Whether Denoise'ing unwanted sounds from whole vocal takes or cleaning up massive tape or preamp hiss, RX 3 does an amazing job of not leaving fluttery FFT artifacts or dulling the highs. I've used Spectral Repair or Denoise to also remove AC hum and computer-induced hash. With cheap condenser mics, you can even tame some of the more offensive transient artifacts and harshness as well. Harsh S or T sounds can be attenuated by slightly reducing the overall volume or selecting certain dominant components (but watch out, they will sound weird if you are not careful). Even weird mouth sounds, like the ones that appear after L sounds, can be removed from within a sung note for clarity. Vocals: I'll remove popped P's, mouth clicks, background noises, and bumped mic stands with Spectral Repair's Attenuate or Partials+Noise functions. Many of the initial presets will work just fine, and settings are obvious, though this app can go very deep if needed. Some even go on to buy their own copy of RX after they see what can be done! One thing I should note is that the learning curve is quick. In fact, by the end of a session, most of my clients will come to recognize the spectrogram window when I open it, as they've seen it in use repeatedly. 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. It can be run as a standalone application or a plug-in (AAX, RTAS/AudioSuite, VST/VST3, Audio Units). RX 3 might be perceived as an audio restoration, forensics, and post production tool - and it certainly is - but I mostly use it on recording and mixing sessions. As mastering engineer Roger Seibel said, "If it sounds better, use it." Since then, iZotope RX has become one of my most-used plug-ins, and in lieu of writing up the giant list of its features (many I've never even tried yet), I am going to explain how I use RX, and now RX 3, in the recording studio as a tracking and mixing tool. When "Angel in the Snow" required a new instrumental mix for the film Up in the Air, I used RX on the original transfers of the tape tracks and was blown away at how much better the mix sounded, enough that I snuck a new mix onto An Introduction to Elliott Smith in 2010. Not much later, I stumbled across iZotope's booth at an AES show, and after explaining my issues, I was given access to the initial version of RX Advanced. I rented a single-ended noise-reduction plug-in from a certain DAW manufacturer, and while it did reduce the sea of tape hiss, I heard fluttery artifacts in the background.
The song was beautiful, but the tape hiss was not. One song in particular, "Angel in the Snow," had been recorded onto 1/2'' analog tape at a very low level. When I began work on what would become Elliott Smith's New Moon album in 2006, I knew I might have a few noise issues to tackle.
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