iZotope iZotope RX 6 Advanced - Audio Restoration and Enhancement Software (Download)

iZotope RX 6 Advanced Kit with RME Babyface Pro 24-Channel Interface

iZotope RX 6 Advanced Kit with RME Babyface Pro 24-Channel Interface

B&H # IZRX6ABP (B&H Kit)
iZotope RX 6 Advanced Kit with RME Babyface Pro 24-Channel Interface

Kit includes:

iZotope iZotope RX 6 Advanced - Audio Restoration and Enhancement Software (Download) RME Babyface Pro 24-Channel 192 kHz USB Bus-Powered Audio Interface iZotope RX 6 Advanced Kit with RME Babyface Pro 24-Channel Interface

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Product Highlights

  • Software & Hardware for Audio Editing
  • Software for Repairing/Improving Audio
  • De-Wind, De-Rustle & De-Bleed Modules
  • Multiple-Track-Editing & De-Bleed Module
  • Spectral Repair, Discrete Voice Denoiser
  • De-Ess, Mouth De-Click, & Breath Control
  • For DAWs & NLEs in Mac OS X & Windows
  • 4 Analog I/O, TOSLINK I/O & MIDI I/O
  • +76 dB Gain, Adjustable in 1-dB Steps
  • 3.5mm and 6.3mm Headphone Outputs
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  • 1Description

Bundled together by B&H for your convenience, this iZotope RX 6 Advanced Kit provides you with tools for editing and repairing the minutiae of digital audio, as well as a high-quality interface for reproducing digital audio in the analog domain.

Packing in and building upon many modules of RX 5, RX 6 offers processing for the repair and improvement of audio. Is there an annoying siren messing up your voice-over recording? Eliminate it cleanly within iZotope's Spectral Editor with the Spectral Repair module. Also included are modules called De-Wind, De-Rustle, De-Bleed, De-Ess, Mouth De-Click, Breath Control, Vocal Denoise, Spectral Denoise, and more—all of which address issues represented conveniently in their respective names. RX 6 can address multiple tracks at once, allowing you to take out a troublesome problem affecting many microphones. Operable in standalone or as a plug-in in many popular Mac and Windows formats, this software is suitable for users of DAWs and NLEs alike.

The RME Babyface Pro 24-Channel Interface, on the other hand, provides four analog inputs, four analog outputs, TOSLINK I/O, MIDI I/O, +76 dB of gain in adjustable 1-dB steps, and more, as well as 3.5mm and 1/4" headphone jacks. This class-compliant unit is bus-powered over USB, and is crafted from aluminum for portability and durability. With the interface, you'll have means to route audio to and from your computer in a high-quality fashion. With the software, you can address and improve upon audio files.

  • iZotope iZotope RX 6 Advanced - Audio Restoration and Enhancement Software (Download)

    Available for download, RX 6 Advanced from iZotope is the latest update to their audio-repair software, which is considered a staple within the recording, mastering, and audio-for-video, post-production communities. The software can operate either as a standalone application or as a plug-in for both Mac- and Windows-based DAWs and NLEs. From fixing common audio problems like noises, distortions, and inconsistent recordings, to repairing severely damaged audio using Spectral Repair, the software can transform previously unusable audio into something usable.

    The RX 6 Advanced edition adds several important functions for professional workflows. Previous versions brought in EQ Match, Ambience Match, and De-plosive modules, but RX 6 Advanced goes further by adding De-rustle, De-wind, and De-ess modules, helping you make short work of wind-noise issues, lavalier rustling, and harsh sibilances respectively. Operations previously buried in the utilities have been given their own modules, while existing modules have been refurbished and, in a few cases, broken out into multiple process: Voice De-noise is now its own dedicated module, with separated optimization modes for dialogue and music; a new Mouth De-click module has been tailored to zoom in on—and promptly eradicate—those pesky mouth sounds that so many human beings find abhorrent in dialogue recordings.

