Lossy encoding can be viewed as a low-bit-depth quantization of a signal. The precision of this quantization depends on the selected bitrate, while quantization noise (a compression error: the difference between the original and the decoded signal) is spectrally shaped to be minimally audible — this is achieved by a psychoacoustic model.

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The amplitude of quantization noise depends on the chosen bitrate and signal complexity. Slowly-changing tonal signals are easy to approximate, while random noises are hard (see the examples below). The amplitude of compression noise is often proportional to the signal level, much like with a 32-bit floating-point sample format. The noise of a 32-bit float format is always 150 dB lower than the signal level, while the noise of mp3 or AAC compression is usually only 15–30 dB below the signal level.

When quantization noise is added to the waveform, it can change the peaks levels. If the waveform has been brickwall-limited to a certain level, chances are that 50% of waveform peaks will rise in level.

1. Improper labeling and management of noise-reduced files

This is a nasty, potentially large problem masquerading as a minor hiccup. Any time you commit an audio-restoration tool to a track, be sure to do so only on a copy of that audio. Not just a copy within the DAW, but a whole new file. Never apply this processing to the original, and likewise, save the new track with a name that clearly indicates the processing you’ve applied (as in, File_Name.Date.RX_Dclick, File_Name.Date.RX_Dclick_Dnoised, etc).

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It’s quite risky to do destructive editing on the original track since it’s possible you’ll have to revert to the original file later down the line: perhaps, in context, you’ve denoised too much and need to start again; maybe, after the mix is said and done, the sound design scheme doesn’t call for noise reduction after all; maybe certain phrases do, and other phrases don’t. All cases are possible, so it behooves you to give yourself the option.

Also if the tracks are not clearly labeled, you won’t know which is which, and you’ll spend lots of time auditioning files, guessing and second guessing which file is the appropriate one for the context. No. Better to save yourself the headache later on by being more organized throughout the whole process.

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2. Over de-noising

This is the number one issue in audio restoration, I’d wager—especially for making speech sound more natural and presentable. Read these words carefully, and live by them: do not de-noise too much.

Too many podcasts, films, and other works of art are afflicted by over-denoising. How can I say this so cavalierly? Simple: I’ve heard the artifacts. Izotope neutron standard download. I’ve heard them in TV shows, movies, on podcasts (the worst offenders), and in music. When you start to hear them, these artifacts are impossible to ignore. They are so weird that they have earned a nickname in the business: space monkeys.

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Don’t afflict your dialogue track with space monkeys!

Here’s how you avoid the process: de-noise to a place where you notice significant artifacts, and then back off the reduction slider until you don’t hear the artifacts anymore. Then you should probably even back up some more!

Tune your ears: listen to sibilance, sounds that begin with a hard R, plosives, breaths, and fricatives; whooshing noises can be observed around these normal vocal phenomena. It’s not dissimilar to the ringing of a bad MP3 encoding.

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You don’t want obvious artifacts in these signal because they belie the processing. Even to the lay-listener, they subliminally communicate a feeling of inferiority—a feeling of audio under construction. Such artifacts make you sound unprofessional, in other words. Also, they can objectively sound really, really bad, and might be an obstacle toward people enjoying your work.

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Feel free to listen to the noise-only output of the module as a starting point, as it will give you a good idea of what you’re taking out. However, pair monitoring the noise-only output with the method mentioned above to make sure you’re not inducing artifacts.

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If you’re unsure how to go about eliminating noise issues tastefully, RX 7 gives you a handy new Repair Assistant, which, among other things, provides three processing intensities (light, medium, or aggressive). This is an excellent shortcut for tuning your ears to what needs to be done within reason.