yea i agree. ive had best results when applying processes a little at a time. even if i use the same process multiple times it still seems to sound better than hitting it once, hard.

It works better than any manual process, but as always, all magic comes at a price (artifacts).

sidebar rant: As a cutting edge tech company, iZotope should be embarrassed by the User Upgrade page on their site; for years now, a mess of conflicting options that cannot simply keep track of the things you already own. Not to mention offering you the same product at different price points ("would you like pay $xx... or would you like to pay $100 more??)

Can't they just give a 10th grader an internship and ask them to fix that?

Audiodeluxe currently has the Post Production 3 upgrade from 2 for $349 (as it is everywhere), but once you add it to your cart, you get a further $50 off. Pretty good deal.

I hear that RX8 will be out October 1st, no customer loyalty discount.

How is RX for de-essing?

Good drugs eh?

I've only tried it on a couple of records so far, but i'd say it's the first software i've tried which give genuinely useable results that aren't a thin weird mess of artifacts.

Of course, the source material is key, and i'm sure fuller tracks I will try won't be clean, but so far, i've been very very impressed.

Does anyone have tips for how to use the multichannel features of RX Advanced in standard ProTools? The best workflow update I can imagine for cleaning up acoustic instruments, but I can't work out how to test it.

At the moment it sends mono no matter what my setting for Connect is. Or is this a feature that requires ProTools Ultimate to work? ie does it only work on multichannel tracks, not across a selection, which means it is a feature I can't use via Connect?

If you're talking about the 'Modes' settings you're completely misunderstanding what the manual says. Quoting from the manual:
"Mono mode: Treats mono, dual mono and stereo clips, as well as multi-channel clips, all as discrete mono clips (e.g. a stereo clip will send as two separate mono files)."
This means if you send a clip with dual mono or stereo in PT it gets sent over as two separate mono files.
And:
"Multi-input mode Treats dual mono and stereo audio clips as one entity"
This means that if a dual mono or stereo clip is sent from PT rx sees it as a single file.

So if you send a mono file over from PT rx will see that as a mono file and the multichannel setting means nothing. Maybe if you clarify exactly you're trying to do then a better answer can be given.

I used to send mono tracks (ie all the individual sources of a multi mic'd instrument in pairs) via RX6 Connect in 2018.3 in multi-input mode, and I'd get them show up in RX as stereo files. Avid appear to have changed this behaviour in 2018.7 (for no good reason).

What I'd like to do is send 10 channels of multi-mic'd drums into RX to remove the stick hits, or clean up finger scrapes on noisy acoustic players, or send multi mic'd choirs into RX to remove coughs, incorrectly timed t's or esses etc. It's painful to do things like this one or even two channels at a time.

Is there any way to use the multichannel functionality with standard ProTools?

If you send mono from PT rx is going to see it as mono - it's not going to show as stereo.

To do what you want you're going to have to send them one at a time from PT BUT you can have several tracks showing inside rx. Been like that since at least PT11.

If I have a selection across two mono audio tracks of say, snare and bottom snare mics, I could (until PT 2018.7) send them simultaneously via Connect and process them simultaneously, and they would process back onto their correct, separate audio tracks.

This has previously allowed me to remove ghost notes or stick hits, coughs etc. Or process two mics that were not a normal "stereo" setup, such as splitting a stereo file into MS and taming anomalies.

That was actually the function of the multi input mode in Audiosuite - it should take the selection as the track width, like it has done previously. This is the way Audiosuite and Connect have worked for me. It's a massive time saver. Basically it sends each source out as one of the channels.

Now it seems in PT 2018.7, Audiosuite will only process a file as multi-input if it is on a stereo channel.

Izotope have announced a feature implying we can send up to 10 source tracks via Connect, and I would like to know if it actually works before paying for the upgrade, seeing as currently Avid have changed the Audiosuite functionality between 2018.3 and 2018.7.

If anyone is using ProTools standard 2018.3 and can send a multi mic'd source into RX like they do on the promo video, can you tell me if it works as expected?

Have you asked over on the DUC?

Strange, my earlier reply disappeared... I haven't asked on the DUC, but I found a thread that confirms PT is misbehaving and breaking other plugins in the same manner, and a fix will be in the next update... whenever that might be.

I have emailed Izotope to ask how the multi input feature works with PT 2018 standard, as their video doesn't show how the audio is transferred, only the multichannel editing once it's already inside RX. If there is any further insight, I'll post it here for anyone else who can't check the feature because of the ProTools issue.

Are you on a Mac? And if so what OSX revision? I've read where several people have had issues with anything later than OSX 10.13.3; Avid even tells people to no go beyond that specific OSX. But again like you say who knows when the fix will come (sort of like waiting for Slate Digital to fix their stuff)?

I'm on 10.12.6 - I got scared by the thought of a new file system and how much that could wreck PT, so at least that is safe. I'm about to buy a new computer though, which will come with 10.14 - the evil game of update leapfrog. At least I am keeping my old system intact while I try to go into the brave new world of RX with an i9 and lots of RAM

I've been trying the music rebalance feature in the meantime though, it's pretty great for removing spill in live ensemble situations - so far it's far more useful with less artefacts than the De-bleed module. That alone seems worth the price of admission.