    Also new to the RX Advanced workflow is the ability to edit multiple (up to 16)  tracks at once. This will make the process of editing that one cough out of a multi-miked, live classical recording all the more easy to accomplish. A De-bleed module is included, allowing you to reduce the leakage of errant audio; you can use this to eliminate headphone bleed, small amounts of cross bleed between mics, and even click tracks. Other new features include the ability to export MP3s, module list filters, and more.

    The Process tool works as it did in previous iterations, painting away audio problems on the spectrogram in one of several modes (attenuate, de-click, fade, gain, and replace), as does the Module Chain, which reduces the number of mouse clicks required for using a series of processes. Corrective EQ, De-clip, and other classic processes have been ported over, and, in a few cases, improved upon.

    More of these tools are now accessible as a plug-in; however, some processes are still only available in the standalone version, so RX Connect has been provided to use offline processes in conjunction with your DAW or NLE. This facilitates seamless transfers and keeps productivity flowing. Additional features include high-quality re-sampling and dithering, rebuilding distorted audio, batch processing, and more. A detailed spectrum analyzer detects peaks automatically and a suite of automatic, intelligent modules reduces manual tasks in the audio production workflow. RX 6 Advanced Audio Editor can be used as a standalone audio editor,  a standalone audio editor connected to your host via RX Connect, or a suite of plug-ins. 

    New Modules and Features

    The De-rustle module removes the noise or rustle generated when a lavalier microphone rubs or brushes against a person's clothing during a recording. Lav rustle can vary unpredictably over time, exhibiting a wide variety of sonic characteristics in the process (high-frequency "crackling" and low-frequency "thuds"); this module significantly ameliorates the problem.
    This module allows you to reduce—and sometimes remove—distracting wind noise from audio, addressing primarily the low-frequency rumble that occurs when intermittent bursts of wind come into contact with a microphone diaphragm.
    Dialogue Isolate
    The Dialogue Isolate module is designed to separate spoken dialogue from non-stationary background noise such as crowds, traffic, footsteps, weather, and more. It is suitable for increasing the level of dialogue in challenging low signal-to-noise-ratio conditions.
    Composite View
    Composite View allows you to edit and apply processing to 16 individual audio tracks as if they were one, easily addressing audio issues that appear across multiple microphones. The Composite View feature in the RX Audio Editor combines all active tabs into one "Composite" tab that allows you to apply the same processing to multiple files simultaneously. Composite View can be used to increase expediency when performing repetitive spectral-editing functions. This makes it particularly useful when making repairs in recording situations with multiple microphones or repairs to multichannel files.
    Working across multiple tracks, the De-bleed module reduces the leakage of one signal into another. De-bleed can help reduce or eliminate bleed from headphones, click tracks, multiple mics with small amounts of cross bleed, and even some drum bleed issues.
    The De-ess audio plug-in and module in iZotope RX 6 attenuates or reduces sibilance—the harsh high-frequency sounds that come from S, F, X, SH, and soft C sounds. Two modes for handling sibilance are provided: Classic Mode detects sibilants and attenuates them with a broadband gain envelope. Spectral Mode is more transparent, intelligent, and frequency-specific than Classic Mode. Spectral Mode only attenuates the high frequencies where sibilance is most active, leaving the lower frequencies untouched.
    Mouth De-Click
    The Mouth De-click module has been finely tuned to detect and reduce mouth noises such as clicks and lip smacks—many a listener's worst nightmare. It's designed for use on longer audio selections, but it can be used to remove individual clicks.
    Breath Control
    The Breath Control module intelligently detects breaths in dialogue or vocal recordings and suppresses them. Removing and reducing breaths in recordings can be a time-consuming process for dialogue editors and music producers alike. Breath Control can help reduce the time spent on repetitive editing without sacrificing audio quality.
    MP3 Export
    RX 6 supports exporting files in MP3 format. Constant bit rate, average bit rate, and variable bit rate are supported with bit rates up to 320 kbps.
    Module List Filters
    The Module List in iZotope RX has been redesigned to group features under the following categories: Repair, Utility, and Measurement. The Module List now features the ability to save custom views as presets, so you can quickly access modules you use the most.
    Voice De-Noiser (Improved)
    Improving on the earlier Dialogue De-noise tab in the overall De-noise module, the newly separated, zero-latency Voice De-noise has been designed to focus on dialogue and sung vocal treatment. Voice De-noise has an Adaptive mode that can adjust to a changing noise floor in real time, making it ideal for dialogue stem set-and-forget denoising. Also added are optimization modes for dialogue and music. When optimized for music, Voice De-noise excels at attenuating unwanted background noise—like from an air conditioner—and street noise from sung vocals in apartment-recording situations.

