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Time & Pitch

Boston-based DSP experts iZotope have unveiled the next step in their mixing and mastering processor series with the joint release of the Neutron 2 mixing console and Ozone 8 complete mastering suite, as well as the Music Production Suite. Next-generation post production tools. RX Post Production Suite 4 includes the NEW Dialogue Match, RX 7 Advanced, Insight 2, Neutron 3 Advanced, Tonal Balance Control, RX Loudness Control, Stratus 3D, Symphony 3D, Groove3 video tutorials, and 250 sound effects from Pro Sound Effects. Sep 20, 2018  iZotope releases RX 7 - Makes Audio Repair Easier for Musicians iZotope’s New RX 7 Makes Audio Repair Easier for Musicians - New features powered by machine learning, like Music Rebalance and Repair Assistant, open up creative possibilities in music production. RX 6 offers powerful new features and an enhanced workflow built to meet the needs of professional engineers in music, post-production and broadcast. With this release, we have addressed some of the most pressing problems encountered by our veteran users. Welcome to the most dynamic edition of RX to date!

Time & Pitch uses iZotope’s sophisticated Radius™ algorithm to give you independent control over the length and pitch of your audio. It is useful for retuning audio to fit in a mix better, or adjusting the length of audio to deal with BPM or time code changes.

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Time & Pitch’s Pitch Contour tab can be used for faster pitch shifting with the ability to correct variations in pitch over time.

iZotope Radius

iZotope Radius™ is a world-class time-stretching and pitch-shifting algorithm. You can easily change the pitch of a single instrument, voice, or entire ensemble while preserving the timing and acoustic space of the original recording. iZotope Radius is designed to match the natural timbres even with extreme pitch shifts.

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You should use Solo mode only when processing a single instrument with a clearly defined pitch. The human voice is a good candidate for solo mode, as are most stringed instruments, brass instruments, and woodwinds. For most other types of source material, Radius mode will usually offer better results. If speed is important, use the Radius RT mode.

Solo

In Solo mode, the adaptive window size can significantly affect the quality of Radius's output. If the adaptive window size is too small, you will hear a squeaking noise which sounds like the pitch of the audio is changing very rapidly. If the adaptive window size is too large then the sound will become grainy as you will begin to hear portions of it being repeated.

A good approach is to start with the default window size of 37 ms. If the results are unsatisfactory, increase the window size until the squeaking noise described above does not occur. If you cannot get the distortion to disappear, switch to Radius mode for processing.

Lower pitched instruments and voices may require a longer adaptive window size than the default, but very long adaptive window sizes can cause audible repeating slices of audio.

Formant Correction

Formants are the resonant frequency components of voice that tend to be perceived as characteristics like age and gender. You can shift formants independently of pitch and time by enabling Shift Formants.

Typically you will leave the Formant Shift Strength set to 1 (full strength) and the Formant Shift Semitones set to 0. If you hear what sounds like an EQ adjustment to your audio, you can try lowering the strength to reduce this artifact. To achieve special effects, for example to change the perceived gender of a human voice, try adjusting the semitones to a value other than 0.

Stretch & Shift Controls

Stretch Ratio

Determines how much the resulting audio will be stretched in time. Values between 12.5% and 100% will cause the audio to speed up without affecting pitch, resulting in a shorter audio file. Values between 100% and 800% will cause the audio to slow down without affecting pitch, giving you a longer audio file.

BPM Calculator

If you are using Radius to process audio for a tempo change, you can also adjust the stretch ratio with the BPM Calculator.

Pitch Shift

Controls the amount of pitch shifting up or down that will be applied to the audio.

Algorithm

The Algorithm drop-down menu has three options:

• Radius — designed to work well with polyphonic material such as mixes with more than one instrument, as well as non-harmonic material such as drum loops or rhythmic audio. This is the highest-quality option for most sources.
• Solo Instrument — designed for monophonic pitched material such as a stringed instrument or human voice.
• Radius RT — good quality, polyphonic, but faster than Radius.

