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RX 4


jozzafunk
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I have it. Had to watch some YouTube videos to understand how it works differently than RX3, but once that was figured out, no problem going to and from ProTools. It does have some great new features that are pretty cool. Ambiance match and EQ match are actually pretty sweet. I work on a lot of bad TV audio from all over and Izotope RX4 is a great tool to have. Money well spent.

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I made the upgrade the upgrade from RX3 ADV to RX4 ADV just in time to use on DX editing for a feature this past week and... WOW! I agree with tombackus that I had to crack open the manual to understand the new RX Connect (roundtrip from Pro Tools to RX4 standalone).  Took me a little while to get into the rhythm, but find it is actually more intuitive vs using individual audiosuite windows.

 

I found the Ambience match super helpful, but mainly used it to create nice long roomtone for a handful of scenes where the BG dropped away between setups.  Basically found a section of tone, used the "Send as Reference function," then made an empty selection on a track where I want roomtone to go, which I send roundtrip.  Once inside RX, I used the Ambience "Learn" button to mull up a spectrogram of the tone, remove any clicks, pops, bangs, then "Render" it to the empty selection in Pro Tools.  When you complete the roundtrip, I then had very usable tone!  I used it for 5 or 6 scenes?  That alone sold me.

 

I haven't used it yet, but also see the "Make my file level-legal" as mentioned by Phillip, but see that being a nice QC check when television picks up later this year.

 

Thumbs up from me.

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I found the Ambience match super helpful, but mainly used it to create nice long roomtone for a handful of scenes 

 

 

 

 

Have you tried the hack of using a convolving reverb to generate room tone, using a short piece of actual tone harvested from a handle for the sample, and white noise as the input? I've been amazed how well that works...

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I bought the RX4 Advanced upgrade yesterday afternoon, and just used it on a piece of very troublesome ADR in a documentary*. The kind of thing where the producer keeps on coming back and saying "these new adlibs in a studio just don't sound exactly like the subject's at-home interview adlibs from two years ago"...

 

I haven't messed  with the automatic roundtrip feature yet, so I just exported an AIFF with original / new / original and opened it in the RX app. 

 

The interface (at least for eq match and ambience match) is super-intuitive. Much simpler than anything in RX2 or RX3. Didn't even have to look at a help file or popup. Select the model, have the software learn it, select the target, press "go". Eq seemed to nail it on the first pass. Ambience was just a hair low compared to the production sound, so I undid and tweaked a slider: now it matched.

 

All I had to do, once it was back in my DAW, was add a convolution reverb to the ADR that was something similar to the back porch where the interview was originally shot.

 

I'm sold.

 

---

* Um, ADR in a documentary? Adding new staged adlibs to the old on-camera adlibs, for just a couple of seconds, covered with old b-roll? Things sure have changed since I went to film school.

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  • 2 weeks later...

Hi All,

 

Any help Appreciated..

 

Importing, using three, different methods of  Zaxcom generated, mirror card wav files, with multiple (2-5) tracks to RX4 ADV gives this error "​(Invalid channel count:0x2)."  File does not open, after hovering over RX4ADV with Green and White "+"

 

Same audio files open, with all tracks in RCX and Resolve.

 

Thank you very much

 

Fury

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Does Izotope even claim that RX opens poly?

 

It -does- have pretty good options for saving setups, if you don't mind splitting and processing separately. Or are you doing something time-dependent and want to have all the channels processed simultaneously.

 

--

 

FWIW I used RX4 advanced's automatic DAW roundtrip again yesterday, on some "can I use these?" tests for a docy producer. What a timesaver!

 

One of the tests was 'can I make this vo from my iPhone's mic, in an untreated room, at least be cuttable with the boom shots?'... RX pulled down the reverb, lowered the noise, and attempted to match the eq. It's far from perfect -- you can still tell the difference between a 25c electret and a boom -- but usable.

 

Another was on the deck of a boat during a whale watch. When I listened to the clip at my desk, I was sure it would need subtitles. RX made it intelligible (though a little artifact-ish). If the sequence makes it to the film, I might try some Zynaptiq's Unchirp on it after RX.

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Hello Mr. Rose,

 

Thank you for your considered opinion.  

