3/9/2023 0 Comments Rx denoiseWhen I finally watched it back, it looked so odd and unnatural that I can only describe it as an “out of body” experience for the actors talking in the scene. I was so focused on getting the dialog clean that I was not paying attention to the action on the screen. During the mix, I removed all of the outdoor city and traffic noise to get the dialog nice and clear. All of the on-camera dialog came from the actors on the street outside of the pharmacy. The best example happened on a recent set of Health Mart Pharmacy TV commercials I was working on. I get so focused on the task at hand that I can forget how important my eyes are when mixing. I sometimes have a bad habit of not looking at my video reference as I am mixing and cleaning up dialog. Here is the difference, and why it is so important: I have been in many situations where the dialog is difficult to hear, but if I eliminate too much (or in rare cases any amount) of the background noise it seems completely unnatural when watching the video. By running the dialog track through RX Final Mix, I was able to dynamically EQ the dialog for clarity rather than for noise removal. However, it was the kind of background walla that is not necessarily the best candidate to use RX 4’s Dialogue Denoiser or Denoise on. The musicians were talking and their lines were buried in the background noise. I had a hard time pulling the dialog out of a scene where there was a large party happening. The program I was mixing was for Vice’s latest channel called Noisey, a channel dedicated to music programming. I was anxious to see how well RX Final Mix would handle the age-old problem of improving clarity on dialog tracks. Anyone familiar with news reporting in the field, reality shows and the like, knows how difficult the production sound is to mix. One thing Vice is known for is their “run-and-gun” or “guerrilla-style” news reports from all corners of the world. So, one of the first things I used RX Final Mix on was troublesome production dialog for a project I was working on for Vice Media. RX Final Mix has been developed specifically for audio post production. Plug-in formats are Audiosuite DPM and AAX RTAS 32-bit AAX 64-bit AU VST2 and VST3 32-/64-bit, and it is compatible with many popular programs, such as Pro Tools 10-12, Nuendo 6.5, Premiere Pro CC 20, and Logic X. Like the RX 4 Bundles, RX Final Mix is available for Mac OS X 10.7 or later and Windows 7 or later. I think the best comparison I can make is that it is similar to a de-esser, but on steroids. It has six independent threshold settings on each of the frequency bands that can trigger at different rates - or not at all - across the entire frequency range of your program material. It is basically a dynamic EQ or a “smart” EQ that reacts to your program material by using intelligent DSP. RX Final Mix is unlike anything I have ever used before, and from what I can tell it has carved out its own niche in the audio plug-in market. RX Final Mix can be used on a single audio track as part of a mix, on stems or sub-groups of tracks and, of course, across the master fader on the audio mix as a whole. iZotope offers the Ozone 6 mastering system for just that purpose. RX Final Mix does a lot more than just improve a final mix as a last step, like a mastering plug-in. IZotope has expanded their successful line of RX products with their latest plug-in called RX Final Mix.
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