![]() ![]() The hard decision for potential customers, though, is reconciling the price difference between the two versions. ![]() ![]() The Leveler also proved to be a real winner and a viable additional means of controlling dynamics that contrasts well with traditional tools such as a compressor and upwards expander. New features such as the Clip Gain really transform RX 4’s usefulness, making RX 3 seem surprisingly limited when we stepped back to compare the older version. Ultimately, you can see how many of the new features specifically relate to dialogue restoration and editing, although given the inherent versatility of RX 4 their application can extend across a wide variety of sonic surgery tasks.Ĭlean Sweep RX 4 may not be a gigantic leap on from the features included in RX 3, but it does demonstrate iZotope’s intention to provide the ultimate fix-it tool for a range of audio dilemmas. In the case of Ambience Match it’s worth noting that the ‘Ambience’ isn’t reverb but the residual noise floor between different audio clips. Other new modules seem largely directed at the post-production fraternity, including a Loudness module (which uses a limiter rather than the gain adjustment approach of Leveler), EQ Match and Ambience Match. The unique slant here, though, is that the output is in the form of a re-drawn Clip Gain curve, letting you tweak and refine the gain changes as you see fit.īeyond the obvious dialogue applications, it was also interesting to hear the Leveler applied in a music production context, used as a means of balancing out the dynamic range of tracks, especially in relation to increasing the levels of quieter parts of the mix. Working in conjunction with Clip Gain is the Leveler module that lets you apply a form of automated gain control, much like a compressor or expander. ![]()
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