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Dec 29, 2017 Ensuring the best quality sound using iZotope RX 6 and Ozone 8. Erik Vlietinck shares his secrets to good post production audio using Izotope's remarkable RX 6 and Ozone 8 plugins.

1. I have now been using iZotope RX2 since it was released in 2010. Apart from the DAW itself, it is the one piece of software that I have found to be indispensable, and I have used it on pretty much every mastering session. RX can play almost any file, and has frequently opened recalcitrant formats which had standard DAWs flummoxed.
2. RX Post Production Suite 4 includes the NEW Dialogue Match, RX 7 Advanced, Insight 2, Neutron 3 Advanced, Tonal Balance Control, RX Loudness Control, Stratus 3D, Symphony 3D, Groove3 video tutorials, and 250 sound effects from Pro Sound Effects.
3. How to Use Music Rebalance in RX 7 Sep 13, 2018. Isolate mix elements from a single track with the new source separation module in RX 7, Music Rebalance. Easily reduce vocals in background music for clearer dialogue, learn how to remove vocals from a song, or separate vocal stems from a track for easy remixing.
4. Restoring Audio with iZotope RX™ Page 4 of 74 ©2008 iZotope, Inc. Today, audio and video recordings can be made by nearly anyone. From the simple camcorder to sophisticated studios and sound stages, a growing number of recordings are produced daily.
5. RX 7 Standard is the audio repair toolkit used on albums, movies, and TV shows to restore damaged, noisy audio to pristine condition. View More Add to Cart.
6. RX transforms flawed audio into usable material by removing noises, distortions, reverb, and more. With the release of RX 4 and RX 4 Advanced, iZotope adds new functionality that saves more time for creativity— whether you’re improving sample quality for use in a hard-hitting club track, or mastering a delicate classical music recording.

Ah Foley—the unsung art of creating bespoke sound effects for movies, TV, and other visual media from scratch. In recent years, this practice has fallen victim to sample replacement. I must confess, as a post-production sound designer working from a home studio, I’ve certainly found sound effects libraries to come in handy on many occasions.

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But these libraries can’t do everything, and they certainly don’t come close to giving you the individuated touch of homemade sounds. That’s where being a recording engineer comes in handy: many are the times I’ve throttled myself, banged on pots and pans, slid rolls of nickels over a placemat, and generally embarrassed myself on mic in the search of some good Foley to drop into a scene.

Now, you should know that top-notch Foley artists work on treated sound-stages and studios, with cherry-picked props and wooden planks beneath their carefully trodden footsteps. In these environments, the sound is kept pristine to engender hi-fi results. Mixers will have the freedom to manipulate the effects later into specific contexts, but nevertheless, they are presented with stellar sounds. Foley Artists also tend to work with video screens and aural systems that provide visual or auditory cues, so that they may better time their work.

Me? I work out of my house. While I have an acoustically-treated room in this apartment, it’s not a Foley stage. I’m willing to bet that your situation might be similar. But don’t let your environs dissuade you for capturing Foley at home, because these days, the difference in quality might not be as wide as you’d think.

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First of all, if you’re working on a scene shot indoors, the sound of your home might blend in just fine with an interior location. Also, a generation of ears raised on YouTube and web-series is likely more forgiving of grittier sounds. And, never forget that you, oh loyal iZotope reader, probably have something like RX on hand—a technology which can save you from excess noise, sixty-cycle hum, and other intrusions prevalent throughout your home.

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So fear not! Go forth and Foley.

Home is where the Foley is

As this article is centered around recording Foley at home, we’re going to treat the subject as literally as possible, splitting this piece up among the various rooms of your house.

Before we enter the kitchen, it’s wise to advise the procurement of some sort of mobile rig. It doesn’t have to be expensive. I’ve caught some my proudest Foley moments with a Zoom H4n Pro, a Rode shotgun mic, a mic stand, and a pair of headphones. That’s a handy combination to be sure, though plenty more options abound. For one, Spire Studio makes it easier than ever to record high-quality audio in the moment, wherever you may be; it features a rechargeable battery that provides over four hours of continuous use—handy when you’re on the go!

Garageband more instruments ipad. The Logic Remote smart controls give you cool-looking interfaces that are easy to use and fun to play. From the Patch Library menu, you can access your entire Logic Pro library and choose new patches for the currently selected track. The View menu is dynamic and gives you options based on the selected track.Tap the library icon to open the patch library. Logic Remote does its best to recognize the instrument you load and give you the right tools for the job. Tap the view icon to navigate to different views, including the touch instruments, mixer, smart help, and key commands.

You might be wondering how to time your recordings—how to perform the Foley at the exact moment it’s needed. Do you need some sort of visual rig to cue yourself? In my case, the answer is no. I rely on the timing I’ve developed as a recording engineer; I believe you can too. If you’ve ever punched in an overdub, you can probably coordinate your own sound effects.

A little prep can go a long way though: it pays to make a small export of the scene’s audio and practice along with it. You can loop the sound ten or so times in a row and try to nail it, and usually, by the fourth take, you will! You can even superimpose four beats to cue yourself, using any sampler or even a soft-synth piano for this purpose. Or, you can play it free, relying on your editing skills in post. All approaches are valid.

So, without further ado, let’s take a tour of your house and all the juicy, recordable sounds therein in, starting with:

The kitchen

The kitchen is chock-full of sounds to grab. A lot of it is simple enough to put together: a water faucet for, you guessed it, the sound of a water faucet; glasses clinking together for a bar scene; if you’ve got a clock radio in your kitchen, you can capture bespoke AM radio static (yes, you can get probably get that for free online—but this is about authenticity!).

Recording

RX supports recording up to two channels at a time.

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To record in the RX 6 Audio Editor:

1. Create a new file.
   
2. Press the Record button once to arm recording. The Record button will flash red when RX is armed to record. The meters to the right of the transport controls will update based on your input signal when recording is armed.
   
3. Before recording, you should ensure that your input levels are not clipping and allow for adequate headroom.
   
   • Alternatively, you can enable input monitoring to set input levels without engaging record arm.
     
4. After adjusting your input levels, you can start recording by clicking the Record button again. When RX is recording, the Record button will display as solid red.
   
5. You can stop recording by clicking the Record button again.
   
6. After you have stopped recording you can edit and apply processing to the file.
   

RX 6 Session Data Folder

After recording, your recorded audio data is stored in the RX 6 Session Data folder. You can set the location of the RX Session Data folder in Preferences > Misc tab. If you use the recording functionality in the RX Audio Editor often, it is recommended that the RX Session Data folder be located on a drive with a sufficient amount of freee space.

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Troubleshooting

If you are having trouble recording in RX, try the following steps:

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1. Enable Input Monitoring and look for activity on RX’s level meters.
   
2. Close other audio applications, DAWs and NLEs open on your computer to make sure no other program is usurping the sound card.
   
3. Open Preferences > Audio and make sure the correct device is listed in Input Device. Also check in the Channel Routing dialogue to make sure the correct inputs are selected.
   
4. Check your input source. Make sure the hardware connections between whatever you’re recording from and the inputs on your audio interface are correct.