- Introduction:
- Welcoming listeners and sponsors.
- Brief overview of RX 11 and its position in the audio industry.
- RX 11 Features:
- Discussion on the new features in RX 11.
- Detailed look at the dialogue isolate tool and its effectiveness.
- User Experiences:
- Personal experiences with RX 11 and previous versions.
- Issues with compatibility and performance, particularly with Steinberg's WaveLab.
- Comparison with Alternatives:
- Comparing RX 11 with other popular tools like Waves plugins.
- Debate on whether to upgrade based on current needs and budget.
- Practical Applications:
- How RX 11 fits into the workflow of voiceover artists and audio engineers.
- Importance of tools like mouth de-click and noise reduction in everyday use.
- Future of RX:
- Predictions and hopes for future updates.
- Encouragement for users to stay updated and provide feedback.
- Closing Remarks:
- Recap of discussion.
- Shoutouts to sponsors and reminders to subscribe and join the conversation on the Facebook group.
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(Transcribed by TurboScribe.ai - Go Unlimited to remove this message) Y'all ready to be history?
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It's started.
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Welcome.
00:00:02
Hi.
00:00:02
Hi.
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Hi.
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Hello, everyone.
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To the pro audio suite.
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These guys are professional, they're motivated.
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Thanks to Triboosh, the best vocal booths for
00:00:11
home or on the road voice recording.
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And Austrian Audio, making passion heard.
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Introducing Robert Marshall from Source Elements and someone
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audio post Chicago.
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Darren Robert Robertson from Voodoo Radio Imaging, Sydney.
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Next to the VO stars, George the Tech
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Witten from LA.
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And me, Andrew Pinkers, voice over talent and
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home studio guy.
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Line up, man!
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Here we go.
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And welcome to another pro audio suite.
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Thanks to Triboosh.
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Don't forget the code.
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T-R-I-P-A-P-200.
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That will give you $200 off your Triboosh.
00:00:45
And Austrian Audio, making passion heard.
00:00:48
Now I've been hearing a bit of word
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on the street for RX11.
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Has anybody seen it?
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I think it goes to 11.
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Yeah, it goes all the way up to
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11.
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It goes to 11.
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That's right.
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Look, I downloaded the trial of RX11.
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It's still good, but I mean, there's nothing
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in 11 that convinced me that I need
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to buy it.
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I think was the thing that I noticed.
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I have 10.
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And yeah, I could spend my money better
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elsewhere if I was going to.
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I had seven RX7.
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You would probably still be doing fine.
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You're probably okay.
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I have RX7 and I never use it.
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Well, I don't because when I was using
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WaveLab, it made it crash.
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Okay.
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Wow.
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It didn't like Steinberg.
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It crashed.
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Yeah.
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And I did actually send an email to
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Dan at Isotope.
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And he sort of said, look, you know,
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we try and make it work for every
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DAW or recording editing bit of software.
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But some get missed and I'm thinking, well,
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Steinberg's huge.
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Why would you miss Steinberg?
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I mean, Steinberg's got Nuendo, Cubase and WaveLab.
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Steinberg's big in Europe, isn't it?
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I know it's big somewhere.
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Yeah, it's Europe that it's big in.
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It's got to be somewhere.
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It's the Hasselhoff of audio plugins.
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Yes, it is.
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Hasselhoff's big in Germany.
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Yeah, it stays in Europe though.
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Yeah, yeah, yeah.
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Hasselhoff is big in Austria.
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Yeah, exactly.
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When they've got the voice recognition version, when
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you talk to instead of Hey Siri, it
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could be Hey Kit.
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Yeah, that's right.
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The question always remains, every new version, RX
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Standard or RX11 Advanced, right?
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And so, and, you know, they do the
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model of each version.
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Let's trickle down something from Advanced to Standard
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so that people have another motivation to upgrade.
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Because if they don't do that, there's less
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of an upgrade motivation because a lot of
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the algorithms haven't changed.
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I guarantee the amount they clicked is essentially
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the same since RX7 or RX8.
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It would have to be.
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I mean, to be fair, that is reasonably
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good, though, that they click.
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Well, yeah, I mean, it's good.
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I mean, can it get better?
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Probably.
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But for what it is, it does a
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good job and a lot of people rely
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on it.
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I think it's the main usable one.
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Yeah.
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It's probably the one I use the most.
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I still draw them out in Pro Tools,
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to be honest.
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Do you?
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But I guess it's a time saving thing
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for me more than anything.
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It is a time saving thing.
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But but none of them are clean, clean,
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clean.
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They all impart.
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Yeah.
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Like the only thing that makes it like
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just you can't tell and you truly just
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get rid of it.
