Asbjoern Andersen


When it comes to audio repair and enhancement, iZotope’s RX series is the gold standard for a lot of field recordists, sound editors and others in audio post. But what exactly makes it stand out, what’s the story behind it, and what’s new in version 4? I decided to get in touch with iZotope’s Matt Hines – the product manager for RX – to find out more:
 

Hi Matt, please introduce iZotope and the development team behind RX:

iZotope is a leading audio technology company that develops award-winning audio software and plug-ins for mixing, mastering, music production and live performance. There is a dedicated team that works on our post production product line, including RX.
 

iZotope's Matt Hines, undoubtedly pondering what features to include in RX5

iZotope’s Matt Hines, product manager for the RX series

And how did you get involved with iZotope and RX?

I was doing a combination of sound design (for video games) and dialogue editing (independent film). I was using RX pretty heavily in those scenarios, and as I was living in the Boston area, I got to know the iZotope crew pretty well. My roommate at the time (this was a few years back) played in a band with the Sound Design Manager at iZotope at the time too. It’s a small world. I began working freelance for iZotope, and ultimately came on board full time, where I’ve focussed heavily on their post production product line for the past few years.
 

How did the idea for RX come about?

RX was originally conceived as an audio restoration solution, at a time when a lot of audio was being transferred from older storage formats. Elegant, great sounding and affordable solutions for removing hum, surface noise, clicks, crackles and other artifacts were few and far between, and this is where the tools in RX 1.0 were primarily, though not exclusively focused.
The visual spectrogram display was always a part of the RX suite, and the ability to see and interact with your audio offered a huge potential beyond this scope, which sets the scene for the story of RX from versions 1 through 4.
 

RX has a big following in the field recording and post production communities – considering how many audio repair and noise reduction plugins that are out there, why do you think RX stands out?

What makes RX stand out? Taking sound quality for granted, I think it’s the comprehensive suite of tools, and the way it integrates into and speeds up post workflows that makes RX indispensable. It’s rare that we’ll see a user that uses every single feature of the RX suite. Depending on their workflow, different users will use very specific tools without ever using a feature someone else might use daily. Yet it feels like a customized suite of tools no matter which parts they use.

We’ve certainly reached a point where people treat RX as a verb and say “oh, just RX it”

It’s this experience that we work hard to curate effectively, and it’s my hope that this shows. We’ve certainly reached a point where people treat RX as a verb and say “oh, just RX it”.
 

How long has RX4 been in the works and were there any unusual challenges in developing it?

With the release of RX 3, we reached a large number of new users in the post production community, thus opening many eyes to the possibility of audio repair, which in turn generates many more feature requests. Regardless of the feature request, a common underlying theme seemed to be workflow and efficiency, and as such we wanted to respond quickly in order to better integrate into and speed up people’s daily workflows. Those seconds add up! As such, RX 4 was a year long process. Developing cutting edge DSP always throws up unusual questions or test results. We were certainly able to produce certain unique features solving problems that could only be solved manually before, such as ambience matching.
 

What are some of the highlights of this new version?

The overall highlight of the new version is really the way RX integrates into your workflow allowing you to spend less time on mundane editing or repair tasks and to spend more time to be creative. Big module highlights of the new version include:

RX Connect enables you to use the powerful tools in the RX standalone application in conjunction with your audio or video editing software without slowing down productivity.

Ambience Match, which matches the environment noise of different audio recordings.

Loudness, which quickly makes any mix compliant with the latest network standards across the world.

EQ Match, which matches the sonic differences between audio recordings.
 

In general, what’s your process for deciding what features to include?

It’s a combination of internal and external validation. We ourselves are serious users of our products, and also have a private beta.
 

RX gives users a very visual approach to sound, and is sometimes referred to as ‘Photoshop for sound’. When RX removes a sound what does it use to replace it?

It depends on which Spectral Repair algorithm is selected. It could be interpolation or resynthesis, or even just intelligent copy/paste.
 

I’m sure every dialog editor has a story about being asked to remove reverb from dialogue that was recorded in a reverberant space. How did you approach it in your De-Reverb module?

