonant groups in signals. For example, increasing the profile control for low frequencies can remove muddiness from a resonant bass guitar, while increasing the high band control can curtail ringing sibilance in live vocal recordings.
    
• TAIL LENGTH: Controls the decay of De-reverb processing. This control is an approximation of RT-60, the rate of time it takes for a reverberant signal to decrease in amplitude by 60 dB. This is automatically set by the Learn feature.
  
  • Increase this control if reverb tails reappear after processing, or if early reflections are too apparent.
    
  • Decrease this control if reverb tails and noise floors sound over-processed, or if the processed audio sounds dull.
    
  • Setting this control to the minimum value is effective at processing early reflections.
    
• ARTIFACT SMOOTHING: Controls the frequency accuracy of De-reverb processing.
  

  Artifact Smoothing Default Value Note

  • Because reverb is generally smooth across the frequency spectrum, the default value of this control is very high.
    
  • However, if you need more accuracy to address issues like resonant tones in a room, you can decrease this control. The tradeoff is generally more artifacts from strong processing, so you may have to balance adjusting this and the Reduction control.
    
  
  
• ENHANCE DRY SIGNAL: Increases the level of the direct signal.
  
  • Boosting the direct signal can help create more dynamic range in the signal, and is a good option to try when working with voice or transient material.
    
  • Enabling this option can also help prepare material for later de-noising.
    
• OUTPUT REVERB ONLY: Changes the output of De-reverb from the processed signal to the wet reverberant signal.
  
  • This is useful for monitoring the processing to get better results. Hearing just the reverb helps you understand the impact of controls like Reduction, Reverb Profile, Tail Length, and Artifact Smoothing.
    
  • When this option is enabled, the output may not sound much like reverb because it is the difference of processing against the original signal, with some enhancement to expose more of the reverb apparent in the recording.
    

More Information

What are early Reflections?

Early reflections are the rapid echoes of a direct sound from a nearby surface. They are often distinct from the rest of a reverberant tail because they have a lot of energy but end quickly. Early reflections typically comprise the first 5 to 100 milliseconds of a reverb tail.

Using De-reverb as a real-time plug-in

Izotope Rx 7 De Reverb 3

• De-reverb is available as a VST/AU/RTAS/AAX real-time plug-in.
  
• However, due to the complexity of this processing, it can be resource intensive.
  
• To achieve high-quality results, it is always best to bring the audio file in question into RX Audio Editor (via RX Connect or by opening it directly), applying De-reverb, and then returning the file back to your original session.
  

Tips for Learning a Reverb Profile

• To find the best settings for your signal quickly, find about five seconds of audio that starts with noise and has both direct signal and reverberant tails.
  
  • If you can find enough direct signal and reverberant tails to fill the De-reverb signal trace meter while using Learn, you will probably get a good reverb profile.
    
• Direct signal, reverberant tail, and noise are all important to help De-reverb understand your audio and set its controls appropriately. It needs to understand the ratio of dry signal to reverberant signal, how long reverb tails last, and where the noise floor of your signal is (to avoid excessive processing).
  
• If you have trouble getting good results from the Learn feature, you can try:
  
  • learning on transient broadband audio, like drums, claps, or coughs
    
  • learning on any audio that is obviously reverberant
    
  • learning for a longer amount of time. Most reverb can be analyzed in a few seconds, but some reverb profiles can require up to ten seconds of analysis.
    
• Does De-reverb processing sound unnatural?
  
  • **If the output of De-reverb sounds unnatural after Learning, try slowly decreasing the reduction control.
    

Visual Example of De-reverb processing

De-reverb has the effect of sharpening a signal in time. You can see this transition in the spectrogram: reverberant audio looks blurred, and cleaned audio appears more focused.
Here, a recording of a distant speaker (left) has had its long tails processed (center) before another De-reverb pass with shorter tail lengths to tackle the early reflections (right):

Tips for dealing with complicated reverbs

If the audio you are working with has a very complex reverb, such as a reverb with apparent early reflections, you may get better results after trying a few passes of De-reverb.

1. First, start by training the De-reverb and set the Reduction amount to a value that yields good results on the long reverberant tail.
   
2. After processing, Learn a new reverb profile and try reducing the level of early reflections: set the Tail Length control to 0.5, Artifact Smoothing around 3.0, and increase Reduction.
   
3. A combination of De-reverb and Spectral De-noise can be used to tame very reverberant signals. It does not matter whether you process with De-reverb or Spectral De-noise first.