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Ozone includes a high quality hybrid reverb module that can add a consistent sense of depth and space to a mix. Utilizing both convolution and algorithmic technologies, the improved reverb module features the warm early reflections of a real acoustic space as well as dense and flexible reverb tails. It is designed to put a final gloss or sheen on the entire mix while still preserving the sense of space that may have been created by using reverbs on individual tracks.
Key Features
- Hybrid reverb processing utilizing both convolution and algorithmic technology
- Choose between various room modes
- Plate mode derived from the classic EMT 140
- Mid/side controls allow you to apply ambience to different parts of the soundstage
Ozone Advanced Exclusives:
- Crossmix control allows you to adjust the amount of stereo spread between the left and right channel’s reverb signals
- Early reflection control to better fine tune reverb
Note: When using the Reverb module, Ozone will consume a significantly higher amount of CPU, especially during parameter changes. To help make Ozone more usable in real time, you can offload some of these changes to prevent the audio from dropping out. See theReverb Options Tabfor more info.
Early Reflections
Ozone 5 features a number of room modes that control the reverb’s early reflections. Convolution technology is used to reproduce the acoustics of real spaces.
Early Reflection Modes:
Room –smaller acoustic space with strong and distinct early reflections
Plate –classic reverb effect which captures the vibration of a sheet metal plate when audio is played onto it creating a clean distinctive reverb tone. Ozone 5’s plate reverb mode was derived from the characteristics of the definitive plate reverb unit, the EMT 140.
Hall –large acoustic space with darker warm reflections
Theater –medium sized acoustic space with dampened early reflections (Ozone 5 Advanced)
Cathedral –larger acoustic space with pronounced bright reflections(Ozone 5 Advanced)
Arena –massive deep acoustic space with expansive density (Ozone 5 Advanced)
Early Reflection Options:
Once an early reflection mode is selected you may adjust the following options that affect it:
Pre-delay:Sets the 'pre-delay time', or the amount of delay in milliseconds between the original signal and the beginning of the reverb in order to simulate depth.
Early Reflection Control:Lowers the level of early reflections in the reverb signal and can be used with pre-delay to create the perception of depth. (Ozone 5 Advanced)
Late Tails
After the initial early reflection, Ozone 5 uses algorithmic technology to simulate late reverb tails. This allows you to couple the early reflections of one type of space with late reflections associated with another to create unique but realistic sounding reverb. Once you have chosen an appropriate early reflection, you may adjust the following characteristics of the late tails:
Decay Time:sets the amount of time it takes for the reverb to fully decay
Low Decay:adjusts how quickly the low frequencies decay
High Decay: adjusts how quickly the high frequencies decay
Global Reverb Settings
After the early and late reflections have been defined, the following settings affect the entire reverb signal:
Wet and Dry:These control the mix between the processed reverb signal (Wet) and original unprocessed signal (Dry).
Width:Controls the stereo spread of the reverb signal.
Solo Reverb Signal:This check box lets you solo just the reverb signal.
Low and High Frequency Cutoff filters
You can control the bandwidth of the reverberated signal using the low and high frequency cutoffs. On the spectrum at the top of the module there are two nodes that create a curve that corresponds to these cutoffs. You can drag the nodes to the left or right to control the bandwidth of the reverb.
Mini-Spectrum Window
The window at the top of the module defaults to a display of the signal spectrum which also features the Low and High frequency Cutoff filters. Purchase omnisphere 2. However, with a selection on the left it may also display the Reverb Character view.
Reverb Character view displays a graph that illustrates the character of the reverb signal over time given the settings you have selected. This display can help you visualize how different settings affect the overall character of the reverb signal.
Crossmix: Adjusts the amount of stereo spread between the left and right channels’ reverb signals.
Mid-Side Support
Stereo/Mid-side:This button allows you to switch between 'stereo' processing or 'mid-side' processing. When 'stereo' is selected, the Ozone module will perform basic stereo signal processing. When 'mid-side' is selected, all mid-side features become available.
Colors
To make it easier to distinguish between Mid and Side modes, the interface highlights and Reverb Character view have designated colors. Mid mode is presented as orange, and Side mode is presented as light blue.