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Nothing else is either isolating them and then
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hitting the D clicks.
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You don't have to zoom in so much.
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But at that point, you might as well
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just zoom in and do it perfectly.
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Are you drawing with you now?
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Or do you have your pencil set up?
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I draw with my mouse.
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With the track pal.
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With the track pad person.
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No, track ball or pad?
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Track ball.
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Track ball, yeah.
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Because I saw your track ball at NAB.
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So I know.
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Have you seen these balls?
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Track of his ball.
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Oh, geez.
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Oh, you're stepping into it there.
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Please edit that out, Andrew.
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We'll highlight that in the promo.
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If you say edit that out, it's guaranteed
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to be in the final cut.
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You've just given us this week's promo, George.
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Don't be silly.
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I've heard of Conan O'Brien's podcast.
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It's called Conan O'Brien Needs a Friend,
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by the way.
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If you haven't heard it, it's great.
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But occasionally he'll say that.
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Let's cut that out of the show.
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Let's cut that out of the show.
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And that becomes the promo.
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That's right, exactly.
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So the one, from what I can see,
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the one feature that did the trickle-down
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is dialogue isolate.
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And that is their more advanced tool for
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removing, it's sort of their clarity, I guess.
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Yeah, it's a really robust clarity.
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Yeah, it is.
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So, you know, that one's worth playing around
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with.
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But other than that, you'd be hard-pressed
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to be motivated to go to advanced unless
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you're, you know, unless you spend your days
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cleaning up production sound and tracks and video
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from other, you know, where that's all you
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do, you know, otherwise standard is perfectly fine.
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People have been asking, of course, is it
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worth upgrading?
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And I say, look, if you don't know
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for sure, you know, let's, first of all,
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if it ain't broke, don't fix it, right?
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So if the audio you're putting out sounds
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great, don't get caught up in the hype.
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I mean, these companies have to sell new
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software to survive and continue.
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And so, you know, that's their job.
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Yeah.
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And Isotope does a very good job because
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they, very early on, they partnered with a
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voiceover engineer as a developer partner.
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Like he helped, his name's Don Barnes, he
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helped create the mouth to click algorithm with
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them.
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And that was a very smart idea, right?
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Because he helps promote that product very well
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among the, especially the audio book production world.
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So, you know, they're one of the few
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plugins, I think that really, I guess plugin
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companies, I should say, that really took notice
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of voiceover and audio book narration, you know,
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and said, we need to reach into that
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network and make it a partnership, make some
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kind of, they reached out.
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So I'm sure it's paid off for them.
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I mean, they've sold many, many licenses of
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our standard because people want mouth to click.
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And that plugin is only in standard.
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Well, standard and above, right?
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Standard and above, yeah.
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And there's X click from Wives, which I,
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which I think is good.
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No, no, no, no.
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Don't use that.
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But I completely agree.
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Like Waves D click didn't, never did it.
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It was like waves add distortion is what
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it was.
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Yeah.
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Every company has the things they want to,
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they focus on.
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And when you make a ton of plugins
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like Waves does, it's hard to justify a
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lot of development time on one really quirky
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plugin, like a mouth noise remover.
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Doesn't mean they won't do it, but they
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haven't.
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But it was never a mouth noise remover.
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It was a de-clicker.
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No, I know.
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But I mean, that's for restoring like vinyl
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and stuff.
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Like records and vinyl.
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And that's not exactly the same thing.
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And I think that's the reason why it
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didn't really work for its possibly best use
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case, which is mouth de-click instead of
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vinyl de-click.
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But that being said, I never used isotope
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because, you know, I just heavily use waves
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and X noise and Z noise, even though
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I admit are probably not as good.
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And I always like, you know, we should
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get that and this and that.
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The results were the clients were always happy
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with what I could pull out of those.
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I'd be interested to go around the room
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because with the way plugins are these days,
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you could go down such a massive rabbit
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hole trying to keep up.
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So for me, I have two criteria.
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First and foremost, does it work?
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Does it do what it's supposed to do?
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Does it do it well?
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Is it transparent?
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Is it transparent?
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Is it minimal artifacts?
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Is it better than anything I've got in
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my toolkit at the moment?
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And if it passes that test, then the
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next test for me is does it improve
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my workflow?
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Because as we just said, if what we're
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doing is passing the pub test, which is,
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you know, are the clients happy, then there's
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really no reason to upgrade.
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But if it's going to help me, if
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it's going to maybe do what I'm doing
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a little bit better, but it's also going
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to help me in terms of time.
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Yep.
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Then, right.
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The new stuff is way faster.
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Yep.
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And the perfect example of that would be
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Clarity, would be the last sort of thing
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that I've sort of invested in because it's
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dial it in.
