To add files to a Job, click the Add Files button in the Input Files section of the Batch Processor window or drag and drop in files from Windows Explorer or OS X Finder. Processing Steps. In this area, you can define the specific processing chain that will be applied sequentially to each file in the Input Files. Hi: Gurus, we have some scanned Tiff files with JPEG 7 compression. All these files are color and scanned as 24 bit per pixel. I wonder is it possible to change the depth of bit per pixel from 24 to 8 bit? If yes does some one know how to do it via ImageMagick? Regards, Rashid. California Law Change Recently the California Department of Justice (CA DOJ) Security Printer Program contacted approved security printers requiring a uniquely printed serial number required on all tamper resistant security prescriptions effective 1/1/19. The new printed serial code consists of a 3 digit alpha code uniquely assigned to each.

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With their hefty low–frequency content, vocal plosives are obvious as the blobs at the bottom of the spectral display.

The latest version of iZotope’s RX adds some interesting features — but do they have musical applications?

Restoration software of a kind which is relatively easy to use and which gives decent results is a comparatively new sector of the music software market. Someone will tell me that the DeNoise module in Sonic Solutions was probably in the vanguard here, but my own first encounter with this class of tool was CEDAR Retouch, fitted as an optional extra in the SADiE system which we used to record, edit and master classical recordings a decade ago. It was expensive, but invaluable: recording engineers’ nightmares such as piano pedal thumps, piano stool creaks, even lip smacks and the occasional cough no longer demanded a re–take, but could be eliminated, or substantially reduced, in post–production.

I originally bought iZotope RX2 to do some fairly heavy restoration work on a series of 1970s live operas that I was remastering for issue on DVD and accompanying CD. Sod’s Law dictated that the job came in just after I’d sold my SADiE system, and the built–in Spectral Cleaning facility in Magix’s Sequoia could not do all that was needed. Other offerings were beyond the budget, so RX2 fitted the bill perfectly, and I still think that the Advanced version is a whole lot of professional software solution for a relatively small outlay. Only after those projects were completed did I begin to realise how tightly woven into my mastering approach it would become.

In For Repairs

I have now been using iZotope RX2 since it was released in 2010. Apart from the DAW itself, it is the one piece of software that I have found to be indispensable, and I have used it on pretty much every mastering session. RX can play almost any file, and has frequently opened recalcitrant formats which had standard DAWs flummoxed. It has exceedingly good sample–rate conversion (with MBit+ dithering) and, of course, it can repair sonic damage, ameliorating those bad–luck moments in live recordings and unnoticed horrors in studio recordings which cannot be recalled and undone. Even with projects that did not call for large–scale restoration work, it was good to be able to identify such momentary irritations as vocal glitches, the base of a mic stand being kicked, the studio cat, mic capsule distortions, clunks, coughs and so on, and quickly brush them aside. And that was only the Spectral Repair feature, which provides a highly informative visual interface for spotting and addressing these problems.

In my mastering suite, with its revealing acoustics and speakers with extended bass response, I often encounter vocal plosives and very fast transient clicks that have been missed by the client and the engineer. The pictures show how these look in the RX4 main display: the click is shown in Linear mode, as digital clicks have content across the whole frequency spectrum, while the vocal pop is shown in Extended Log mode because plosives have a great deal of low–end content. Each of these issues took just a few seconds to eliminate entirely in RX4: lasso the problem area, press ‘R’ for repair, and the offending item is attenuated to inaudibility. More complex problem sounds have more complex repair modes, but with a little experience, they are barely any more difficult to implement.

A rogue click is clearly visible in RX4’s spectral display.

It’s worth noting that iZotope present RX as software that can find application across all kinds of audio work. However, although many of the features of RX that I find useful when working with musical content are also useful for non–music audio work, the converse doesn’t always apply. In other words, there are some tools in RX which are very useful in non–musical applications, yet have less immediate use in music production. iZotope themselves sort the modules according to function, into Restoration, Production and Utility groups.

Three: The Magic Number

Late in 2013, iZotope released version 3 of RX. Not only did RX3 sport an entirely new, and very much more ergonomically optimised user interface, but it also included interesting new modules in all of the functional groups, and several previously Advanced–only features were incorporated into the much more affordable Standard version. As these included the excellent sample–rate conversion algorithms, this made the standard version of RX very much more attractive to a wider base of music engineers. Hugh Robjohns reviewed RX3 in full in the February 2014 issue (www.soundonsound.com/sos/feb14/articles/izotope–rx3.htm), so I don’t want to repeat too much of what was said then here, but it is worth re–emphasising the gist of the conclusion of that review, which was that RX3 is a worthwhile investment for anyone involved in professional music production, and that the upgrade from RX2 was also, as they say, a no–brainer.

