While this approach isn’t completely unique, it’s clear that RX 3 has been built from ground-up with this functionality in mind, making audio editing akin to picture editing in Photoshop. Rather than just highlighting the audio over a given time-frame, therefore, you can use a variety of selection tools to grab just a part of the frequency spectrum across the whole audio file, for example, or ‘magic wand’ a specific harmonic, or number of harmonics, within a given sound. One of the key qualities of RX 3 is its ability to select audio in both time and frequency-based domains, which explains why the spectral display is so important to RX 3’s operation. The RX 3 environment is designed specifically for the task of audio restoration, with a prominent Spectrogram/Waveform display alongside various modules found along the right-hand side of the interface. While the plug-ins are a welcome addition for those not wanting to leave the comfort of their DAW, there’s little doubt that RX 3 really shines when you’re using it as an application.
#Izotope denoiser 3 series#
Third Generation RX 3 works as both a standalone application and as a series of plug-ins covering many of its principle repair functions. In short, RX is a veritable swiss-army knife of audio restoration, which is why the latest version – RX 3 – has garnered plenty of interesting in post production circles. RX’s strength is in the diversity of tools it offers, making it suitable not just for vinyl restoration (using the familiar click and crackle removal algorithms) but also a range of audio restoration activities, including de-clipping and spectral repair.
Alongside solutions from Cedar and Sonnox, iZotope’s RX has received plenty of praise over the years for its audio restoration abilities.
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