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Just, you know, as we've spoke about when
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it came out, put it on the track,
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dial it in and bang, it's pretty much
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done.
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And nine times out of 10, it's done
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better than anything else.
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Here's my experience with Clarity versus like Z
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noise.
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Z noise, you would noise reduce and you'd
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hit the floor of where, if you try
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to reduce it too much more, you were
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hearing new noises or weird noises.
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Artifacts.
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Clarity, you can, yeah, artifacts basically, exactly.
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Clarity, you can just reduce everything.
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And it's harder to put your finger on
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the artifacts, but what you do have is
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clients who literally asked me to add noise
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back in.
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Probably to the same degree that I could
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get it down with Z noise in the
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first place.
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And you're just sort of zeroing in on
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the same point as far as, you know,
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there it is.
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It works for the job.
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And my primary use has not been denoising
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completely upfront dialogue.
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You know, maybe it's stuff recorded on camera.
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So there's an expected amount of noise floor
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with that that is acceptable.
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So it's not a person in the booth
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where you need to hit like absolute zero
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pretty much.
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I'm sure there's like, you know, there's always
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the very tip of the sphere, essentially.
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So, yeah, it's cedar.
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I mean, no one talks about cedar for
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me.
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Cedar, yeah.
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Well, what's interesting is that Clarity VX, from
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my experience, and I haven't used it extensively,
00:09:52
but I use it here and there as
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a problem solver, it does seem to preserve
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the mouth noise, correct?
00:09:58
Is that what you're...
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It doesn't remove mouth noise.
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Yeah, no, because it seems to just concentrate
00:10:02
on sort of a consistent noise as opposed
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to a click and a pop and all
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that sort of stuff.
00:10:08
Yeah.
00:10:09
It seems that you would think that they
00:10:11
could train that.
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They could have a model, at least maybe.
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They could have another model, you know, has
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broad one, broad two.
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A de-click model.
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They could have like a de-click model
00:10:19
or something.
00:10:20
I tell you what, George, they probably are
00:10:21
working on that, but you can bet that
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it won't be a model.
00:10:24
It'll be another plug.
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It'll be Clarity de-click or something like
00:10:29
that.
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Go buy this one now.
00:10:31
Yeah.
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Let me propose the name of the knob.
00:10:33
It's a humidity knob and you can turn
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it up or down.
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Humidity knob.
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Yeah.
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So when it's very high humidity, the microphone
00:10:42
starts crackling.
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Is that what it's for?
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I guess.
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I mean, usually with like, with voiceover, if
00:10:48
you have a too humid of a mouth,
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you have a lot more mouth.
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Oh, yeah, that's true.
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Gotcha.
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So it'll be wave humidity then.
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Is that what we're calling the plug?
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It's a moisture knob.
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Should we get Gomez on the line now?
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Give him the heads up.
00:11:00
Yeah.
00:11:02
Moist levels.
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Moist.
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Yeah.
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Moist.
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Moist.
00:11:12
We're going down the hill now.
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Quick.
00:11:14
Finish the episode.
00:11:15
This is the way we do things around
00:11:17
here.
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I've got to say, though, I don't use
00:11:20
plug-ins and I, with, if I'm doing
00:11:24
dialogue editing, which I do on this show,
00:11:27
I do it all manually.
00:11:28
Yeah.
00:11:30
I don't put my balls on.
00:11:32
See, you're past 60, so you're just old
00:11:35
school.
00:11:35
That's the thing.
00:11:37
I'm old school.
00:11:38
I do it actually holding a razor blade.
00:11:39
He actually transfers it to tape.
00:11:42
He's got the splicing block and razor blade
00:11:44
and China grass sitting in front of him.
00:11:45
Is that right?
00:11:46
Absolutely.
00:11:47
That's what all those white marks are on
00:11:49
your screen.
00:11:53
That wasn't to do with editing tape.
00:11:55
Oh, you had a band in over the
00:11:57
weekend.
00:11:57
That answers the question.
00:12:02
The multi-purpose studio tour.
00:12:04
The razor blade.
00:12:04
Thank you very much.
00:12:05
The gift that keeps on giving.
00:12:10
Well, that was fun.
00:12:11
Is it over?
00:12:12
The pro audio suite.
00:12:14
Quick thanks to drivers.
00:12:15
And Austrian Audio, recorded using Sauce Connect, edited
00:12:19
by Andrew Peters.
00:12:20
And mixed by Voodoo Radio Imaging.
00:12:22
We've tech support from George the Tech Wisdom.
00:12:24
Don't forget to subscribe to the show.
00:12:27
And join in the conversation on our Facebook
00:12:28
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00:12:29
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00:12:31
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00:12:32
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