In RX4 another advanced module, the Dialogue Denoiser, has made the same migration to Standard. iZotope are wise to have this divide, as not every engineer will need the Advanced–only functions, which are often quite specialised — and as I think the Advanced version is good value for money, this makes the Standard Version a bit of a bargain.

Pillar To Post–production

If RX3 represented quite a large leap forward from RX2, then RX4 is a smaller step in the same direction. New features include Clip Gain and a Clip Leveler, which do pretty much what their names suggest; less standard, and potentially more interesting, are features and modules such as RX Connect (see box), EQ Match and Ambience Match.

I mentioned earlier that some of RX’s existing features are targeted mainly at non–musical applications, and in fact, the two new modules in RX4 probably fall into this category. Ambience Match is not, despite the name, a convolution reverb, or indeed any kind of reverb. And while EQ matching — the idea of capturing the frequency responses of source and target tracks, and computing an EQ curve to make the former sound like the latter — arguably has a place in mastering and music production, the EQ Match feature in RX4 is so basic as to be of limited use. It is nothing like as sophisticated as Harbal (www.soundonsound.com/sos/feb13/articles/harbal-3.htm), nor even the Matching EQ feature in iZotope’s own Ozone mastering software. In the latter, the capture process produces visual curves for the overall EQ and difference EQ changes which can be overlaid to allow them to be compared and, if necessary, modified. EQ Match in RX is a greatly simplified form of this. The screenshot shows the UI dialogue, and the manual is quite succinct: after you have opened the EQ Match module, it tells you to “make a selection in a file; click Learn; make another selection; click Process.”

RX4’s EQ Match feature is more basic than its counterpart in iZotope’s own Ozone mastering software.

For musical needs, I would say that this implementation falls short of being really useful. Most music engineers would want much more information and much more control over EQ changes applied to their tracks. But as I’ve indicated, this module is probably more likely intended for certain non–musical applications where such immediacy (and very good results given the simplicity) is an advantage in itself. I can illustrate this better by introducing the Ambience Match module at this point and showing how they operated together when I revisited an audio–book project I worked on last year.

Voices & Choices

The main recording for the audio book, which featured a number of different voices, was done in a London hotel. But then sometime later editing changes were made to the text itself, and so certain passages of the book had to be re–recorded. Some of this took place in my own small studio in Norfolk, using the mic with which we’d recorded the originals; but one particular reader could not travel that far, so recorded the changes at a more convenient local facility with a different microphone and sent me the results to be edited in. At the time, this gave me an awful lot of extra work to do. There were clearly mismatches of vocal tone and also background ‘room tone’ (low–level ambient sound), and though I could EQ the vocal sound to minimise the differences, the only way I could make sure that there was no clearly audible difference in the rooms was to cut a small piece of room tone from the very beginning of the original recording, edit it to a usable length and mix it in, ducking it with the vocals. It worked just about well enough, but it took an awful long time.

For the purposes of this review, I revisited this nightmare with RX4 and it took me 15 minutes. Though the voices were the same, the use of different spaces, placements, mics and preamps meant there were tonal differences between the original and later recordings. The original recording was warmer and smooth, the re–recording to edit in was less so in both regards — but the RX4 EQ Match module made a very passable attempt to live up to its name, and I think I would have been happy to use the result had I had the chance to do so.

The new Ambience Match feature is designed to ensure that room tone can be made consistent when editing together recordings from different sources.

The room tone was very different between the two versions: although the original recordings were not exactly noisy, there was a very specific ‘hotel room’ sound to the silence, with a faint air–con motoring away somewhere in the basement. The re–recordings, made in recording studios, had much quieter, almost silent backgrounds, and this was easily perceptible when the original section segued into the edit. This is where Ambience Match came in. As you can see from the screenshot, it has the same minimalist interface as EQ Match. Fingerprinting the room tone from the original and adding it to new edits was very easy, and it took just a couple of experimental passes to get the level right. I had hoped that Ambience Match was going to be rather more — conceptually, it’s really just the Denoise module working in reverse, as the manual almost admits — but fitting horses to courses enabled it to show its proper strength. It also found a use in classical editing: many producers still insist that recordings do not fade to digital silence between movements and between separate pieces, so the editor has to edit in room tone recorded at the beginning of the session to give the illusion of a continuing live recital (ha!). Editing virtual silences together is a pastime for the seventh circle of Hell, so Ambience Match could be a real boon there.

