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I came across a new product, VoiceGate from Accentize. The name is misnomer: it's not a gate, but a NN-driven dialog v noise separator. Same category as iZotope's Dialog Isolate module, and Audionamix' IDC, but with some major differences. Runs very efficiently as a channel insert plug-in, or in an offline window. They've been fine-tuning the beta - and I've found them very flexible at taking user suggestions (plus adding features I hadn't thought of). Should be shipping in a week or so. I just posted a hands-on of the beta with before/after audio samples, in a thread at Geekslutz. Worth knowing about. (Just don't tell any DPs... or else it'll be one more reason for them to say "Don't worry about dialog during production because there's a new magic plug-in." (It ain't magic. But I'm adding it to my arsenal that already includes Rx7Adv and IDC, because it's a useful tool. 😉)
Hi all,I wanted to share a new mixing plug-in we've created for the post production world! It's called RX Final Mix, includes an EQ with both Static and Dynamic functionality and a 7.1 surround True Peak Limiter and runs right within your NLE or DAW as an AAX, RTAS, AU or VST plug-in.RX Final Mix is designed to be utilized on your stem tracks, and your master bus if desired! The limiter is designed to be transparent: it analyzes the incoming source material and uses a psycho-acoustically pleasing algorithm that reacts quickly to transients and reacts more slowly to lower frequency and steady tones; it is optimized to preserve transients and present them in a sharp, clear way, even when aggressive limiting is being applied. The Dynamic EQ is designed to help carve out space for important things like dialogue, as well as add impact and power to effects, music, etc. Each EQ node can be set to either Dynamic or Static, and in Dynamic mode, the EQ responds and adapts to the incoming audio signal so that it only touches your audio when it needs to; transparency is key here! The shape and depth of the EQ curve will change and adapt in response to the audio it’s adjusting so that it can respond differently to, for example, a gunshot, dialogue ess reduction, and an LFE burst.To see how RX Final Mix can help you craft better sounding mixes, download the free 10 day trial: https://www.izotope.com/en/products/pos ... final-mix/Let me know if you have any questions!Best,-Evan
Dear all, I’ve recorded some tracks in double MS and wandered if anyone has ever attempted to use the rear and fig-of-8 channels to increase (in post) the lateral and rear rejection of the front mic. The end result would be a super-directional mono (virtual) mic. This would be useful to adjust in post tracks recorded in uncontrolled environments, e.g. documentary setting, direct cinema style, no time to change mics or lav people. Is the idea making sense at all? If it is, any suggestion to make it work? My set up was a CMIT (front), CCM41 (rear), and CCM8 (Fig-of- inside a Cinela PIA-3, recorded on a Nomad with the three inputs with identical fader and trim settings, no compressor/limiter involved. The typical track: a quiet river surrounded by open fields, a man bathing 3m in front, an engine 100m in the back, kids babbling on the sides from various distances. The three channels are quite contrasted but the front mic still got too much engine and kids. The goal is to get a mono track with the kids, and more importantly the engine, attenuated. I played around with Schoeps' DMS plugin. http://www.schoeps.de/en/products/dms_plugin/overview The displayed polar patterns suggests that I could achieve complete rejection of rear and attenuation of side with some settings and using only the center channel (from DMS decoded as 5.1). But the actual result is unimpressive and there is some distorsion if I push it too far. So, what’s your take on this?