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Overview
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Voice De-noise is an intuitive, zero latency de-noiser that offers high quality results on a variety of material.
Voice De-noise can intelligently analyze speech signals and determine the best noise threshold for your signal. Deckadance fl studio 10. In a DAW, this feature can be used to write automation in case you need to override the automatic settings and correct the noise threshold by hand.
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How does Voice De-noise processing work? Izotope rx 6 crack download.
- Under the hood is a series of 64 psychoacoustically spaced bandpass filters which act as a multiband gate to pass or stop a signal based on user-defined threshold values.
- If a signal component is above the threshold for the filter, it will be passed (not processed).
- If a signal component is below the threshold for the filter, it will be attenuated (processed).
Controls
ADAPTIVE MODE: Analyzes the incoming signal and adjust the noise threshold automatically to compensate for changes in the noise floor. This can be useful for removing noise from recordings with variable noise floor and continual noisy sections, and works well for almost any recording of dialogue and spoken word.
Adaptive mode considerations
- The noise threshold settings in Adaptive Mode may be different from the settings achieved by running Learn to set the noise threshold manually.
- Because the adaptive noise threshold is continually being adjusted, it is set lower to prevent artifacts from occurring.
- The noise threshold settings in Adaptive Mode may be different from the settings achieved by running Learn to set the noise threshold manually.
LEARN: When using Manual mode, you can use the Learn button to set the noise threshold to a noise reference.
Tips for Learning a noise profile
- Find a passage of pure noise in your audio and use Learn to analyze it.
- Longer selections of noise will set the Threshold Nodes to more ideal locations.
- We recommend finding at least one second of pure noise to Learn your noise profile from.
- Find a passage of pure noise in your audio and use Learn to analyze it.
OPTIMIZE FOR DIALOGUE OR MUSIC: Because dialogue tends to be in short bursts and vocals tend to have sustained notes, we’ve added modes to provide better results when applying Voice De-noise processing.
- Optimize for DIALOGUE reacts to noise changes faster and isn’t meant to handle the noise found in sung vocals.
- Optimize for MUSIC does not attenuate sustained notes and is more transparent when applied to sung vocals.
- Optimize for DIALOGUE reacts to noise changes faster and isn’t meant to handle the noise found in sung vocals.
THRESHOLD NODES: The Threshold Node controls on the frequency spectrum display allow you to modify the noise threshold curve, which can be thought of as the “noise profile.” These six points can be adjusted manually to suit the noise currently in your signal. These controls can be automated to compensate for shifts in the audio’s noise floor.
- In ADAPTIVE Mode, the Threshold Nodes are adjusted automatically in real-time.
- In MANUAL mode, more than one Threshold Node can be selected at a time for manual adjustment by clicking and dragging anywhere on the interface.
- In ADAPTIVE Mode, the Threshold Nodes are adjusted automatically in real-time.
THRESHOLD: The master Threshold control allows you to offset all Threshold Node values by the same amount. If you find that processing is too aggressive or processing is affecting audio you want to leave unprocessed, try adjusting this control.
REDUCTION: Provides control over the maximal depth of noise reduction (in dB) that will occur per frequency band while a signal component is below its threshold. If you have your thresholds set properly and don’t like the results you’re getting, try adjusting this control.
METERING
- The Input Spectrum meter shows the level of the signal at the input of the denoiser filters.
- The Output Spectrum meter shows the level of the signal at the output of the denoiser filters.
- The Gain Reduction Region is the area between the Input and Output Spectra. This shows the amount of noise reduction processing being applied to your signal.
- The Input Spectrum meter shows the level of the signal at the input of the denoiser filters.
Voice De-noise Plug-in
Voice De-noise has been specifically designed to provide high efficiency, zero latency adaptive noise removal when inserted on a track in your DAW or NLE. The Spectral De-noise plug-in is far more resource intensive and uses higher latency.