Example using Mid-Side Processing with Mastering Reverb
Mid-Side processing allows you to separate a specific frequency range into its Mid and Side components and apply processing separately to the Mid (center) channel, or the Sides of your mix. When using the Mastering Reverb this allows you to tailor the reverb to more accurately depict your desired soundstage. For example, you can add both space and ambience to your mix by applying the reverb only to the sides of your soundstage.
To do this, begin by enabling the Side channel (light blue). Select the frequency bands for the instrument(s) that you want to apply the reverb to. Finally adjust your wet/dry mix to taste. Using Bypass in the Reverb module, try switching back and forth to hear the difference in your mix.
In other cases, you may actually use this feature to reduce the amount of reverb in the Mid channel to make the lead components sound more clear.
To learn more about the new Mid-Side Processing controls, click here..
Component Reverb Plug-in
If you are using Ozone 5 Advanced you will also have the ability to instantiate Ozone 5's Reverb module as an individual component plug-in. Ozone 5 Advanced includes component plug-ins for all six of Ozone's modules complete with all the same features as the module within Ozone. Any module presets saved within Ozone will open within the component plug-ins' module preset system.
De-reverb
De-reverb gives you control over the amount of ambient space captured in a recording. It can make large cathedrals sound like small halls and make roomy vocals sound like they were recorded in a treated space.
Reverb is the ambient sound of audio energy as it loses power in a space. We can think of a sound in a room as having two components: the direct sound and its reverberant tail. The reverberant tail decays in power over time depending on various factors, like the size of the space, the materials in it, and the geometry of its construction.
Reverb tails also have an important time component: early reflections. Early reflections are the rapid echoes of a direct sound from a nearby surface. They are often distinct from the rest of a reverberant tail because they have a lot of energy but end quickly. Early reflections typically comprise the first 5 to 100 milliseconds of a reverb tail.
If a listener (or a microphone) is close to the source of a direct sound, the direct sound is perceived more than the reverb. If a listener is farther away from a direct sound, more reverb is perceived in relation to the direct sound. A listener moving away from the direct sound in a space will eventually cross a threshold where the reverberant signal is perceived as prominently as the direct signal.
De-reverb processes audio according to the reverberant/direct ratio (also known as wet/dry ratio) detected in the signal. It can learn your audio to suggest some frequency and decay time settings, or you can estimate these yourself.
De-reverb has the effect of sharpening a signal in time. You can notice this transition in the spectrogram: reverberant audio looks blurred, and cleaned audio appears more focused. Here, a recording of a distant speaker (left) has had its long tails processed (center) before another De-reverb pass with shorter tail lengths to tackle the early reflections (right).
Learning a Reverb Profile
To find the best settings for your signal quickly, find about five seconds of audio that starts with noise and has both direct signal and reverberant tails.
RX De-reverb can suggest some settings based on your signal.
Find five to ten seconds of audio that starts with noise and has both a direct signal and a reverberant tail.
Direct signal, reverberant tail, and noise are all important to help De-reverb understand your audio and set its controls appropriately. It needs to understand the ratio of dry signal to reverberant signal, how long reverb tails last, and where the noise floor of your signal is (to avoid excessive processing).
If you are having trouble finding a good portion of audio to help De-reverb learn a good reverb profile, try running the Learn feature on any transient audio where both the direct signal and reverberant tail are apparent.
Complicated Reverbs
If the audio you are working with has a very complex reverb, such as a reverb with apparent early reflections, you may get better results after trying a few passes of De-reverb.
First, start by training the De-reverb and set the Reduction amount to a value that yields good results on the long reverberant tail. After processing, Learn a new reverb profile and try reducing the level of early reflections: set the Tail Length control to 0.5, Artifact Smoothing around 3.0, and increase Reduction.
A combination of De-reverb and De-noise can be used to tame very reverberant signals. It does not matter whether you process with De-reverb or De-noise first.
De-reverb Controls
Learn
Teaches De-reverb how much reverb is in your signal.