Transient Sensitivity

Determines the algorithm’s handling of transient material. Higher values will result in better preservation of individual transients after processing.

When stretching percussive material, you usually want transient sensitivity set to its default value of 1. If transients in your audio are being 'smeared', a higher value of 2 will tighten up transience at the expense of incurring heavier processing on non-transient audio.

Bowed instruments such as the violin and cello are especially affected by the transient sensitivity setting. If you hear a stuttering artifact, lower the transient sensitivity to eliminate it.

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Noise Generation (Radius mode only)

Helps noisy material (like sibilance or snare drums) sound more natural when processed.

This control will generate noise instead of stretching the noise that is already present in the signal and creating new tones. Higher values of the noise generation parameter will cause Radius to generate noise more often, but can cause some phase artifacts.

Pitch Coherence (Radius mode only)

Controls the preservation of the natural timbre of the processed audio.

The Pitch coherence control in the Radius control panel helps preserve the timbre for pitched solo voices, such as human speech, saxophone or vocals. While traditional vocoders can smear these signals in time and randomize phase, the pitch coherence parameter of Radius preserves phase coherence for these signals.

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High values of pitch coherence will avoid phasiness in Radius's output at the expense of roughness (modulation) in processed polyphonic recordings. Try turning this up for better results if you’re processing a solo voice or a small group of related instruments.

Phase Coherence (Mix mode only)

Preserves the coherence of phase between the left and right channels of the processed audio.

This should be increased if there's any change in the perceived stereo image after using Radius. It can be decreased when processing a multichannel signal where different channels contain completely different instruments.

Adaptive Window Size (ms) (Solo mode only)

Adjusts the window size in milliseconds of Radius' Solo algorithm.

If the adaptive window size is too small, you will hear a squeaking noise which sounds like the pitch of the audio is changing very rapidly. If the adaptive window size is too large then the sound will become grainy as you will begin to hear portions of it being repeated.

Increase this if you have trouble getting good results pitching or stretching low-pitched instruments or voices.

Shift Formants

Processes formant frequencies independently of other pitch and time processing.

When this option is enabled, formant frequencies can be shifted independently of other pitch shifting performed by Radius.

When Radius performs pitch-shifting without Formant Correction, it will shift these resonant frequencies along with the rest of the audio.

• Strength — adjusts the amplitude strength of the formant correction filter.
• Shift — how much formant frequencies are shifted. Typically this control can be set to 0, which leaves the formant frequencies unshifted during processing. Adjust this control to fine-tune the formant correction algorithm or for special effects.
• Width — controls the bandwidth of the formant detection filter. Smaller values of this control will offer more precise formant correction in the processed audio. Higher values will include a wider band of formant frequencies.

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Pitch shifting single instruments (especially bass instruments) can benefit from some adjustments to formant correction. Try enabling formant correction and moving the strength between 0.1 and 0.2. Move the Formant Correction semitones part of the way towards your pitch shift amount. For example, if you're pitch shifting +4 semitones, move the Formant Correction Semitones between 2 and 3. This can help bring back subtle percussive elements in the original source material.

The formant frequencies of the human voice can actually shift slightly when we sing. You can use the Formant Correction Semitones control to compensate for this. For example, if pitch shifting a human voice by +7 semitones, try setting the Formant Correction semitones between 0 and +2 for more natural results.

Pitch Contour Controls

The Pitch Contour mode of the Time & Pitch module lets you change the pitch of a selection over time. This can be used to quickly correct small pitch variations or gradual pitch drifts over time.

The Pitch Contour changes pitch by continuously changing the playback speed of the audio. The effect is similar to speeding up or slowing down a record or tape deck while it is playing back.

Because the Pitch Contour uses resampling to synchronously change time and pitch, it cannot be used to adjust pitch without also adjusting time.

Pitch Contour

The horizontal axis shows the length of your current selection. If you have no selection, the horizontal axis represents the entire length of your file.

