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Denoise is designed to reduce stationary noise, including broadband noise, in audio signals. Stationary noise can include tape hiss, microphone hum, power mains buzz, camera noise and other types of noise that do not change in level or spectral shape throughout the recording.

Training Denoise:

Denoise can learn the type of noise you want to remove from the recording to give you the best results. To train Denoise, select a section of the recording that contains only noise and click Train. This will create a noise profile that Denoise will use to process the recording. If you do not have a section of the recording that contains only noise, selecting a quiet region of the recording that contains mostly noise can also work.

Note: The noise profile will be valid only for the currently selected FFT size, current sampling rate and number of channels. If either of these parameters changes, the noise profile should be re-collected with the updated parameters for accurate noise reduction results.

Noise Spectrum Display:

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The Noise Spectrum display shows useful information during both playback and when the noise reduction process is being applied.

Color Legend

• Purple curve (Input) - spectrum of input audio signal

• Yellow curve (Output) - spectrum of denoised (output) audio signal

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• Blue curve (Noise Profile) - equals learned noise profile + threshold elevation control

• White curve (Residual Noise) - desired noise floor after denoising, can be controlled by Reduction and Residual whitening controls (Advanced mode only)

Scrolling and Zooming - by grabbing and moving the horizontal and vertical rulers, you can adjust what part of the graph is shown. In addition, holding the pointer above a ruler and using your mouse wheel will zoom the display in and out.

Simple Mode controls:

• Algorithm - affects the quality and computational complexity of the noise reduction. This selection directly affects CPU usage.

• Noise Reduction (dB) - controls the desired amount of noise suppression in decibels.

• Smoothing - helps minimize 'musical noise' artifacts introduced during the noise reduction process.

• Output Noise Only - outputs the difference between the original and processed signals (suppressed noise)

Advanced Mode controls:

Threshold (tonal/broadband) - controls the separation of noise and useful signal levels.

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Higher threshold settings reduce more noise, but also suppress low-level signal components. Lower threshold preserves low-level signal details, but can result in noise being modulated by the signal. Threshold elevation can be done separately for tonal and random noise parts. A good default is 0 dB.

Reduction (tonal/broadband) - controls the desired amount of noise suppression in decibels.

Denoise can automatically separate noise into tonal parts (such as hum, buzz or interference) and random parts (such as hiss). The user can specify the amount of suppression for these parts separately (e.g. in some situations it can be desirable to reduce only unpleasant buzz while leaving unobjectionable constant hiss). Strong suppression of noise can also degrade low-levels signals, so it's recommended to apply only as much suppression as needed for reducing the noise to levels where it becomes less objectionable.

Artifact Control

Global Smoothing - Determines how much noise reduction will depend upon wide band gating or spectral subtraction.

With low values, the noise reduction will rely more heavily upon wider band gating which can produce less artifacts than a spectral noise reduction.

With higher values, noise reduction will rely upon spectral subtractions which can more accurately separate noise from the desired audio signal.

Fine Smoothing - controls the reduction of artifacts known as 'musical noise' that can result from heavy denoising. Musical noise is caused by random statistical variations of noise spectrum that cause random triggering of sub-band gates.

TIP: Bring this to a low value where artifacts become apparent and then raise the control just to the point where artifacts disappear.

RX Advanced Only controls:

Adapt to changing noise profiles

This option will allow Denoise to alter its noise profile based on the incoming changing noisy audio. The specified learning time will allow RX to analyze incoming audio, decide what is noise and what is desired audio material, and adjust its noise profile accordingly.

An incredibly powerful feature, adapting noise profiles can work well with noise sources that are constantly evolving particularly in post-production film settings or outdoor environments.

MNS algorithm - selects the smoothing algorithm for the removal of random ripples that can occur in the spectrogram when processing your audio. These sounds are referred to as 'musical noise' and can be described as sounding 'watery'.

The strength of smoothing is controlled by the 'Musical noise suppr.' slider.

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• Simple algorithm performs independent noise gating in every frequency channel of FFT. Release time of sub-band gates is controlled by the Release control. This is a fast algorithm with small latency that is suitable for real-time operation.

• Advanced and Extreme algorithms perform joint time-frequency analysis of the audio signal which results in better quality and less 'musical noise' artifacts. These algorithms have higher latency and computational complexity.

FFT size (ms) - selects the time and frequency resolution of the processing. Higher FFT sizes give you more frequency bands allowing you to cut noise between closely spaced signal harmonics, or cut steady-state noise harmonics without affecting adjacent signals. Lower FFT sizes allow for faster response to changes in the signal and produces less noisy echoes around transient events in the signal.