With the Dereverb module, the key was not to simply attenuate tails after a transient, but to try and intelligently identify what was wet and what was dry signal, which is easier said than done since there is often quite some overlap. This initially took over 9 months of testing before we had something we felt was appropriate and useable to continue to develop.
 

RX4's Dialogue Denoiser module

RX4’s Dialogue Denoiser module

Your Dialogue Denoiser was previously only available in RX Advanced. Now, it’s included with RX Standard. What makes your Dialogue Denoiser different from your regular Denoiser module?

The Dialogue Denoiser is realtime and zero latency for a start, which means it can be run as an online plug-in in any DAW or NLE without sync issues. Additionally, it works in auto mode by default, allowing you to just turn it on and achieve instant results without having to waste time learning, which is key in time-limited post mixing sessions. Additionally, whereas the Spectral Denoiser divides the audio into thousands of frequency bands under the hood, the Dialogue Denoiser uses 64 bands. This lightens the load, but also has a potentially better sounding result on certain pieces of dialogue, as there are less crossover points, though these are pretty transparent.


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The Hum Removal plug-in is now “adaptive”. How does that make it different?

Let’s say your hum is 50Hz. Let’s also say you recorded to tape, or are working on an older recording that has wow and flutter. That hum may not always be exactly 50Hz, so a fixed filter won’t do a consistent job of removing it effectively. Adaptive mode tracks a hum profile that changes over time, allowing us to do a better job of removing it accurately. That’s one example.
 

Advanced Ambience Match

What’s been the feature users are most excited about in RX4 so far? And is there any feature in RX4 that you’re particularly proud of?

We’ve heard from many users that RX Connect alone was worth the upgrade, before even getting to any of the new DSP or features.

People’s reactions to Ambience Match have been really great too, because it’s kind of an automagical process that saves a lot of time.
 
 
 

A big thanks to Matt Hines for this look at RX4 – and to Bob Bronow for helping me out with the questions. For more info on RX4 – and to download a free trial version – visit iZotope’s RX page.
 

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  • ⏰ For a very limited time:
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    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    15 %
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  • Bundles Mattia Cellotto – Complete Bundle Play Track 13100+ sounds included $1,162

    Mattia Cellotto’s extraordinary sound libraries are some of the most popular releases in independent sound effects – and here’s your chance to get them all at a nice discount. Here’s what’s you get:

    NEW: ANIMAL HYPERREALISM IV contains animal vocalisations – from hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, to brown bears, pheasants, wildebeests, African wild dogs and many more. Features 2000 individual sounds in 294 files.
     

    CATACLYSM is a collection more than 1400 sounds in 400+ files of recorded, synthesized and designed sounds created to support important destructive moments and add a stronger sense of extreme consequence to any sound.
     

    ANIMAL HYPERREALISM VOL I is a library containing themed animal vocalisations & sounds, from real to designed creatures totaling more than 1300 individual sounds in 290 files.
     

    ANIMAL HYPERREALISM VOL II is a library containing themed animal sounds & vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 283 files.
     

    ANIMAL HYPERREALISM VOL III is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1700 individual sounds in 279 files.
     

    METAMORPHOSIS is a huge collection of recorded source, synthesized material and hybrid sounds – more than 2300 sounds total.
     

    GLACIER ICE is a library containing over 300 high quality sounds of ice cracking, breaking, shattering in various sizes of blocks – recorded entirely in the Italian Alps over the course of two winters.
     

    POLARITY delivers more than 950 sounds of electricity, science and technology – captured in several locations around the world, from electricity museums to science labs.
     

    ULTRASONIC DRY ICE is a library containing over 600 sounds themed metal resonances, scrapes and all sorts of weird.
     

    ROCKS MOMENTUM gets you more than 1100 sounds of rocks, bricks, wood logs, stones, impacting on different surfaces, rolling, being scraped one against the other and so on. The library was recorded in the Italian alps, and in Inverness, Scotland.
     

    WATER VOLUMES delivers you over 300 sounds of natural hot-springs, bubbles, and liquids of various densities boiling under the effect of dry ice.
     

    METAL GROANS AND SLAMS is a library for which metal was kicked, hammered, bowed and… induced to vibrate through feedback loops?! The collection features 346 unique sounds recorded through field trips in US, UK and Italy.
     