    General Features

    Improvements over Previous Versions
    • Improvements made to De-click, Deconstruct, De-plosive, and Ambience Match modules
    • Improvements made to Center Extract and Find Similar processes 
    Key Features at a Glance
    • De-plosive eliminates every plosive from any dialogue track with transparency
    • Leveler smooths any volume inconsistencies with an automatic clip-gain envelope; leveler optimized for dialogue using intelligent de-breath and de-ess algorithms
    • Instant Process tool is a one-click eraser for removing unwanted coughs, scene-interrupting sirens, and more
    • Module Chain can process multiple modules at once, save your customized chains as presets, and execute them all with a single click, enhancing workflow and reducing mouse clicks
    • Sync and integrate the RX Audio Editor with any DAW or NLE timeline using RX Connect
    • Pro Tools support for clip-by-clip and handles, which preserves the boundaries of clips, allowing for simpler conformation to future picture changes
    • Corrective EQ for removing harsh high frequencies, whines, rumbles, resonances, and distortion artifacts, and for accurately honing in on any problem-frequency areas
    • Sixty problem-oriented presets across several modules
    • Signal Generator creates accurate test tones, calibration tones for post-production delivery specs, and "bleep" tones for eliminating obscenities in dialogue
    • Markers and regions (search) provide greater flexibility for those longer edits, with the ability to perform text-based searches of any markers, regions, and comments in the metadata of the audio
    • Turn flawed audio into usable material by removing noises, distortions, and more
    • Edit audio with visual editing techniques using precision drawing tools, such as a brush and magic wand
    • Salvage unusable material by filling in audio gaps instantly with Spectral Repair
    • Seamlessly integrates with audio- or video-editing software, both as a standalone application or plug-in
    • EQ Match allows for quickly learning the EQ of a source audio clip and applying that EQ curve to a target audio clip, enabling sonic balance and smooth transitions between multiple audio sources with different EQ qualities
    • Ambience Match for matching the environment noise of two different audio recordings
    • Learn the ambient noise from a source audio clip and apply it to another audio clip, and create long sections of constant ambient noise to insert under inconsistent dialogue recordings
    • Loudness module processes whole program mixes or segments to comply with international industry standards, ensuring mixes never fail network specifications
    • High-quality resampling using the SRC sample-rate conversion algorithm
    • Reduce bit resolution for final delivery of a project without sacrificing quality with the MBIT+ dither algorithm
    • Rebuild distorted audio caused by analog and digital overload, and get through projects faster with the automatic Suggest feature
    • Spectrum Analyzer delivers a detailed spectral display that detects peaks automatically
    • Adaptive Hum Removal notches out fundamental hum frequencies that may change over time, like when recording a shot in multiple locations
    • Non-destructive Clip Gain allows for easily adjusting and balancing the volume of vocals and instrumentals
    • Export marker regions as files
    • Metadata display (see ID3 tags and broadcast WAV metadata like source timecode, etc.)
    • Time-reverse audio
    • Updated timeline ruler that displays original recorded source timecode
    • Movable tabs
    • Full-screen support for Mac
  • RME Babyface Pro 24-Channel 192 kHz USB Bus-Powered Audio Interface

    The RME Babyface Pro 24-Channel 192 kHz USB Bus-Powered Audio Interface is designed for a wide variety of studio and live recording applications. Expertly crafted from a block of aluminum, this portable interface features a new XLR socket that integrates seamlessly into the housing. Parallel 6.3mm TRS and 3.5mm mini headphone jacks feature separate driver stages to match low and high impedance headphones.

