Gear / Technical Help > Post-Processing, Computer / Streaming / Internet Devices & Related Activity
iZotope Rx 7
colargol:
Does anyone have any experience with the Rx 7? Are those features they promote usable for enhancing a stereo music recording, or is it marketing mumbo jumbo (I sure hope it's not) ?
Fatah Ruark (aka MIKE B):
Definitely a cool program. I wouldn't say it's a must have for tapers, but I don't think I've had the opportunity to use everything.
I need to find some old masters where I can try the De-wind and De-rustle plugins.
For RX7 the Music Re-balance tool is freaking amazing. No use for it for us, but it's fun to play with.
voltronic:
--- Quote from: Fatah Ruark (aka MIKE B) on September 28, 2018, 12:25:38 PM ---Definitely a cool program. I wouldn't say it's a must have for tapers, but I don't think I've had the opportunity to use everything.
I need to find some old masters where I can try the De-wind and De-rustle plugins.
For RX7 the Music Re-balance tool is freaking amazing. No use for it for us, but it's fun to play with.
--- End quote ---
I want to try the demo and apply Music Rebalance to some commercial recordings I have where the vocal is WAY too loud in the mix.
nassau73:
The recordings I work with are simple 2 channel stereo concert recordings from either AT933 cards or hyper caps or audio reality binaurals.
Until recently, I’ve been using Audition 3.0
A few months ago I bought Izotope RX 7 standard as an adjunct. I’m still a neophyte as far as using all the capabilities of both Audition and Izotope – but – here’s what I’m finding about RX 7.
The promo videos constantly highlight music rebalance and music repair assistant features.
Honestly, for the type of recordings I have, these haven’t been as helpful as of yet.
What I HAVE found helpful are:
Clip Gain – although available pretty closely in Audacity, it’s been very easy to use to boost artist banter in between songs.
De –Click – probably the most outrageous module I’ve ever used to eliminate or drastically reduce clapping from people sitting close by. Select output clicks only and slide the choices up and down til you only hear the claps. Deselect output clicks only and render and the claps are almost totally gone or diminished so much that if you listen in headphones, they no longer bother you.
De Reverb – A subtle touch is required here, but for my recordings that had a bit of echo off the walls of the venue, this has helped to bring the audio of the instruments and vocals a bit more up front.
Spectral Repair – I’ve been learning to rely on the spectrogram views. For me, this is proving to be extremely helpful to reduce or eliminate those loud whistles that some audience folks insist on doing at various times. While both Audition and Audacity give good spectrogram views, RX 7 allows you to vary colors and level views so you can really see and highlight the offending noises. Then you can attenuate or replace from adjacent area. For me – great because I like to listen back to my recordings in headphones.
Spectral De Noise – I’ve only used this once so far. In one of my concert recordings, the artist wandered off stage and played his electric guitar off amp and sang without any amplification. The recording was extremely quiet and had hiss in the background. I was able to highlight the small bit of hiss/silence and get rid of it without (to me) any noticeable change in the audio I wanted to hear.
OK – so that’s what I’ve found really helpful in RX 7 standard.
On the negative side, the Equalizer leaves a lot to be desired. You get to use the EQ with some really nice features but to see your waveform, you need to open a separate window.
In RX 7 standard, there are no compressors or limiters included. RX 7 installs in both 32 and 64 bit. I’ve been choosing to use the 64 bit version. In 32 bit, I could include all the Audition VST plugins but they are all 32 bit. So instead, I installed the Tokyo Rose Koltenikov 64 bit compressor as well as the Loud Max 64 bit limiter.
That leaves the poor EQ choice.
I ended up buying the Ozone 8 elements plugin. This allowed me to see changes in the waveform in the same window as the equalizer. In addition, you can control very easily the audio you balance and hear in both channels equally. I can’t explain this easily – watch a video or download a demo to see what I’m talking about.
All this being said – I’m finding that I can both screw up or improve my recordings based on how much fiddling I do.
Again, keep in mind this review is what I’ve found helpful for 2 channel concert recordings that I’m trying to enhance or fix. There are other features that apply to multi-channel recordings that don’t apply to my usage.
EmRR:
--- Quote from: Fatah Ruark (aka MIKE B) on September 28, 2018, 12:25:38 PM ---For RX7 the Music Re-balance tool is freaking amazing. No use for it for us, but it's fun to play with.
--- End quote ---
Since I've had it, I've pulled many a buried vocal up out of an audience recording with great success, pulled bass up to match kick drum, bass down to match rest of band, drums down to match rest of band. On the right sort of source, you can turn the bass player OFF like there isn't one at all, without it touching the kick drum. Total lifesaver with stealth recordings, poor rooms, poor PA, poor soundguy.
Navigation
[0] Message Index
[#] Next page
[*] Previous page
Go to full version