    CRUNCH MODE & THE BORAX EXPERIMENT are also included as a bonus: Crunch Mode features 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust & frozen goods, and The Borax Experiment gets you 158 squishy, gory, slimy, gooey SFX.
     

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  • Bundles The Vault – The Ultimate RTSB Bundle Play Track 29683 sounds included, 2459 mins total $1,159

    The whole 9 yards.
    Comprised of 11 heavy hitting libraries, this bundle includes SEISMIC CORE, OVERKILL, 4 ELEMENTS, COLLISION, INTERACTIVE, SCI FI, GEARBOX, SORCERY, HERO, BROKEN, and MELEE. Save by bundling all ELEVEN in a single library.

    GEARBOX:
    Boutique analog mechanical contraptions, steampunk gadgetry, gizmos and machines big and small.


    SORCERY:
    Spells, deflects, casts, blocks, beams, and more. Unrivaled wizardry at your fingertips.


    BROKEN
    Car crashes, explosions, crumbling buildings, earthquakes, ripping earth and metal, to debris, and more.


    HERO:
    HERO – Sword fights, stabbing, guillotines, impaling, battle cries, shields, drawbridges, armor, foley and more.


    MELEE:
    Punches, kicks, blocks, bodyfalls, grabs, slaps, bone breaks, blood splatters, and more.


    SCI FI:
    Spaceships, machines, mechanicals, weapons and more. Technologies exceeding your boldest visions of the future.


    INTERACTIVE:
    The ultimate Game UI SFX library including clicks, pops, whooshes, musical and tonal elements, and ready to use designs for every UI action and game style.


    COLLISION:
    The ultimate sound effects library for massive impact sounds. Stingers, crashes, hits, whooshes and fully designed impact effects.


    4 ELEMENTS:
    Harness the raw power of fire, water, earth, and air with over 3000 elemental sounds crafted for limitless creativity.


    OVERKILL:
    Unleash pure audio carnage with OVERKILL – a brutally detailed 5.7 GB sound library featuring 3390 hyperreal gore sound effects across 607 files.


    SEISMIC CORE:
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Explore the full, unique collection here

Latest sound effects libraries:
 
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II & Zoom F3 recorders. Library contains wav files of driving, foley, mechanical and electrical sounds. It is only available in UCS.

  • PLANES & HELICOPTERS contains flybys, takeoffs, and landings of 13 aircraft models and 5 helicopter models, including small and medium-range passenger planes, private jets, tiny planes and firefighting aircraft. Recorded as close as possible to the aircraft, in airports. You’ll find turbojet, turboprop, and propeller-powered aircrafts. You’ll also find military and civilian helicopters sound effects.
    The sounds can be used for a realistic purpose but you can design spaceships or futuristic vehicles.

    13 %
    OFF
  • Car Sound Effects Lada Riva 1980 compact car Play Track 218 sounds included, 51 mins total $65

    All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is only available in UCS.

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  • Helicopter Sound Effects CH-47 Chinook Helicopter Play Track 40 sounds included, 46 mins total $80

    This library delivers the raw power of this legendary military transport helicopter. Originally recorded for the acclaimed Netflix series Money Heist: Part 5, this library captures every rotor, engine, and maneuver with pristine detail and fidelity—now available for your own productions.

    From the thunderous rotor blades slicing through the air, to the deep roar of its twin turbines, and the massive fly-bys that shake the ground, this collection delivers 46 minutes of sounds from one of the most iconic helicopters in history.

    Recorded using a multi-mic setup, every nuance has been preserved – from the hurricane-like rotor wash to the natural echoes bouncing across the runway and hangars. This library is a perfect fit for war films, military documentaries, AAA video games, or any production in need of authentic and cinematic helicopter power.

    What’s inside:

    • APU start ups, takeoffs, landings, and hovering sequences.
    • Close and medium imposing fly-bys
    • Interior and Exterior perspectives
    • Fully edited and UCS-compliant metadata for fast and easy search

    With CH-47 CHINOOK, you’ll have a rock-solid, versatile, and epic sound resource at your fingertips – ready to take your projects to the next level.

    Note: The SoundCloud demo contains radio communiactions and some cockpit switches. These are not included.

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