The default Mel frequency scale, for example, can be easily changed to Extended Log to better visualize the lower content of the audio material, and consequently better visualize and isolate the problems. We can change the scales by right clicking everywhere on one of the numbers displayed. The interface in this new version hasnРІР‚в„ўt seen too many changes, and as in RX5, moving to the right, we will find some scaling settings, a vertical volume meter in dB, the frequency scale and the spectrogram scale.

We could also change the balance between the waveform and spectrogram visualization with a little slider on the left, right under the spectrogram. Within the spectrogram we can have a clearer and more immediate feedback on what is happening in our sample: if we have, for instance, a tonal background noise with a constant pitch, we will see a continuous horizontal line over the X axis, in a specific region or across the whole file. Importing audio is really easy: a simple drag and drop will let us visualize in the main window both the waveform and its relative spectrogram, with the time on the X axis, the frequencies on the Y axis, and the intensity of the color (orange being more intense according to the default settings, but it can be changed to our taste) representing the intensity. You can operate with these modules within the standalone version of RX, or use them as plugins in your DAW, but not all of them are available in all the RX versions (we will see the Advanced features later).

But, if the magic of a performance canРІР‚в„ўt be reproduced, or the same cast cannot make another take, or the recording of a documentary outside in hard conditions canРІР‚в„ўt exclude some issues, RX6 comes in handy, literally saving an unreproducible piece of work.Р”Р„s mentioned earlier, RX6 works with modules, utilities that are dedicated to affect our audio material in a specific way to solve a problem. And as if this was not enough, the new Composite View permits to process the same section of multiple files in a single window.Р”Р„ll that said, it is important to remember that paying a attention during the recording session can help to avoid a lot of work later. Module settings can be saved as presets, and a particular set of modules can be saved as a module chain for maximum speed when working on similar situations. Its clear interface with the selection tools allows great precision when it comes to visualizing and isolating problems, extending a selection of a single frequency to the upper harmonics in a click and finding similar events. Black magic.Р”Р„s previously stated, RX6 is more than the simple collection of its modules. In RX6 you can find the perfect solution to almost every accident that can happen in a recording in one of its modules, and all of them truly take care of the problem without affecting the quality of the main audio material. Or it can happen to occur due to mouth clicks, excessively loud breaths, thundering and distracting plosives when recording vocals, click tracks or amplifier hums captured accidentally by our microphone. When recording outside, wind, microphone movement or excessive reverb in some locations can compromise the quality or the intelligibility of an audio take. RX6 is an absolute time-saver in music production as well, and, as I personally tested while making sample libraries, even in file management with its batch processing function that allows the import of entire folders of samples and the application of multiple modules or simply the resampling of all the files to a new sample rate РІР‚вЂњ all that in a blink of an eye. It is a complete working environment that allows you to save hours of work, and it is not dedicated just to the post production in the film/documentary soundtrack area. RX6 is more of a collection of tools dedicated to the audio repair and restoration. The well-known iZotope brought its audio repair suite to the next level with the 6th version, offering brand new features, improvements and modules. IZotopeРІР‚в„ўs RX6 is best known as a collection of tools dedicated to audio repair and restoration, but it can be an absolute time-saver in music production as well.

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