Note: Whenever FFT size is changed, it's recommended that the user retrain the Denoise's noise profile because the old noise profile was taken at a different FFT size and therefore becomes inaccurate.

Release (ms) - selects the release time of sub-band noise gates in milliseconds

Longer release times can result in less musical noise, but may also reduce or soften the signals initial transients or reverb tails after the signals decay.

Note: The Release control is only available when the 'Simple' MNS Algorithm is selected.

Multi-resolution - enables multi-resolution for the selected algorithm type

When you select the 'Multi-resolution' checkbox, the signal is analyzed in real time and the most appropriate FFT size is chosen for each segment of the signal. This is done to minimize the smearing of transients and at the same time achieve high frequency resolution where it is needed.

Note: The FFT size control does not have any affect in multi-resolution mode as the FFT resolution is selected automatically. The noise profile does not need to be re-learned when switching to Multi-resolution mode.

Residual Whitening - modifies the amount of noise reduction (shown by light blue curve) applied at different frequencies to shape the spectrum of the residual noise.

When residual whitening is zero, the suppression is uniform at all frequencies, as controlled by Reduction (tonal/broadband) sliders, and the suppressed noise has a similar spectral shape to the original noise. When residual whitening is maximal, the desired shape of suppressed noise floor is made close to white, so that residual noise has more neutral sound.

Harmonic enhancement - predicts a signals harmonic structure and places less noise reduction in areas where possible signal harmonics could be buried in noise. This aids in at least preserving high-frequency signal harmonics that may be buried and not detected otherwise. It can make the resulting signal brighter and more natural sounding, but high values of harmonic enhancement can also result in high-frequency noise being modulated by the signal.

HF Synthesis - improves upon any dullness as a result of Denoise processing by resynthesizing high frequency signal content. A higher value will give the maximum amount of resynthesis while 0.0 will turn this feature off.

Knee sharpness - controls how surgical the algorithm's differentiation is between the signal and noise.

This slider controls the bending 'knee' softness in the denoising process. With higher values, transitions in the denoiser are more abrupt and can become prone to errors in the detection of the signal with respect to the noise. When the sharpness is reduced, the denoising becomes more forgiving around the knee, and applies less attenuation to signals that are only slightly below the threshold. This may result in a lower depth of noise reduction, but can also have fewer artifacts.

Suppression Masking - enables a psychoacoustic model that dynamically controls suppression amount to facilitate the use of softer suppression where noise is subjectively inaudible. When noise in certain regions is calculated to be inaudible, this feature prevents any signal processing in these regions. This potentially reduces amount of processing done to the signal and may positively affect overall signal integrity. The position of the slider controls the influence of psychoacoustic model on suppression levels.

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Note:When this slider is set to 0, the feature is turned off, and the amount of noise suppression is uniformly governed to the white curve in spectrum analyzer (more precisely - by the difference between the white curve and blue curve).

Additional Denoise Features:

• Noise Suppression Envelope - This feature allows for fine tuning of the noise suppression envelope with up to 26 edit points. This enables the user to customize the amount of noise reduction being applied across different frequency regions.

• Add an edit point - Left-click, displayed as gray box along envelope curve

• Remove an edit point - Right-click (CTRL click on Mac) or drag it outside the screen

• Envelope Show - This controls whether or not the suppression envelope points are visible or hidden. The modified envelope will always be applied even when edit points are hidden.

• Envelope Reset - This will remove all edit points.

• Envelope Smoothing- This controls the amount of interpolation between your suppression envelope points, allowing for sharper or more gradual envelopes.

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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.

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• Note: You can use keyboard shortcuts Control-Shift-4 on a PC or Command-Shift-Option-4 on a Mac in order to train RX's de-noise based on your current selection. Learning a Noise Profile From More Than One Selection. In the RX standalone application, it is possible to create a spectral profile from multiple isolated selections.
• The Definitive Guide To Removing Noise From Audio. Did some audio recording and ended up having a noisy recording? You might still be able to save the audio with these restoration techniques, so don’t throw that audio away yet.
• Oct 20, 2019 Re: iZotope RX7 Voice Denoise Post by tomorrowstops » Thu Oct 17, 2019 11:40 am I would get the noise reduction where you want it and then bounce that track down with it, and bring that file back in to do your edits.

Overview

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. 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.

How does Voice De-noise processing work?

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• 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

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• 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.
    

• 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.
    

• 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.
    

• 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.
    

• 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.
    

Voice De-noise Plug-in

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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.