Conclusion

As I have made clear, I find iZotope RX4 indispensable in almost every post–production project, including mastering and its manifold responsibilities. I also think the asking price is not a great deal for a professional facility to pay for a professional product, and that the ‘missing’ features of the Standard version that allow it to be offered pretty much at bargain price are less likely to be missed by music users. So RX4 is a great upgrade for users of RX2, and a great buy for those who are yet to feel the love at all. But is it a good upgrade for present users of RX3? I think it all depends on just how much use can be made by the purchaser of the half–dozen or so substantial new features. For those in film and speech post–production, this might be all of them; for some, like myself, who specialise in music but have a serious sideline in speech and restoration, that might be two or three; but for some music–only facilities, it might not be quite enough to justify the move just yet.

Only Connect

It is possible to use iZotope RX in two different ways: as an adjunct to a DAW, or in stand–alone mode. Even in RX2, there was already a facility which enabled Spectral Repair as a plug–in from within a DAW. In RX4 this has been replaced by a more fully featured ‘round trip’ capability called RX Connect. The idea is that, without leaving your DAW, you can either send a clip from your DAW for Analysis in RX (a one–way ticket) or you can send it for Repair and then return it to the DAW (a two–way ticket). One issue that can arise is that if your DAW does not ‘surrender’ its audio channels to RX when that is operating, then nothing routed through RX can be monitored. Enter an ingenious solution called RX Monitor, which gets around this problem by operating in the DAW as a virtual instrument through which the RX output can be played via the DAW’s non–surrendered channels.

I tried RX Connect in a mastering context, and it worked as advertised, but because there were a few menu items to negotiate and you need to pre-open the stand-alone version of RX, I found that it was just as easy for me to minimise the DAW, open RX in stand-alone mode, and work directly on the WAV file. Things changed dramatically, though, when I was working on a classical editing project where the fragments of music to be edited together were drawn from up to 100 different takes, hence 100 different WAV files. When doing this kind of work in the past, the technique I use now when mastering would not have been viable, as it would have meant opening all of those 100 different files, rather than the single one being worked on in mastering. Instead, I would deal with noises and suchlike by noting their time position in the overall piece, compiling the final edit and only then going to RX. It never occurred to me that there could be a better way — but this is where RX Connect starts to make much more sense. A process that is relatively unwieldy when compared to opening the stand-alone version for occasional work on a single WAV file becomes the clear winner when compared to opening and searching in 100 or more separate audio files! And also, as often happens, what seems a bit awkward when you are consciously concentrating on each step in the process becomes second nature and much easier as familiarity and muscle memory kicks in. Of course, there was a time when making up a DDPi file seemed like a lot of work..

Pros

• Better integration for those who like to carry out their restoration tasks within a DAW.
• EQ and Ambience Match can help when you need to edit together recordings made under different circumstances.
• Still offers excellent value for money.

Cons

• The new features are arguably more useful in post–production than in music work.

Summary

RX4 is a worthy update to perhaps the best–value restoration package on the market, though it perhaps won’t be an essential one for users who work only with music recordings.

information

Working with Files

Understanding the supported formats

RX 5 Audio Editor supports importing the following audio formats:

• WAV
• BWF
• AIFF
• MP3
• WMA
• AAX
• SD2
• OGG
• FLAC
• CAF

Note: mono audio files with (.L and .R) or (.1 and .2) extensions can also be opened as either mono files or split stereo. See Preferences > Misc to control this behavior.

RX 5 Audio Editor can import the audio directly from a number of video formats, saving you the step of extracting that audio in a separate application. Once you've worked with the audio in RX, you can export that audio and reassemble the video in your video editing program of choice. The following video formats are supported:

• AVI
• MPEG
• WMV
• MPV
• M4V

Note: RX 5 Audio Editor requires having QuickTime to open QuickTime formats (like .MOV).