 

Sadly, no poly claim, but Fury would have hoped that the tracks would be, at least, truncated.  Could you please describe the best workflow for doing this, with say:

 

1)  Solely using the Boom Track or the Mix track

 

2)  Splitting and processing say 5 tracks, ingesting in pairs, and then relinking/assembling, after all are leveled for example.

 

3)  Taking the tracks that populate in CineX or Resolve out for RXADV processing and reingesting

 

Time code synching of 50 clips is in place, through RCX

 

Thank you very much

 

Fury

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Could you please describe the best workflow for doing this, with say:

1)  Solely using the Boom Track or the Mix track...

 

That part's easy: split the tracks in the DAW, or even in something like Sound Grinder. But I'm not sure why you're doing this. I would think a more standard workflow would be to cut and split the dialog - deciding boom v mix as appropriate - and then not doing any processing until you're ready to mix. 

Or are you planning to run an entire day's shooting through RX before delivering it to the production?

 

The other workflows? Why not drop a note to Izotope? I'm just a user.

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Yeah, as far as I know, iZotope RX has always been just a 2-track or mono device -- no polys per se. I would be wary of trying a "one size fits all" noise reduction setting on several tracks, because in truth you have to optimize each track by itself. As Jay says above this is better as a post process, not for applying to all material 100% of the time.

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Got the upgrade. Use it every day. Love it. Oddly enough, still haven't really explored the things that are new since RX3 Advanced, so I can't actually say whether the upgrade improvements are truly worth that much more than the functionality in RX3. However, RX is such an indispensable part of my workflow that I suspect the new features will come in handy at some point. I don't feel too "splurgy" for springing for the upgrade. 

 

Izotope's Ozone has a feature similar to the EQ Match that I used with great success on an audio problem I had to solve a year or two ago. Haven't dug into it deeply enough to know if it operates the same way as the new EQ Match in RX, but suspect it's similar.

 

The one improvement I would love to see in an upcoming version would be either in file selection for for the batch processing interface or the ability to save chains of steps as presets. 

 

I often deal with a single take that has been diced into alternating dialog bits by an editor. The underlying audio, which was originally in a single file is now, in my project, multiple individual files. Easy enough to open them all up at once in RX from my DAW timeline. I can develop a clean up strategy for one file and know it will work for all because it really truly is originally all from the same source, even though it's no longer in a single file. I can hunt down just the right Q and gain for that hum at 2750Hz, another perfect Q and gain for the hum at 120Hz, plus several more for hums that are not quite harmonic. Then on top of that a low cut EQ once I discover there's nothing I want in that audio below 50Hz.

 

Great so far. Now I've just cleaned up one file and discovered a set of processing steps that I know will work on all the other files that were created from that original audio file. But now there's no way to apply those steps to the other files. "But wait.", you say. "Can't you just add those steps as a job to the batch processing interface?". "Why, yes.", I say, "Of course I can." But now I'm stuck because the only way to apply those steps to any files is to choose those files from a project media directory filled with hundreds of files helpfully named with gibberish like "12345(1).wav" and "876543-6.wav". From within my DAW, it is super obvious to tell which files all came from that same original source file, and super easy to select them and say "open with RX". Identifying those same files from a standard "Open Files" dialog like the one in RX's batch processing interface is almost impossible.

 

There are two potential improvements to RX that could make this work a whole lot more smoothly:

 

1.) In addition to the "Add Files..." dialog presently used to select files in the Batch Processing interface, a button or dialog that says, essentially, "Choose the files I already have open now in RX". I've already identified and opened the files from my DAW. I know what they are and RX knows what they are. Simply a matter of building that list for the batch processor.

 

2.) Or simply allow a chain of processing steps to be saved as a preset. The basic workflow would be a.) identify chain of steps while operating on one file. b.) save that chain as a preset. c.) open the next file that is known to need exactly the same processing (or move to the tab of that already opened file) d.) run that processing chain preset on the second file.

 

Either of these two interface improvements would allow a known chain of processing steps to be applied much more quickly to files that have been identified differently than from an "open file" dialog (i.e. identified and opened from within a DAW). The second approach is a little more "one-at-a-timeish", but I actually prefer that workflow as it would allow me to double check my cleanup assumptions one at a time as I go.

 

 

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