Those are the files I drop into DP which makes a copy. To avoid confusion and betraying my lack of imagination back in ‘98, I always label if Raw Audio. I always have my raw audio in a separate folder inside the project folder. For example, APFS Snapshots can undo everything by reverting to a previous state if the work file and DP are on the boot drive-only had to do that once but some corrupt audio so totally screwed up a project, it was the only way other than a Time Machine restore. There are ways to restore destructive alteration but not always within DP. Plugins, like splicing, copying, deleting etc. That’s why what you are trying to fix and how should be considered. It’s tricky but rarely will you ge in trouble that way. Waveform editing in DP is destructive–not everything can be undone. The basics outlined in the Izotope doc can be used in a number of external editors-or use the editing tools that MOTU provides. Dialog editors and those of us doing restoration still need Advanced.ĭP can use any of a number of external editors. Now that Mouth Declick included in RX 7 Standard along with Deplosive and Deverb (both former Advanced only tools), I no longer feel that Advanced is necessary for most music engineers. I normally use RX Advanced but one of my bundles includes Standard so I tried that instead on a recent project. Holy cow! How did I live without it? I'm doing a lot of remastering for box sets and compilation CDs and often, that's the only tool I add to my original mixes. When I first saw it (RX 5 or 6 Advanced?), I thought, Yea, right. Mouth Declick is a miracle tool as far as I'm concerned. As such, for me, using RX stand-alone and dragging and dropping audio to and from the app allows me to reach my goals with minimum hassle.On a particularly noisy track requiring a lot of cleanup, yes.įor just hitting snippets, I prefer this:įor lip smacks and hum, the most common problems I face, I use it as a plugin selecting Dehum & Mouth Declick. HCMarkus wrote:I use RX almost exclusively for de-noising select audio snippets, usually removing spurious transient noises (often acoustic guitar or lip smacks) or hum or hiss on an instrument's fade (often an overdriven electric guitar amp or a cluster of Ivory piano notes decaying into silence at the end of a song).
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