You are going to have major issues as Avid hasn't even made PT compatible with the latest revisions of High Sierra so I wouldn't expect a Mojave-compatible PT in quite a long while and at least not this year. You may get lucky if you're buying an off the shelf currently in stock Mac and it'll still come with HS.

Do this before it disappears - grab the current download of HS from Apple. That way you can install it on the new Mac. You'd have to totally wipe the system drive in the new machine though; I'd say make a bootable thumb drive with the HS installer on it. Even though the new machine will come with Mojave because the model you're buying originally came with HS on it you should be able to back to that OSX.

Of course there's the thought if you need a new-to-you machine take a look at something used from OWC. You may find something to your liking and it'll certainly be a heck of a lot cheaper than buying from Apple. It might even come with Sierra on it - I know the 2012 cheesegrater I got from them last year had Sierra (and HS had already been out at that point).

i tried it out the other day and i was very impressed. it is by far the best single solution i have tried. there are still artefacts of course, but they are minimal. i tried it alone just to see what it was like, but i think when combined with other techniques you could get a really good result.
as you said though, it depends on the input signal i imagine. im guessing, for example, it wouldnt handle wide vocals as well, but what more can we ask for???

With a dialog recorded a bit far, is it possible with RX 7 to make it seems like it was recorded with a closer microphone ?

Try de-reverb and/or dialog isolate. I think Mike Thornton did something like what your asking about in an earlier version of rx. Take a search through YouTube - he's Mr. RXit.

i will try to find it thank you.

Yes.

The new dialogue de-reverb module is frighteningly good.

It has become my go to now for precisely that job.

it is one of the most powerful tools i have tried to do this kind of job.
obviously the problem is better fixed with a clean recording or adr and is sometimes impossible to fix, even with RX.

Yeah...i know better to fix during recording. But unfortunately i made the biggest mistake of my life. I had 4 wireless connected to a zoom h6, and forgot to press record thé first 6 minutes... Impossible to come back because it was a debate with many people... I wanted to kill myself... x)
Now i try to save it with the camera Microphone but it's very far from the person

Good to hear. Have you compared it to Zynaptiq’s Unveil? Unveil was the best at de-reverb for a while. I’m curious to hear your thoughts.

that sucks :( but these things happen.
RX would be a solid choice for the repair, but im not sure its worth the money for one job. if you do that kind of work a lot though its a tool well worth having in your collection

I just bought RX7 Standard last night. First time using anything like this, so I don't know what I'm fully doing yet. It's amazing to me on my first experiments.

I get mixing jobs from local bands who record tracks in their practice space, wanting to see what magic might happen. I admit it's tough to feel proud with these mixes. I don't control the record process and there's always mic bleed on everything, which makes a good mix (to me) challenging most times.

I think RX7 will improve my life in these cases within seconds.

First I tried the De-bleed effect. It's okay. You match the track you want to remove bleed from with the unwanted source track. If I took the vocal track matched with the drums it would mostly take out the drums. Pretty well in fact, but I could still hear bleed from guitars, thus not full isolation. If I matched the vocal with the guitars…wow, it did much better at isolating the vocals, taking out guitars and much of the drums. Still, I thought the vocal track was changed noticeably. I don't know if it was artifacts, or what, but it lost a little something.

Next I tried Rebalance. Wow wow wow. The vocal isolation was impressive. The bleed on this track had been terrible and now I didn't hear any other instruments. Also, it was much cleaner. I didn't hear the artifacts I heard with De-bleed.

I also tried Rebalance to isolate the drums track. 100% better with no mic bleed from vocals and guitar. A very usable drum track.

I was skeptical about buying something like this, as it is clearly targeted at post production for film or commercial work. The examples shown online were fixing edits on already well produced, studio-recorded tracks. Not Garageband level, don't-know-how-to-record tracks. But this thing delivers the goods for fixing a big issue I run into on many jobs. Mic bleed.

The fact that it can also do slight correction on tracks with clipping or some other weirdness is total bonus, but I might have ignored that before. That's just something I've had to live with and tried to fix with much lower results.

I did upgrade as well from R6 Standard to RX7 Advanced (I could live with the standard version but I was interesting also on Dialogue De-Reverb which has much less artefacts than De-reverb module).
It's an amazing piece of software! Just Music Rebalance is a huge saver for many kind of cases.
Highly recommended!

For anyone who uses PT standard (not Ultimate) and RX connect - I downloaded 2018.4 to use the multi input Connect function. Editing 10 channels of drums is a bit weird, because you have to route them to collapse to stereo, but it works wonderfully. I reported the issue with 2018.7's Audiosuite - hopefully Izotope can presume Avid into repairing Audiosuite. It is literally dropping my editing down to about a third, even while I am familiarising myself! Very impressive .

If you have an onboard routing mixer in your interface, you could return RX's output into the mixer and pan the 10 channels where you wish instead of using RX Monitor as the driver.