Streaming Media

Streaming Media on Facebook Streaming Media on Twitter Streaming Media on LinkedIn

iZotope RX 3 vs. Adobe Audition, Part 1: Declipping and Crackle-and-Pop Removal--UPDATED with iZotope Tutorial!

In this first installment of a two-part series, Jan Ozer compares the declipping and crackle and pop-removal features in iZotope's new RX 3 pro audio editor to the parallel features in Adobe Audition CC.

Declicking/Manual Pop-and-Click Removal

Declicking is an automated function designed to remove periodic clicks typically created during analog-to-digital conversion. Manual pop-and-click removal removes more dramatic noises that aren’t addressed by the automated function, which can be noises from adjusting controls on the camera body, or random recording or other noises from the location. Audition calls manual pop-and-click removal Auto Heal, while iZotope calls this Spectral Repair.

I tested declicking on a file recorded on audio cassette, which has lots of tiny A-to-D clicks and several major pops. Both programs offer a declicking function; iZotope’s was more powerful and more functional. Specifically, working with controls like Clip widening and Frequency skew, I was able to configure the program to remove all but the most severe audible clicks, which potentially could save a lot of time on longer jobs.

I was confident that the automated function didn’t remove the speech I was attempting to preserve because iZotope offers a Clicks-only preview, shown in Figure 2 (below). This is similar to the “output noise only” option offered by many noise reduction filters, where you can hear only the audio being removed. Since I heard only pops and clicks when previewing in this mode in RX 3, I knew I wasn’t removing any speech. Audition doesn’t have a similar function, though it does show you the timecode of the problem areas.

Figure 2. iZotope’s Declicker function in Click-only mode, showing the clicks being removed. (Click on the image to see a full-rez version of the screenshot.)

Neither program’s Declick function removed the most noticeable clicks in the audio file, which I had to pursue manually. Some of the clicks sit alone in the waveform, like the small bump near the start of the file in Figure 3 (below). These were easy pickings for both programs. The harder pops to eliminate were those integrated into the actual speech, as you can see most noticeably in the largest chunk that’s second from the extreme right. These are tough because the program has to eliminate the pop and fill in the gap with audio consistent with the remaining audio.

Figure 3. Notice the pops in the last two waveform humps. These were the tough ones. (Click on the image above to see a full-rez version of the screenshot.)

Related Articles
Exploring 3 new key features in Audition CC, the newest version of Adobe's professional audio editing application: Sound Removal for eliminating hums and other variable-frequency unwanted noises, the Loudness Radar Meter for matching and adhering to broadcast volume standards, and Automatic Speech Alignment for ADR.
In this final round between audio editing champs iZotope RX 3 and Adobe Audition CC, we compare the two audio editors in noise reduction and reverb/echo reduction.
Recent upgrades to Adobe CC make it easy to apply graded looks in Adobe Premiere Pro CC and match shots with different color temperatures via seamless roundtripping between Premiere Pro CC and SpeedGrade CC.
This tutorial demonstrates how to apply an effect to a portion of a video image while leaving the rest of the clip untouched, and how to track that portion of the image throughout the duration of the clip, using the Track Matte effect in Adobe Premiere Pro CC.
This video tutorial demonstrates how to use and leverage 3 key new features in Adobe Media Encoder CC: Lumetri Looks support, and image, text, and timecode overlay.
This video tutorial demonstrates how to restore muffled sections of spoken audio using the Multiband Compressor in Adobe Premiere Pro CC or Adobe Audition.
We've all had the misfortune of recording clipped, distorted audio from a signal that's too hot, resulting in time-consuming retakes or total disaster if the audio is from a live event. The Declip feature in iZotope RX3 can reduce that disaster to a quick and easy fix.
Here are three quick tips that will streamline your titling workflow in Premiere Pro when you create styles you like and want to use them consistently without reinventing them each time.
In this tutorial, we'll look at how to create screencams with TechSmith Camtasia, and then import them into Adobe Premiere Pro to incorporate them into your existing Premiere Pro projects to create professional-quality instructional videos that seamlessly combine screencams and HD footage.
iShowU, a Mac-based screencam app from, is quick, easy-to-use, and inexpensive; here's a look at how to use it to produce pro screencams that you can import into Adobe Premiere Pro CC to integrate into your video projects.
While After Effects may be daunting for some Premiere Pro editors, here is an easy-to-follow workflow that can enliven your text and titles with pre-built animations found in Adobe Bridge, applied in a few simple steps in After Effects, and imported directly into your Premiere Pro timeline.
Today Adobe announced updates to all Creative Cloud video apps that will debut at NAB. Here are details on the updates, plus a video tutorial on four key new features in Premiere Pro CC: Master Clips, Live Text, Masking and Tracking, and new 4K format support.
This tutorial demonstrates how to use an After Effects alpha matte to make your video "shine through" your text.
Key features of new versions include Clip Gain, Dialogue Denoiser, and roundtrip workflow with Pro Tools and Logic
This tutorial demonstrates Adobe Audition's Remix feature, which allows you to shorten the length of a music track to match the duration of your video edit.