Izotope Ozone 5 Advanced Cool Edit Pro
Okay I finally bought Ozone, and for the record I'm very impressed. It's damn sexy looking, and I love the way it just makes the interface easy to understand rather than trying to make it look like virtual rack units.I really like the way the compresser and the eq sound on it, and the fact that you can adjust them both in real-time. Is there any reason why I shouldn't use these on instrument and vocal tracks (rather than full stereo mixes) instead of CE's EQ and compresser?I'd really recommend this plugin btw. Izotope also seem to have a good support attitude also, much like Syntrilliums.pAp.
And Dobro's quest to sus out the cooledit comp goes on.and on. And on.Forget the two attack and release thing just use the graphic window. Click a dot about 80% up its path. Then move the dot left and up whilst looking at the numeric readout on the right. There's your compression amount and your threashold. Now move the very top dot on the line downwards.
At launch, announced last October 2011, iZotope’s Nick Dika spoke of Ozone 5 Advanced as offering: “mixing and mastering engineers an even higher level of flexibility, precision and control.” Nick did not, however, mention muzos who are never happier than when appropriating whatever comes to hand and slapping it capriciously onto the. It's Stutter Edit—an innovative tool for both studio and stage, designed by BT and developed by iZotope. Tear up your tracks in real time, building thrilling fills, complex effects, shimmering sweeps, and staggering stutters that will leave your listeners screaming for more.
Izotope Ozone 5 Advanced Cool Edit Pro 2 1
Now the compressor is limiting. Now set your attack and realease by using the first of the two attack windows. The second one (level detector) is usually default on normal compressors.
Its just the way it reads the wav. So set its input gain to zero, attack fast, release slow and it will read the wav like most other compressors.
Leaving you to use the top window attack and release in a more traditional way.I think the reason for the second attack/release is more about simulating different kinds of compressors. As all compressors read the input signal in different ways. Having an adjustment for this has just confused people. Originally posted by dobroPapillon, play with it and compare it to Cool and get back to us. I'd really appreciate your report.
Especially for compression, as I'm on the verge of springing for a compression plug because I can't figure out how to use Cool's dyanmics processor.I agree that Cool's Compressor is not the most intuitive, although it may well be powerful. I usually mess around with the graphic mode and listen. I must say though, that the mutliband compressor section in the Ozone manual really explains it's operation (which is similar in a way to the graphical mode of CEP's) the.pdf download is here:It definately cleared things up a bit for me as regards what was going on when I was adjusting CEP's compresor.anyways, more comparisions/info when I get time, but I have a feeling I will prefer Ozone's processing.pAp.
Declipping tools are useful for waveforms that are actually clipped but a vast majority of the 'victims' of the loudness war are not truly clipped in the sense of the waveforms being flattened. When zoomed out, yes, the whole waveform might look flat, but zoom in and the wave peaks still curve. It's just that the sound has been squashed.One of the best tools I've seen for restoring some sense of the original sound is Waves C4 plugin with it's 'Uncompressor' preset. If you take that then increase the release times to about 250ms for each band and then adjust the threshold controls for each band to match the music, it's actually quite astounding how well this works. As the saying goes, you can't make a silk purse from a sow's ear, but it can work wonders.As for RX, I've tested the demo quite a bit and it's very powerful for noise reduction and editing, perhaps moreso in some ways than Audition. I do find some of its tools a bit difficult to use for getting some really 'hard-to-reach' pops or glitches, especially if they are close to a transient (the interpolation routines used seem to reach into the transients and smear them), but it is very powerful. The higher priced version with the izotope resampling and mBit+ dithering is even better (if you've got $1200 to spare!).
Audition and its predecessor Cool Edit Pro still have the edge for adjustability. There are things you can do with these that just aren't available in any other software package in its price range (or in much higher ranges for some features).In an ideal world, Audition and RX would be merged. Audition with RX's faster spectral display/editing engine plus some of the RX editing would be killer. I know that the main RX functions are available as VST plugins that do work in Audition, but from what I understand, they're clunky to use (they didn't work in the demo I tried).Anyway, try whatever works. Even careful expansion using the Audition/Cool Edit Dynamic Processing with long release times can help somewhat.
Click to expand.Mr. Lukin - thank you very much for posting in this thread. Your software products are truly excellent!I am aware that the Declipper module in RX is not intended to be used as an expansion tool.
