Ultimately, though, it’s great to see iZotope understanding the diverse requirements of noise reduction, and how one tool might not be ideal for every application.Īudio Hygiene Beyond these key new features, though, there’s plenty of depth to RX 3, some of which is present from earlier version, but also a host of new additional workflow improvements. Of course, for more challenging noise problems across a wide range of audio sources, the Denoiser is probably the better choice of module to use. As the band positioning is optimized for dialogue, the results are quick and effective, making the Dialogue Denoiser a great tool for dialogue mixing in post production. One of the principle differences between the two modules is the amount of frequency bands used – 64 bands instead of the thousands used for FFT-based noise reduction – which arguably results in a reduction of bell-like artefacts, and also means that the module can run with zero latency. The Dialogue Denoiser uses a similar form of noise reduction technology to the Denoiser modules, but is optimized specifically for the task of dialogue removal. As with all audio restoration tasks, it works best when the Dereverb modules is given a slice of audio so that it can ‘Learn’ characteristics from (in the this case, a portion of audio with discernable direct and reverberant elements), but even with a relatively reverb-heavy sound file, the module performed an admirable job, even if it was just to tame the reverb.Īlthough RX 3 comes with a highly effective Denoise module, it’s also interesting to note the addition of a new Dialogue Denoiser. The Dereverb module can perform the seemingly impossible task of reverb removal, offering the ability to attenuate or enhance the reverberant components of a signal. Reverb Killer Some of the biggest interest in RX 3 stems from its new modules – most notably the Dereverb and the all-new Dialogue Denoiser. While this approach isn’t completely unique, it’s clear that RX 3 has been built from ground-up with this functionality in mind, making audio editing akin to picture editing in Photoshop. Rather than just highlighting the audio over a given time-frame, therefore, you can use a variety of selection tools to grab just a part of the frequency spectrum across the whole audio file, for example, or ‘magic wand’ a specific harmonic, or number of harmonics, within a given sound. One of the key qualities of RX 3 is its ability to select audio in both time and frequency-based domains, which explains why the spectral display is so important to RX 3’s operation. The RX 3 environment is designed specifically for the task of audio restoration, with a prominent Spectrogram/Waveform display alongside various modules found along the right-hand side of the interface. While the plug-ins are a welcome addition for those not wanting to leave the comfort of their DAW, there’s little doubt that RX 3 really shines when you’re using it as an application.
#BATCH PROCESSING IZOTOPE RX 6 IN PRO TOOLS SERIES#
Third Generation RX 3 works as both a standalone application and as a series of plug-ins covering many of its principle repair functions. In short, RX is a veritable swiss-army knife of audio restoration, which is why the latest version – RX 3 – has garnered plenty of interesting in post production circles. RX’s strength is in the diversity of tools it offers, making it suitable not just for vinyl restoration (using the familiar click and crackle removal algorithms) but also a range of audio restoration activities, including de-clipping and spectral repair. Alongside solutions from Cedar and Sonnox, iZotope’s RX has received plenty of praise over the years for its audio restoration abilities.
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