Audio Repair in Music Production

I’m going to explain how I use RX in the recording studio as a tracking and mixing tool. I use these techniques during tracking to eliminate sounds I didn’t want to capture, and RX 3 really helps during mixing, especially on sessions I didn’t track myself.


I’ll remove plosives, mouth clicks, background noises, and bumped mic stands with the Spectral Repair module’s Attenuate or Partials+Noise algorithms.



Even weird mouth sounds, like the ones that appear after L sounds, Harsh S or T sounds can be attenuated by slightly reducing the overall volume or selecting certain dominant components with the Gain module.




Declip will actually work wonders on audible digital overloads. I’ve been sent a number of mixes with bad overloads, and though Declip won’t always completely restore the original tonality, it will help reduce artifacts and harshness.

Spectral Repair’s Replace algorithm has to be used carefully, but I’ve fixed gaps in bass notes from dropouts and other damaged tracks like that. When it works on the material at hand, it’s kind of amazing. Like, this shouldn’t be possible! 

Conclusion.  Another use I have for Spectral Repair is for fixing final mixes before mastering. You know, like those times you miss an odd little high-end click on a fade or something buried in the mix that’s annoying. You can get in there and save your mastering engineer some grief.

These techniques are just the tip of the iceberg of what RX 3 can do, and given that iZotope offers an unrestricted 10-day trial, I see no reason not to check this amazing product out. RX 3 is a massive tool, and if you work with digital audio on a regular basis, you need this application.


ADR Matching with the Aphex Vintage Aural Exciter (Tip)

One of the ways I like to use the Waves Aphex Vintage Aural Exciteris for matching in ADR. Production dialogue is often recorded under highly stressed conditions, and we often have to go to extreme measures to make it sound acceptable. As a result, matching in ADR is that much more complicated. I have had great success using the Aphex Exciter to “mess up” the studio-recorded ADR, adding some of the crunch, noise and distortion that exist in the production tracks. I will take out some of the high end with an EQ before the Exciter, then use it to put the high end back in. You need to fiddle with the Mode, Mix, and Noise parameters in order to find the right flavor of “nastiness,” as every bit of production is unique.