The vertical axis shows the amount of pitch shifting that will be applied. A curve through the top half of the display will create a higher shift in pitch and shorten the audio correspondingly. A curve through the lower half of the display will create a lower shift in pitch and lengthen the audio correspondingly.

You can correct a gradual pitch drift over time by adjusting the points at the far left or right of the display, drawing a straight sloping line from the beginning of your selection to the end. These points are locked to the vertical axis.

Clicking on the contour display will create a new pitch node. You can create up to 20 pitch nodes to achieve very complicated pitch shifts.

Clicking and dragging a pitch node to move it around will change the pitch curve.

Double clicking on a pitch node will set its value to 0 (no change at that point).

Right clicking on a pitch node will delete it.

Holding control/command while dragging will give you fine control over a pitch node’s position.

Smoothing

Larger values create a smoother pitch curve when multiple pitch nodes are present. This is useful when correcting a nonlinear change in pitch.

Reset

Clears all pitch nodes and returns the Smoothing control to its default value.

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New Features & Enhancements:

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• Added ability to scrub (click and drag) to adjust text based values in the EQ HUDs.
• Added 'Extra Curves' displays to the EQ.
• Extended the range of the Gain control in Master Rebalance.

Bug Fixes:

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• Fixed LP/HP filter Slope value resetting to 6 dB/oct if value was changed using the inline edit field in the EQ HUD.
• Fixed incorrect Q value display for bands that are disabled by default in the All Bands view of the EQ.
• Fixed issue where double-clicking on an .ozn project file would open an empty Ozone app project instead of the selected project.
• Fixed missing 'Sum to Mono' button in the I/O panel of the Ozone 9 Imager component plug-in.
• Fixed incorrect module panel being shown when switching between tracks with different signal chain contents in the Ozone app.
• Fixed missing playhead indicator in the Reference panel.
• Fixed missing Initial State entry in the Ozone mothership plug-in undo history list.
• Fixed module panel remaining visible after the module was removed from the chain by stepping back through events in the history list.
• Fixed inconsistent behavior when selecting bypass events in the Ozone app history list.
• Fixed missing undo history events for module bypass and solo for any module that is not included in the factory default signal chain.
• Fixed missing undo history events for adding or removing bands in the Dynamics, Exciter, and Imager modules.
• Fixed incorrect latency reporting when Codec Preview is enabled.
• Fixed intermittent crash when writing Dynamic EQ plug-in automation.
• Fixed crash when global mothership presets were loaded in an Ozone component plug-in.
• Fixed intermittent crash in the Ozone application when bulk importing files of varying sample rates.
• Fixed intermittent crash that could occur after running Master Assistant several times in certain DAWs.
• Fixed crash opening non-44.1k Ozone app projects that contain plug-ins in the signal chain of any track.
• Fixed intermittent crash when loading Ozone app projects, sessions, or host presets with reference tracks of varying sample rates or file formats.
• Fixed crash/hang on playback when using Reference tracks within dual mono instances of Ozone in Logic.
• Fixed inaccurate output meter clipping indication in the Ozone app.
• Fixed custom install location for Tonal Balance Control 2 on Windows.
• Fixed inconsistent behavior when loading module presets in the mothership or app preset manager.
• Fixed inconsistent bandwidth value settings when loading some EQ module presets.
• Fixed track waveform display issues when resizing the Ozone application.
• Fixed delayed update to the composite curve after adjusting Frequency resolution in the EQ options.
• Fixed latency between the scrolling waveform and gain reduction trace.
• Fixed display of track waveform data when zoomed in to the sample level.
• Fixed incorrect default I/O meter type.
• Fixed labeling of Mid/Side mode in Low End Focus.
• Fixed layout and styling of the plug-in selection list in the Ozone application.
• Fixed alignment of the correlation trace center line in the Ozone 9 Imager.
• Fixed alignment of text elements in the Master Assistant panel.
• Fixed overlapping scale labels in the EQ and Match EQ.

Operating System Changes:

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• Added support for macOS 10.15 (Catalina)