Post production professionals haven’t been forgotten about either, with new features including Dialogue Isolate, De-Rustle and De-Wind. This has always been something we needed in classical orchestral recordings. I’m also really curious to try out the new ‘Composite View’, which I believe displays up to 16 tracks of audio in spectral view, so they can be edited together. The De-Esser is apparently their best De-Esser ever. I’m loving some of the new music related features in RX6, which include De-Bleed, Spectral De-Ess, De-Clip and De-Polsive. iZotope have recognised this trend of music professionals using RX, and have delivered new features inside RX6 for the music professional as well as the post houses.
IZOTOPE RX 6 REVIEW SOFTWARE
This is still very much the case today and I wouldn’t be surprised if collectively we spend more time inside software like RX, than we do applying EQ and compression. This happened just as the industry was changing, as less was being spent on the recording of projects, leaving the mixing and mastering engineers to ‘fix-it-in-the-mix’. Interestingly for me, I also feel like this technology improved to a useable level of quality just in time. RX3 was such a surprise when it arrived, that we all started using it in music production, even though it was intended as a post production tool. Earlier noise removal tools weren’t particularly effective or were quite destructive. I’ve been a regular user of RX, especially since version 3, which delivered a new level of high-quality results.
0 kommentar(er)