    The interface ships with the company's TotalMix FX, a software mixer available for Windows, Mac OS X and iOS on an iPad. When using the device with an iPad, an external power adapter must be used, as the iPad alone is unable to power the interface. The mixer software allows you to use the interface in a wide variety of situations, from simple mixing of signals to more complicated routing configurations.

    The unit's FPGA-based DSP mixer adds a flexible 3-band parametric equalizer on all inputs and outputs. Combined with the unit's low latency AD/DA converters and the company's unique SteadyClock technology to reduce jitter, the interface offers a professional recording solution in a compact form factor.

    FPGA Chip
    Uses a field-programmable gate array (FPGA) which enables flexible DSP processing
    Class Compliant
    Enables native support by operating systems such as Windows, Mac OS X, Linux, and hardware like Apple's iPad, without the need for proprietary drivers
    Uses a highly efficient jitter reduction circuit to allow the converters to operate as if they were working with an internal clock at all times
    TotalMix FX
    Provides fully flexible mixing/routing for both studio and live applications via the company's hardware mixer
  • iZotope iZotope RX 6 Advanced - Audio Restoration and Enhancement Software (Download)
    System Requirements Mac
    OS X 10.8.5 to 10.12
    Host software that supports AAX Native (64-bit), Audio Units (32-/64-bit), AudioSuite DPM, RTAS (32-bit), or VST2 (32-/64-bit) plug-in formats