Of course, I am not a professional mastering engineer and my use of RX to de-clip/expand the Hendrix track above was simply an experiment - yet the overall results were quite pleasantly surprising! But as Metoo pointed out earlier in the thread, some audible artifacts are present in the de-clipped sample I posted. This is to be expected, I suppose, given my heavy-handed use of this software!Even so, perhaps you can see a need in the software marketplace for a product that, in effect, could 'restore' the dynamic range of overly-compressed and/or limited recordings. I, for one, would love to see a 'de-limiting' module in a future release of RX! Click to expand.Thanks for pointing this out. I've mentioned this before quite a few times, but folks still want to refer to those waveforms as clipped.Clipping results in signal actually being lost.
Compression doesn't really remove material per se, it essentially changes the amplitude.In theory, if you expanded the compressed waveform, and all paramaters were set exactly the same, you could restore the waveform. Of course theory and reality are quite different for a variety or reasons.In fact, DBX made a consumer expander back in the 70's which was made in hopes of doing just this. Some people liked it for classical recordings where the overall compression was much more gentle and simple than the complex compressions usually used in pop recording.Btw, compression and expansion can be used in recipricol 'companders' which is the basic premise used with noise reduction. You compress the signal prior to recording and expand it on playback.
Many well loved pop recordings were recorded with noise reduction with no apparent or significant lost of signal material, though golden ears could often hear a difference. Click to expand.Good point.
What's interesting in the Hendrix clip I posted above is that the audio on the EH disc, itself, is NOT clipped. Never once does RX indicate that the source audio is actually distorting in the CD.wav file (i.e. Hitting digital 0 on the PPM).However, if you listen to the original EH track, you can clearly hear digital clipping at the start of the guitar solo. What caused this clipping?
The original A/D transfer of the master tape? If so, then the RX Declipper module could be an ideal solution for someone like George Marino (who mastered the EH disc) to use for removal of said clipping before actually preparing the CD master.
Too bad RX wasn't available back in '97. Click to expand.Yes, I tried that and it helps somewhat, but I still was not able to zero in completely on some small events. Perhaps there was some other adjustment I overlooked but even if I set the weighting 100% in one direction of the other, the repaired area still overlapped transient information on the 0% side of a repair. I've found in Cool Edit/Audition that I can repair down to a finer level.
The RX spectral repair is much better for larger areas. For example, quite a few LPs I've needledropped have 'bump' defects in the vinyl that translate to repeating low-pitched thumps that are often difficult to remove in Audition without damaging the surrounding audio. I've found RX much better at replacing these with surrounding audio and 'sealing up the seams' of the repair.If I were to recommend improvements for future versions of RX, I'd start with1. The ability to control the overlap of a repair to a finer degree as explained above.2. Recording capability.3. The ability to manually edit the curve of the denoiser feature. There is a 'whitening' control that seems to alter the angle of the curve slightly but for example, sometimes I need noise reduction to remove lower frequency 'vinyl rumble' when needledropping LPs (not turntable rumble itself but rather the sound produced by the vinyl) but without touching the higher frequencies.
Of course I could select a range of frequencies and train using only that, but it's been my experience that noise reduction never works well when there are sharp transitions. The Cool Edit/Audition implementation of being able to click on the curve, add a 'handle' and move it works well.4. As mentioned in this thread, some kind of dynamics restoration function would be timely given the damage inflicted on a lot of popular music lately with the abuse of compression/brickwall limiting. IzoTope could probably repurposed some of the functionality from its Ozone multiband compression/expansion plugin.Anyway, IIRC, you are only associated with iZotope for the development of the resampling and/or dither (correct me if I'm wrong) but by all means pass on my suggestions. My budget is currently a bit limited so RX will have to remain on my wish list for awhile, but the demo was enough to see what an incredible product it is. The ability to control the overlap of a repair to a finer degree as explained above.2. Recording capability.3.
The ability to manually edit the curve of the denoiser feature.4. As mentioned in this thread, some kind of dynamics restoration function would be timely given the damage inflicted on a lot of popular music lately with the abuse of compression/brickwall limiting.Anyway, IIRC, you are only associated with iZotope for the development of the resampling and/or dither (correct me if I'm wrong) but by all means pass on my suggestions.