The Learn feature analyzes the signal and determines the wet/dry ratio per frequency of your signal, as well as the overall rate of decay of reverb.
When the Learn operation completes, the Reverb Profile and Tail Length controls will be set to their suggested values.
The Learn operation can be performed on any reverberant audio. We strongly recommend using the Learn feature on a selection of audio that starts with some noise floor (or room tone), is several seconds long, and includes both the direct signal and its reverberant tails.
Try to find a good five second slice of reverberant audio. If you can find enough direct signal and reverberant tails to fill the De-reverb signal trace meter while using Learn, you will probably get a good reverb profile.
If you have trouble getting good results from using the Learn feature, you can try
- learning on transient broadband audio, like drums, claps, or coughs;
- learning on any audio that is obviously reverberant; and
- learning for a longer amount of time — most reverb can be analyzed in a few seconds, but some reverb profiles can require up to ten seconds of analysis.
Metering
The top meter shows a comparison between the input and output signal energy over the past five seconds of playback.
The bottom meter shows the amount of reverb reduction over time. It is the difference between input and output plotted on a flat line.
Both of the meters together give you an idea of what De-reverb considers reverb and help you refine your settings.
Reduction
Controls the amount of De-reverb effect applied.
Larger amounts mean more reverb is removed. Smaller amounts perform less processing.
This control represents the target wet/dry ratio for processing. In other words, if it is set very high, it will treat the signal as though it has more reverb and process it more.
If the output of De-reverb sounds unnatural after Learning, try slowly turning this control down first.
Negative reduction will increase the amount of reverb in the signal.
Reverb Profile
Controls the amount of De-reverb effect applied per band. Thesecontrols are set automatically by the Learnfeature.
If a group of reverberant tones are more prominent in a signal, increase the control for that band.
Generally you want to set these controls to match the reverb originally present in your signal. For example, if reverb takes longer to decay (or is more present) in a particular band, set that control higher.
These controls can also be used to address more prominent ringing or resonant groups in signals. For example, increasing the profile control for low frequencies can remove muddiness from a resonant bass guitar, while increasing the high band control can curtail ringing sibilance in live vocal recordings.
Tail length
Controls the decay of De-reverb processing.
This control is an approximation of RT-60, the rate of time it takes for a reverberant signal to decrease in amplitude by 60 dB.
This is automatically set by the Learn feature.
Increase this control if reverb tails reappear after processing, or if early reflections are too apparent.
Decrease this control if reverb tails and noise floors sound over-processed, or if the processed audio sounds dull.
This control can be set to its minimum setting to process early reflections.
Artifact smoothing
Controls the frequency accuracy of De-reverb processing.
Because reverb is generally smooth across the frequency spectrum, the default value of this control is very high. However, if you need more accuracy to address issues like resonant tones in a room, you can decrease this control. The tradeoff is generally more artifacts from strong processing, so you may have to balance adjusting this and the Reduction control.
Izotope Rx De Reverb 1
Enhance dry signal
Increases the level of the direct signal.
Boosting the non-reverberant signal can help create more dynamic range in the signal and is a good option to try when working with voice or transient material. Enabling Enhance Dry Signal can also help prepare material for later de-noising.
Output reverb only
Changes the output of De-reverb from the processed signal to the wet reverberant signal.
Izotope Rx De Reverb 2
This is useful for monitoring the processing to get better results. Hearing just the reverb helps you understand the impact of controls like Reduction, Reverb Profile, Tail Length, and Artifact Smoothing.
Izotope Rx De Reverb 2017
When this option is enabled, the output may not sound much like reverb because it is the difference of processing against the original signal, with some enhancement to expose more of the reverb apparent in the recording.
Using De-reverb as a real-time plug-in
Izotope Rx 5 De Reverb
De-reverb is available as a VST/AU/RTAS/AAX real-time plug-in inside your DAW or NLE. However, due to the complexity of this processing, it can be resource intensive. To achieve high-quality results, it is always best to bring the audio file in question into RX Editor (via RX Connect or by opening it directly), applying De-reverb, and then returning the file back to your original session. Download sound effects for garageband free.