User Manual
Table Of Contents
- 1: INTRODUCTION
- Intended Audience for this Guide
- About the 2014 Edition
- Additional Resources
- About iZotope
- 2: WHAT IS AUDIO REPAIR AND RESTORATION?
- 3: AUDIO REPAIR AND RESTORATION BASICS
- 4: Understanding Spectrograms / Identifying Audio Problems
- 5: WHAT IS RX 4?
- 6: DENOISING
- 7: TIPS AND TRICKS FOR EDITING DIALOGUE
- 8: BROADBAND NOISE REDUCTION
- 9: REMOVING INTERMITTENT NOISES AND GAPS
- 10: REMOVING CLICKS AND POPS
- 11: REMOVING CLIPPING
- 12: REMOVING REVERB
- 13: EXPORTING AND DELIVERING AUDIO
- Exporting and Delivering Audio in RX 4
- 14: SUMMARY
- 15: ABOUT THE AUTHORS
- APPENDIX A: GETTING SET UP TO REPAIR AND RESTORE AUDIO
- APPENDIX B: GENERAL RX 4 TOOLS
- Appendix C: REPAIRING THE INCLUDED AUDIO FILES
- Example 1: Removing Broadband Noise from a Concert Recording
- Example 2: Restoring an Historical Speech: Making Voice More Intelligible
- Example 3: Cleaning up a Phone Interview with Declick and Spectral Repair
- Example 4: Removing Clicks and Pops from a Concert on Record
- Example 5: Removing Clipping from a Phone Interview
- Example 6: Removing Guitar String Squeaks with Spectral Repair
- Appendix D: Tips from the Pros
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AUDIO REPAIR
AND ENHANCEMENT
PRINCIPLES OF REMOVING REVERB
The above image shows a reverberant signal versus the same signal without reverb. The dierence
between the two is most obvious in the decay that follows the transient, known as the reverb tail.
Technologies that seek to attenuate reverb often look to these tails in order to identify and distinguish the
reverb. This is so that attempts can be made at reducing its eect.
Reverbs with short tails or heavy early reflections can be very hard to reduce, as it makes identifying rever-
beration more dicult for algorithms.
It isn’t always possible to remove early reflections, and you may have to settle for reverb reduction rather
than total removal.