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Overview
Time & Pitch uses iZotope’s sophisticated Radius™ algorithm to give you independent control over the length and pitch of your audio. It is useful for retuning audio to fit in a mix better, or adjusting the length of audio to deal with BPM or time code changes.
Pitch Contour Module
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- The Pitch Contour module can be used for faster pitch shifting with the ability to correct variations in pitch over time.
iZotope Radius
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iZotope Radius™ is a world-class time-stretching and pitch-shifting algorithm. You can easily change the pitch of a single instrument, voice, or entire ensemble while preserving the timing and acoustic space of the original recording. iZotope Radius is designed to match the natural timbres even with extreme pitch shifts.
Controls
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- ALGORITHM: You should use Solo mode only when processing a single instrument with a clearly defined pitch. The human voice is a good candidate for solo mode, as are most stringed instruments, brass instruments, and woodwinds. For most other types of source material, Radius mode will usually offer better results. If speed is important, use the Radius RT mode.
- SOLO: In Solo mode, the adaptive window size can significantly affect the quality of Radius’s output.
- If the adaptive window size is too small, you will hear a squeaking noise which sounds like the pitch of the audio is changing very rapidly.
- If the adaptive window size is too large then the sound will become grainy as you will begin to hear portions of it being repeated.
- A good approach is to start with the default window size of 37 ms. If the results are unsatisfactory, increase the window size until the squeaking noise described above does not occur. If you cannot get the distortion to disappear, switch to Radius mode for processing.
- Lower pitched instruments and voices may require a longer adaptive window size than the default, but very long adaptive window sizes can cause audible repeating slices of audio.
- If the adaptive window size is too small, you will hear a squeaking noise which sounds like the pitch of the audio is changing very rapidly.
- Formant Correction: Formants are the resonant frequency components of voice that tend to be perceived as characteristics like age and gender. You can shift formants independently of pitch and time by enabling Shift Formants.
- Typically you will leave the Formant Shift Strength set to 1 (full strength) and the Formant Shift Semitones set to 0.
- If you hear what sounds like an EQ adjustment to your audio, you can try lowering the strength to reduce this artifact.
- To achieve special effects, for example to change the perceived gender of a human voice, try adjusting the semitones to a value other than 0.
- Typically you will leave the Formant Shift Strength set to 1 (full strength) and the Formant Shift Semitones set to 0.
- STRETCH RATIO: Determines how much the resulting audio will be stretched in time.
- Values between 12.5% and 100% will cause the audio to speed up without affecting pitch, resulting in a shorter audio file.
- Values between 100% and 800% will cause the audio to slow down without affecting pitch, giving you a longer audio file.
- Values between 12.5% and 100% will cause the audio to speed up without affecting pitch, resulting in a shorter audio file.
- BPM CALCULATOR: If you are using Radius to process audio for a tempo change, you can also adjust the stretch ratio with the BPM Calculator.
- PITCH SHIFT: Controls the amount of pitch shifting up or down that will be applied to the audio.
- ALGORITHM: The Algorithm drop-down menu has three options:
- RADIUS: designed to work well with polyphonic material such as mixes with more than one instrument, as well as non-harmonic material such as drum loops or rhythmic audio. This is the highest-quality option for most sources.
- SOLO INSTRUMENT: designed for monophonic pitched material such as a stringed instrument or human voice.
- RADIUS RT: Good quality, polyphonic, but faster than Radius.
- RADIUS: designed to work well with polyphonic material such as mixes with more than one instrument, as well as non-harmonic material such as drum loops or rhythmic audio. This is the highest-quality option for most sources.
- TRANSIENT SENSITIVITY: Determines the algorithm’s handling of transient material. Higher values will result in better preservation of individual transients after processing.
- When stretching percussive material, you usually want transient sensitivity set to its default value of 1.
- If transients in your audio are being “smeared”, a higher value of 2 will tighten up transience at the expense of incurring heavier processing on non-transient audio.
