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If we're talking about quick audio repair for video editors (I see there can be easily 20 licenses needed in some news TV), then they typically don't want to handle complicated stuff like selective spectral editing or essentially anything with more than two knobs.

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It wasn't used all the time everywhere and also there were dedicated and quick people for such tasks, so it make sense to send them for example dialogs for the cleaning.įinally if you buy something with iLok license (previous versions of RX were definitely possible to license that way), then it can be installed everywhere and move the hardlock as needed. Otherwise also in bigger sites (like TV sound departments), where I worked, restoration toolset wasn't at every DAW automatically.

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it looks like school classroom, well in that case, it makes sense to try find some EDU discount for multi-license, which is often great value and instead of seeking for some odd software combination, learn kids to use some common package like RX, which a) sound great for the money, b) it's everywhere, so it's good to know it. (say compared to some meats and potatoes EQ, dynamics, de-esser or maybe reverb). good sounding and performing algorithms are complex and take long time to develop).Īlso restoration tools and spectral editing in general isn't really common tool used in day to day audio production. There seems to be a gap in the market here that needs filling.I'm not sure about that needs to be more affordable, it's in-line with other effects and its relative complexity (it's not like any beginner or inexperienced startup can bring high-quality product at this area. (No dumb superconvoluted copy-protection procedures either).Īll workstations need to be identical. There are some pitch-shift things which Allen Corneau has pointed out could be done in Cedar but not in Rx2, but other than that - with nice features such as plug-in support and the superb SRC it seems to me to be a bargain with no real downside. ReNovator and Retouch are quite superb too, no doubt about that, but at no point in six weeks of work did I think that the Rx2 was somehow at a lower level or wish that I had either of them instead.

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I've used both ReNovator (in Sequoia) and Retouch (in SADiE) for a lot of classical work over the past decade, but during the summer we had an extended project of mastering and noise managing a series of classic operas from the Sydney Opera House and Teatro Real in Madrid and Rx2 (in stand-alone mode) was simply wonderful to work with: stage noises, audience noises - even a few tape drop outs - all dealt with very elegantly. However RX has a wider choice of interpolation algorithms.You beat me to it Alexey.

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Thanksyou can't NOT justify getting it for only $350 to do an albumĬan the try version fix your problem for free ?Ĭan you give an example where Renovator is superior to RX? I know that Renovator has some flexible selection tools, like level-dependent selection. VSTs are fine and so are standalone stations like RX.Īny recommendations are appreciated, though I've already searched these forums and I'm not getting my hopes up. I can only do this with some kind of spectral editing program. You can see those bars illustrate a drum roll that needs to have its highs dampened.

There are many VSTs that will display the spectral image, but cannot be edited. In order to do this though, I need some kind of spectral editor.

While RX's decrackle, declip features work well, I think the trick to this is just finding where the crackle is and applying some sort of low pass filter or EQ to that instance of the pop/crackle and that will eliminate it(just my theory). They are exactly what I'm looking for but I can justify the $350 price tag when I need it only for one album. I've used both of the above programs and love them.

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