RX 5 Audio Editor supports exporting the following audio formats:

• WAV
• BWF
• AIFF
• OGG
• FLAC

RX 5 Audio Editor uses your operating system’s available resources for opening certain file formats. Windows native formats (like WMA and WMV) may not open in OS X, and QuickTime formats (like AAC, MOV, and M4V) may require installing QuickTime on Windows and running RX 5 Audio Editor in 32 bit mode.

For the most up-to-date information about supported audio and video formats, check out this knowledgebase article.

Creating a new file

To create a new file in RX, open the File menu and select New..

You will be prompted for the name, sample rate and channel count of the file you would like to create.

If you have existing audio data in your clipboard (for example, if you have copied a selection from an existing file in RX), you can open the File menu and choose New from Clipboard. A new file will be created with the correct sample rate and channel count.

Importing a file

There are four ways to import a file in RX 5 Audio Editor:

• From the File menu, select Open.. and select the files you want to open.
• Drag and drop a file from your operating system into the RX UI.
• Drag a file from Finder/Explorer to the RX icon in the Dock/Desktop.
• Double-click in the empty space of RX display.

There are two ways to create a new file in RX 5 Audio Editor:

• To create a new empty file in RX, open the File menu and select New.. After you select this, you will be prompted for the sample rate and channel count of the file you would like to create.
• If you have existing audio data in your clipboard, you can open the File menu and choose New from Clipboard. A new file will be created with the correct sample rate and channel count.

RX supports having up to 16 files open at once. To navigate between files currently open, either click on the file’s tab at the top of the RX 5 Audio Editor interface, or use the Ctrl-Tab and Ctrl-Shift-Tab keyboard shortcuts.

If you right click on a file tab, you can see some more options for managing tabs and finding files on your hard drive.

If you have multiple files open, you can access extra tabs through the arrow button that appears next to the file tabs.

Saving a file

There are several ways to save a file in RX 5 Audio Editor.

RX Documents are the default format for saving your work. RX Documents have many benefits such as retaining Undo History and other valuable information about the work you’ve done to your audio files, so you can always review your edits and even go all the way back to the original state of your audio file.

The default keyboard shortcuts for the various save behaviors on Mac OS are:

• Cmd+S: save your RX Document.
• Shift+Cmd+S: save your RX Document under a new file name.
• Option+Cmd+S: Overwrite Original File. When directly editing a WAV or AIFF, this will overwrite the file on the disk.
• Cmd+E: export your audio to a WAV, AIFF, FLAC or OGG Vorbis file.

The default keyboard shortcuts for the various save behaviors on Windows are:

• Ctrl+S: save your RX Document.
• Shift+Ctrl+S: save your RX Document under a new file name.
• Alt+Ctrl+S: Overwrite Original File. When directly editing a WAV or AIFF, this will overwrite the file on the disk.
• Ctrl+E: export your audio to a WAV, AIFF, FLAC or OGG Vorbis file.

Note: the Overwrite Original File function works just as Save used to in previous versions (RX 1 to 3), and you can even customize your keyboard shortcuts to remap Cmd+S or Ctrl+S to use this, in the same way you can remap any keyboard shortcut in RX 5 Audio Editor.

Autosave

RX is always saving your editing session, enabling you to pick up where you left off the next time the application is launched, even in the event of an application crash or power outage. To keep you from losing any work pertaining to any audio file you currently have open, RX will store every audio edit, effect or algorithm that is applied, your full edit history list, and your last selection. By default, when the RX application is launched, it will open the last editing session and audio file that was in progress when RX was last quit.

Note: Saved session state recovery is ON by default. The option to turn it off is located under the Preferences > Misc tab as 'Resume last editing session when app starts.'

In the event that RX crashes in the middle of a restoration session, when RX is next launched, you will be given the option to rebuild your session just before the crash.

Backing up your work with RX Documents

Save a file using the RX Document file format (.rxdoc) to archive your edits.

RX’s session state can be stored in a portable document that includes your original file, all the edits you’ve made to it, and your most recent selection and view state. This document is useful for archiving your work.

RX Documents can only be opened with RX. If you need to save your file so it can be opened somewhere else (like a DAW or media player), you need to export it in another format (like WAV or AIFF).

To save an RX Document, select File > Save RX Document.. and select where you would like to store the file.

Keep in mind that the size of the RX Document file can be very large, especially if your list of edits include multiple processes on the whole file.