- Bowed instruments such as the violin and cello are especially affected by the transient sensitivity setting. If you hear a stuttering artifact, lower the transient sensitivity to eliminate it.
- When stretching percussive material, you usually want transient sensitivity set to its default value of 1.
- NOISE GENERATION (RADIUS MODE ONLY): Helps noisy material (like sibilance or snare drums) sound more natural when processed.
- This control will generate noise instead of stretching the noise that is already present in the signal and creating new tones. Higher values of the noise generation parameter will cause Radius to generate noise more often, but can cause some phase artifacts.
- This control will generate noise instead of stretching the noise that is already present in the signal and creating new tones. Higher values of the noise generation parameter will cause Radius to generate noise more often, but can cause some phase artifacts.
- PITCH COHERENCE (RADIUS MODE ONLY): Controls the preservation of the natural timbre of the processed audio.
- The Pitch coherence control in the Radius control panel helps preserve the timbre for pitched solo voices, such as human speech, saxophone or vocals. While traditional vocoders can smear these signals in time and randomize phase, the pitch coherence parameter of Radius preserves phase coherence for these signals.
- High values of pitch coherence will avoid phasiness in Radius’s output at the expense of roughness (modulation) in processed polyphonic recordings.
- Try turning this up for better results if you’re processing a solo voice or a small group of related instruments.
- The Pitch coherence control in the Radius control panel helps preserve the timbre for pitched solo voices, such as human speech, saxophone or vocals. While traditional vocoders can smear these signals in time and randomize phase, the pitch coherence parameter of Radius preserves phase coherence for these signals.
- PHASE COHERENCE (MIX MODE ONLY): Preserves the coherence of phase between the left and right channels of the processed audio.
This should be increased if there’s any change in the perceived stereo image after using Radius. It can be decreased when processing a multichannel signal where different channels contain completely different instruments. - ADAPTIVE WINDOW SIZE (ms) (SOLO MODE ONLY): Adjusts the window size in milliseconds of Radius’ Solo algorithm.
- If the adaptive window size is too small, you will hear a squeaking noise which sounds like the pitch of the audio is changing very rapidly.
- If the adaptive window size is too large then the sound will become grainy as you will begin to hear portions of it being repeated.
- Increase this if you have trouble getting good results pitching or stretching low-pitched instruments or voices.
- If the adaptive window size is too small, you will hear a squeaking noise which sounds like the pitch of the audio is changing very rapidly.
- SHIFT FORMANTS: Processes formant frequencies independently of other pitch and time processing.
- When this option is enabled, formant frequencies can be shifted independently of other pitch shifting performed by Radius.
- When Radius performs pitch-shifting without Formant Correction, it will shift these resonant frequencies along with the rest of the audio.
- When this option is enabled, formant frequencies can be shifted independently of other pitch shifting performed by Radius.
- STRENGTH: Adjusts the amplitude strength of the formant correction filter.
- SHIFT: How much formant frequencies are shifted. Typically this control can be set to 0, which leaves the formant frequencies unshifted during processing. Adjust this control to fine-tune the formant correction algorithm or for special effects.
- WIDTH: Controls the bandwidth of the formant detection filter.
- Smaller values of this control will offer more precise formant correction in the processed audio.
- Higher values will include a wider band of formant frequencies.
- Smaller values of this control will offer more precise formant correction in the processed audio.
More Information
Pitch shifting single instruments (especially bass instruments) can benefit from some adjustments to formant correction. Try enabling formant correction and moving the strength between 0.1 and 0.2. Move the Formant Correction semitones part of the way towards your pitch shift amount. For example, if you’re pitch shifting +4 semitones, move the Formant Correction Semitones between 2 and 3. This can help bring back subtle percussive elements in the original source material.
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The formant frequencies of the human voice can actually shift slightly when we sing. You can use the Formant Correction Semitones control to compensate for this. For example, if pitch shifting a human voice by +7 semitones, try setting the Formant Correction semitones between 0 and +2 for more natural results.