• Izotope Rx Loudy Vs Normalize 10
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IZotope RX was designed to repair audio. It does this by approaching damaged audio by the nature of the problem, in separate “modules.” In other words, if you have a hissy, clipped recording, you first use the Declip module, then the Denoising module. Nov 02, 2016 Sound for Video Session: Loudness Normalization in Izotope RX5 Curtis Judd Audio. We'll demonstrate how to loudness normalize your sound with Izotope RX 5. IZotope RX 6 Spectral Repair with.

Overview

The Loudness module adjusts the gain of the signal in order to meet the specified loudness standard, such as BS.1770. Unlike the Leveler module, the gain in Loudness module stays fixed in time. However a post-limiter will be applied to the signal, if it is required to meet the True peak specification.

Controls

• Loudness standard: Specifies the loudness standard used for calculating loudness and sets Integrated loudness and True peak sliders to the target values typical for the standard. See the Loudness Standard chart below for more information about the different loudness standards.
  
• Integrated loudness: Sets the desired integrated loudness of the clip, in LKFS (which is the same as LUFS).
  
• True peak: Sets the maximum true peak value allowed in a clip.
  

Integrated loudness & True peak level Compatibility Note

• Note that some combinations of Integrated loudness and True peak level may be incompatible.
  
• For example, having loudness of −10 LKFS is not compatible with a true peak value of −20 dBTP.
  
• When settings are incompatible, the Loudness module will display a warning at the end of the processing pass.
  

Workflow

To use the Loudness module:
1. Make a selection in your file. If you want to apply Loudness to the entire clip, click Edit > Select All or Edit > Deselect All.
2. Click Process > Loudness.
3. Select a preset, or make adjustments to the Integrated loudness and/or True peak sliders.
4. Click Process.

Loudness Standards

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When mastering, it's generally desirable to have as full a scale signal at peak as possible. In other words, you usually want the loudest point of the signal to hit 0 dB for the most dynamic range.

Ozone can help you automatically set your input gain so the peak at input is at 0 db, or your output gain, or both.

To do this, right-click (under OS X you can also ctrl-click) on the level meters to bring up the level meter options screen, then click the 'Auto-Normalize' button to bring up the control panel below.

1) Start your mix playing. Be sure to play through the entire mix, or at least the point that has the highest level.

2) Click the Start button in the 'Auto-Normalize' control panel. The Start button will turn into a Stop button.

3) When you've played through the entire mix, or at least the point that has the highest level, click Stop.

4) Adjust the slider to the level you want your mix to peak at (e.g. 0 dB). Note that you can specify the level in percent or dB.

5) Click the Set button. Ozone will set your input or output gain (depending on the source you selected) so that your peak will hit the level you set.

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Of course, you can also normalize in most host apps. Why do it in a plug-in?

1) Non-destructive. If you normalize to 0 dB in the host app and then add a little EQ with Ozone, you can peak your signal above clipping. Normalizing the output of Ozone, as opposed to the source file going into Ozone, ensures that the final output signal will have the maximum dynamic range.

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2) So why not normalize in the host app after Ozone? Because Ozone can go right to 16 bit with high order noise shaped dithering. You don't want to process in Ozone, normalize in the host app, and then dither in Ozone. Or even worse, processing Ozone, dither in Ozone, and then normalize in the host app. In order to dither with Ozone, Ozone dither must be the last process to touch the audio. Any subsequent level adjustments outside of Ozone will corrupt the dithering process.

2) 64-bit. When you normalize you are expanding the signal. In a host app you are typically expanding it along a scale of 32 bits. In Ozone the level adjustments are calculated at 64 bits giving you higher resolution for each sample for subsequent processing.

Note: This help file is a quick reference for basic Ozone functions and controls. We have a separate 'how to' guide that provides tips and techniques for mastering with Ozone. You can download this guide from http://www.izotope.com/products/audio/ozone/guides.html

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