Exporting a file

When exporting, you will be able to define the output file name, directory, and bit depth. There are four ways you can export a file in RX 5 Audio Editor:

• Export
• Export Selection
• Export Regions to Files
• Export Screenshot

Export

1. Select File > Export, and the Export File dialogue box appears.
2. Make selections in the Export File dialogue box (See below for descriptions of each format option).
3. Click OK.
4. In the dialogue that opens, enter a filename in the file name field and navigate to where you wish to save the file.
5. Click Save.

Export Format Options

Bit depth

• WAV: 16 bit, 24 bit, 32 bit (float), 32 bit (int)
• AIFF: 16 bit, 24 bit, 32 bit (float), 32 bit (int)
• FLAC: 8 bit, 16 bit, 24 bit
• OGG: not applicable

Dither

• WAV: None, White Noise (TPDF), Noise shaping (MBIT+)
• AIFF: None, White Noise (TPDF), Noise shaping (MBIT+)
• FLAC: None, White Noise (TPDF), Noise shaping (MBIT+)
• OGG: not applicable

BWF

• WAV: outputs a broadcast wave format file
• AIFF: not applicable
• FLAC: not applicable
• OGG: not applicable

Compression level

• WAV: not applicable
• AIFF: not applicable
• FLAC: adjusts the compression strength of the FLAC encoder. Stronger compression requires more CPU time during file encoding but results in a slightly smaller file. FLAC compression setting does not result in any quality change to the signal since FLAC is a lossless format.
• OGG: not applicable

Quality

• WAV: not applicable
• AIFF: not applicable
• FLAC: not applicable
• OGG: adjusts the bitrate of the Vorbis compression algorithm. Higher audio quality requires a higher bitrate and results in a bigger Ogg file.

Preserve non-audio data

• WAV: exported file retains original file's metadata
• AIFF: exported file retains original file's metadata
• FLAC: not applicable
• OGG: not applicable

Reopen file in RX

• Opens the file in a new tab in RX

Export Selection

This option will allow you to export only the audio that is contained within your current selection, as opposed to the entire audio file.

1. Select File > Export Selection, and the Export File dialogue box appears.
2. Follow the additional aforementioned steps.

Export Regions to Files

This option allows you to export multiple regions of any audio file that has regions as discrete audio files. To export regions:

1. Select File > Export Regions to Files.
2. Choose the exported file format in the Export dialogue.
3. In the File Save dialogue box, navigate to where you want to save the files.
4. If you want, enter a prefix for your series of files in the Optional prefix field. If you opt to not to add a prefix, the names of the files will be the names of the regions. If any regions have the same name, numbers will be appended sequentially.
5. Click Save.

Export Screenshot

This option allows you to export your current Spectrogram/Waveform display as a PNG image file. This can be very helpful for archiving any restoration process or for forensic documentation.

When clicking on Export Screenshot from the File menu, your current Spectrogram/Waveform view will be used for adjusting your screenshot size and position.

Note: the Spectrogram/Waveform transparency balance must be set before selecting File > Export Screenshot as this cannot be changed in this window.

To define the size of your screenshot, simply click and drag in order to enlarge or shrink the screenshot window. The dimensions of your resulting screenshot will update automatically, however these can also be entered manually by clicking once in either Width or Height.

Note: the max resolution attainable for your screenshot will be limited by the individual computer's screen resolution.

When you are finished changing the dimensions of your screenshot, click on the Save button to name and save your .PNG screenshot to your chosen directory.

To save screenshots faster (at the expense of having a larger file on disk), disable Maximum image compression.

File Info

The File Info dialogue box can be opened by clicking Window > File Info and has two sections; General Info and More Info. The More Info section lists information dependent on the file type. The following table describes the information in each section including a list of possible entries in the More Info section:

Closing a file

There are two ways to close a file:

• Close: if you close a file that has uncommitted changes (represented by a dot or asterisk next to the file name in the tab display), RX will ask you if you want to save the file. RX does not ask about saving files when the application is closed because your changes are retained in its session data.
• Close All: if you have any uncommitted changes in open files, RX will prompt you to save for every unsaved file.

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The default keyboard shortcuts for the closing behaviors on Mac OS are:

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• Cmd+W: closes the current file.
• Cmd+Shift+W: closes all open files quickly.

The default keyboard shortcuts for the closing behaviors on Windows are:

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• Ctrl+W: closes the current file.
• Ctrl+Shift+W: closes all open files quickly.