Feature Request: More Post-Production modules

[ltf3]

+1 for de-plosive.

thanks

[ctreitzell]

are you asking me for a sample? can do…I’ll do it soon

[ctreitzell]

@ctreitzell

the toughest thing for me to reduce/repair is RF interference with a wireless Tx/Rx…even with SL is very difficult to repair/reduce…

@BJ_Dobbs

Maybe post a 30sec sample for us SL 11 folks to test?

@ctreitzell

are you asking me for a sample? can do…I’ll do it soon

@BJ_Dobbs
Just to say, I’m getting the hang of removing the RFI I was talking about. Essentially, after running Unmix Noisy Speech; then, I’m setting a Spectral Region as a guide and moving the unwanted fizzes to another layer using various selection tools. If you still want a sample I can try to upload one later…

[Marshall]

Maybe the DeHum module could help you with the RFI, depending on the character of the RFI.

[ctreitzell]

I do have RFI all over the place…which shows up as a continuous freq band…which cleans out very well with UnMix Noisy Speech.

The fffft sounds are more on a carrier…or movement by the contributor might have disturbed the antenna…
Senn EW 100G is what we were using…and had seen some abuse…not the best wireless gear IME

these quick little blasts that happen randomly…and can be pretty wide band

I haven’t tried the SL11 DeHum Module yet…as my previous workflows, I seldom used dehum for this…or at least Acon and Sonnox didn’t help with this particular condition…great for music, tho

What is working quite well is
Unmix Noisy Speech
then unmix levels at -65dB on problem phrases
I might bring some harmonics to the Hi layer, too
then attenuate the Low layer

It’s a little tedious, but amazing results.

Thanks for suggesting the unmix levels!

[ctreitzell]

@Puma0382

I can imagine this help focus ‘solution’ efforts from his end… i.e. not (just) leaving him with his ‘interpretation’ of what you specifically have in front of you…

@Robin_Lobel

Good point indeed, real audio examples from real uses cases goes a long way to help shape a new module or refine existing modules

I would happily share recordings and .slp files to help train AI
…both for IVs and music

Should we start a repository? Or has that already happened?

We use WeTransfer for this at my company. Google drive can be finicky IME.

[ctreitzell]

@BJ_Dobbs

I’d like to request a feature to correct R2R and cassette tape speed issues currently addressed by Celemony Capstan

Sounds good to me too

[ctreitzell]

Yikes!

We are using 11Labs for cloning voices. The voices we are using are our own contributors using their IP and we have contracts with said contributors. No chance am I cloning celebs or anyone I don’t have a contract with…I won’t work on someone else’s IP without their written consent…I’m talking books, music covers, “known” or “unknown” artists IP…e-lessons…etc

(I’m replying in different posts because they are different subjects within the same thread…I find covering multiple subjects in one post to be confusing)

[ctreitzell]

@ctreitzell

I do have RFI all over the place…which shows up as a continuous freq band…which cleans out very well with UnMix Noisy Speech.

The fffft sounds are more on a carrier…or movement by the contributor might have disturbed the antenna…
Senn EW 100G is what we were using…and had seen some abuse…not the best wireless gear IME

these quick little blasts that happen randomly…and can be pretty wide band

Quoting myself, but…
Wow, these RF blasts are pretty straightforward to reduce/ remove…Especially after Unmix Noisy Speech

sure, plenty of manual editing…for which a touch screen might really help me…nevertheless, once you learn how to navigate the spectrograph and use SL tools it’s a bit magic

frankly, a great deal of the magic comes from the Unmix Noisy Speech module…makes it easier to deal with noise alone

[Damian_Kearns]

Hi Rajiv,

We definitely need De-Plosive in SL11, as I have to go back to RX for that currently, as well as Mouth De-Click and Guitar De-Noise. The latter removes all sorts of broadband buzz and hum and is pretty good at leaving location audio and dialogue alone. I’d say these three tools would keep me in SL11 permanently.

D

[Rajiv_Mudgal]

@Damian_Kearns

We definitely need De-Plosive in SL11,

Of course we need it but already SpectraLayers Pro does a decent job as we have explored in our tutorial, but internally they are very different. For example RX was built ground up for such task. And it might be running several algorithms to achieve its results.
so it would not be wrong to say that zotope RX has some unique tools and Steinberg’s SpectraLayers Pro has its own. They are both coming from unique and different backgrounds.
For example Steinberg’s SpectraLayers Pro was marketed by Sony as a Spectral editor and not so much as Postproduction tool.
Both have evolved to becoming highly focused tools. This has given Steinberg’s SpectraLayers Pro an edge in some areas such as Ai separation and it will continue to maintain that lead.

I will breakdown their specialities in the following points minus AI where Steinberg’s SpectraLayers Pro has a clear advantage.

iZotope RX and Steinberg SpectraLayers Pro are both advanced audio restoration and editing tools, but they have distinct focuses and strengths:

1. iZotope RX is specialised in audio restoration, noise reduction, and post-production repair, while Steinberg SpectraLayers Pro excels in spectral editing and manipulation for sound design and creative purposes.

2. RX provides a more traditional audio editor interface focused on restoration tasks, while SpectraLayers uses a visual, layer-based approach akin to photo editing for detailed spectral manipulation.

3. iZotope RX is equipped with a comprehensive set of tools for specific restoration tasks like de-click, de-hum, and de-reverb. SpectraLayers, while capable of restoration, offers fewer dedicated tools but excels in spectral editing.

4. SpectraLayers Pro provides more advanced and flexible spectral editing capabilities, allowing users to work with sound like layers in an image editor, while RX offers more straightforward, automatic processing for common audio issues.

5. RX tends to be more accessible for beginners with its preset-driven workflow, while SpectraLayers requires a deeper understanding of spectral analysis and editing.

6. iZotope RX has more advanced algorithms-based features for automatic noise detection and repair, which simplifies complex tasks, while SpectraLayers is more manually driven.

7. RX integrates seamlessly into DAWs like Pro Tools via plug-ins modules, while SpectraLayers Pro has tighter integration with Steinberg’s Cubase and Nuendo.

8. RX is widely used in post-production, film, and broadcasting for cleaning dialogue and removing noise, while SpectraLayers Pro is favored by sound designers and musicians for creative sound manipulation.

9. SpectraLayers offers more freedom in reshaping sound textures, while RX focuses on offering precision tools to fix specific problems efficiently.

10. RX is typically easier to master due to its focus on restoration, whereas SpectraLayers has a steeper learning curve due to its complex and flexible spectral layer system.

[Damian_Kearns]

Thanks. I’ve been on RX since version 1 and was a beta tester from V4-9 so I’m well aware of the differences. I think De-Plosive is a next logical step, as even in the video I watched there was a manual approach to reducing plosives on a mere 4 instances. I deal with hundreds or more on a 48 minute TV episode, on the narration alone.

Mouth clicks are quite different than other clicks. They can differ from broadband to those focussed in the HF range. They require tool that has machine learning at its heart.

SL11 is an evolving tool, just as RX. From my vantage point, in recent years iZotope has tried to shift focus a little to the music market, whereas this was always the focus with SpectraLayers. With more of us post people finding our way to this software, there’s no reason not to suggest the evolution of the product might well support some of our core needs as well.

D

[Rajiv_Mudgal]

Totally agree with you

[ctreitzell]

I handle these NR tasks with other NR software before putting audio into SL

SL manual work will yield less artefacts…BUT it will take longer

[al808]

As far as I can tell, the number one difference between SpectraLayers and RX is that with SL you edit in a “multitrack” environment as opposed to single track editing with RX, no?