    Windows 7, 8, 10
    Host software that supports AAX Native (64-bit), AudioSuite DPM, RTAS (32-bit), or VST2 (32-/64-bit) plug-in formats
  • RME Babyface Pro 24-Channel 192 kHz USB Bus-Powered Audio Interface
    Connectivity 12x input channels
    12x output channels
    4x analog inputs (mic, line, instrument)
    4x analog outputs (2x XLR, 2x phones)
    1x ADAT I/O or 1x SPDIF I/O optical
    1x MIDI I/O
    1x USB 2.0 (USB 3 compatible)
    Digital gain control on all inputs
    Separate outputs for high and low impedance headphones
    Microphone/Line Input AD, Microphone/Line Inputs 1-2
    Input: XLR, electronically balanced
    Input Impedance Balanced: 2 kOhm, 5.2 kOhm with PAD
    Input Impedance Unbalanced: 1 kOhm, 2.6 kOhm with PAD
    Signal to Noise Ratio (SNR): 113 dB RMS unweighted, 116 dBA
    Frequency Response @ 44.1 kHz, -0.1 dB: 18 Hz - 20.8 kHz
    Frequency Response @ 96 kHz, -0.5 dB: 7 Hz - 45.8 kHz
    Frequency Response @ 192 kHz, -1 dB: 5 Hz - 92 kHz
    With PAD Active: -0.1 dB 8 Hz, -0.5 dB < 4 Hz, -1 dB < 3 Hz
    THD: < -110 dB, < 0.00032 %
    THD+N: < -104 dB, < 0.00063 %
    THD @ 30 dB Gain: < -107 dB, < 0.0004 %
    THD+N @ 30 dB Gain: < -100 dB, < 0.001 %
    Channel Separation: > 110 dB
    Gain Range: -11 dB up to +65 dB
    Maximum Input Level XLR, Gain 0 dB: +8 dBu, PAD +19 dBu
    Maximum Input Level XLR, Gain 65 dB: -57 dBu, PAD -46 dBu
    Line Input Line/Instrument IN 3-4 as Microphone/Line 1-2, but:
    Input: 6.3 mm TS jack, unbalanced
    Input impedance: 470 kOhm
    Signal to Noise Ratio (SNR): 114 dB RMS unweighted, 117 dBA
    Frequency Response @ 44.1 kHz, -0.1 dB: 5 Hz - 20.8 kHz
    Frequency Response @ 96 kHz, -0.5 dB: < 3 Hz - 45.8 kHz
    Frequency Response @ 192 kHz, -1 dB: < 2 Hz - 92 kHz
    Maximum Input Level @+4 dBu, Gain 0 dB: +13 dBu
    Maximum Input Level @-10 dBV, Gain 9 dB: -5 dBu
    Line Out 1-2
    Dynamic Range (DR): 115 dB RMS unweighted, 118 dBA
    Frequency Response @ 44.1 kHz, -0.5 dB: 0 Hz - 20.8 kHz
    Frequency Response @ 96 kHz, -0.5 dB: 0 Hz - 45 kHz
    Frequency Response @ 192 kHz, -1 dB: 0 Hz - 89 kHz
    THD: - 106 dB, 0.0005 %
    THD+N: -102 dB, 0.0008 %
    Channel Separation: > 110 dB
    Output: XLR balanced
    Output Impedance: 300 Ohm balanced, 150 Ohm unbalanced
    Output Level @ 0 dBFS: Balanced +19 dBu, unbalanced +13 dBu
    DC @ 0dBFS: 6.35 mm 4.8 V, 3.5 mm 2.4 V, XLR bal. 9.6V
    Headphone Out As DA Line Out, but:
    Output: 6.3 mm TRS jack, unbalanced
    Output Impedance: 10 Ohm
    Output Level at 0 dBFS, 1 kOhm load: +13 dBu
    Max Power @ 0.1% THD: 50 mW
    Output: 3.5 mm TRS jack, unbalanced
    Output Impedance: 2 Ohm
    Output Level at 0 dBFS, 1 kOhm load: +7 dBu
    Max Power @ 0.1% THD: 70 mW
    MIDI 1x MIDI I/O via breakout cable with 2 x 5-pin DIN jacks
    Galvanically isolated by opto-coupled input
    Hi-speed Mode: Jitter and response time typically below 1 ms
    Separate 128 byte FIFOs for input and output
    Digital AD/DA Performance
    Digital Clocks: Internal, ADAT In, SPDIF In
    Low Jitter Design: < 1 ns in PLL mode, all inputs
    Internal clock: 800 ps Jitter, Random Spread Spectrum
    Jitter suppression of external clocks: > 50 dB (2.4 kHz)
    Effective clock jitter influence on AD and DA conversion: near zero
    PLL ensures zero dropout, even at more than 100 ns jitter
    Digital Bitclock PLL for trouble-free varispeed ADAT operation
    Supported sample rates: 28 kHz up to 200 kHz
    Digital Inputs
    Standard: 8 channels 24 bit, up to 48 kHz
    Double Speed (S/MUX): 4 channels 24 bit 96 kHz
    Quad Speed (S/MUX4) : 2 channels 24 bit 192 kHz
    Bitclock PLL ensures perfect synchronization even in varispeed operation
    Lock Range: 31.5 to 50 kHz
    Jitter when synced to input signal: < 1 ns
    Jitter suppression: > 50 dB (2.4 kHz)
    SPDIF 1x optical, according to IEC 60958
    Accepts Consumer and Professional format
    Lock Range: 27 to 200 kHz
    Jitter when synced to input signal: < 1 ns
    Jitter suppression: > 50 dB (2.4 kHz)
    Digital Outputs
    Standard: 8 channels 24 bit, up to 48 kHz
    Double Speed (S/MUX): 4 channels 24 bit 96 kHz
    Quad Speed (S/MUX4) : 2 channels 24 bit 192 kHz
    SPDIF 1x optical, according to IEC 60958
    Format Consumer (SPDIF) according to IEC 60958
    Sample rate 28 kHz up to 200 kHz
    Power Supply USB or external
    Power Consumption Typical: 2.9 W
    Max: 4.6 W
    Current At 5 V bus power operation: 600 mA (2.9 W)
    At 12 V external power: 240 mA (2.9 W)
    Temperature Range 41 to 122°F (+5 to +50ºC)
    Relative Humidity <75% non condensing
    Dimensions 4.25 x 1.40 x 7.10" (108 x 35 x 181 mm)
    Weight 1.5 lb (680 g)
    Packaging Infofcecqvbtawyusydcfvfbsdtzvzwdacuff
    Box Dimensions (LxWxH) 11.575 x 6.221 x 3.307"
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