rx final mix help

USER GUIDE

Copyright © 2015 iZotope, Inc. All rights reserved.

RX FINAL MIX | CONTENTS Page ii

IntroductIon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

AuthorIzAtIon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

WhAt Is rX FInAl MIX? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9Equalizer Module (Static and Dynamic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Limiter Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Surround Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Operating System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Plug-In Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Host Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

GenerAl FunctIons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Understanding The Microview vs . The Expanded View . . . . . . . . . . . . . . . . . . . . . . . . . . 11Understanding The Options Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

usInG the Preset BroWser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

understAndInG the equAlIzer (eq) Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20Static vs . Dynamic EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Understanding The Dynamic EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

lIMIter Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27True Peak Ceiling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Lift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Character . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Low Frequency Effect (LFE) Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

tIPs And trIcks For usInG rX FInAl MIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Tips For Intelligible Dialogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Tips For Impactful Sound Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

IzotoPe custoMer cAre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35How To Purchase The Full Version Of Rx Final Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35iZotope Customer Care Policy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35How To Contact Izotope Customer Care For Technical Support . . . . . . . . . . . . . . . . . . 36International Distribution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Contents

RX FINAL MIX | INTRODUCTION Page 1

Introduction

Here at iZotope, we specialize in building audio products for music production, post production and broadcast .

RX Final Mix is aimed at those working in post production and broadcast, mixing program material for radio, TV, film, and the web .

Driven by feedback from you, our users, we created RX Final Mix to support surround sound mixing with a combined Dynamic Equalizer (EQ) and a BS .1770-2/3 True Peak compliant Limiter . The plug-in is optimized for post production and designed to bring transparent dynamic control to audio stems and master buses with a host of presets and advanced functionalities .

We hope you enjoy using RX Final Mix on your next project!

- The iZotope Team

RX FINAL MIX | AUTHORIZATION Page 2

Authorization

When you first download and install RX Final Mix, it will be in Trial mode . After 10 days of unlimited, full functionality support, the plug-in will go into Demo mode .

Authorization is required to disable both Trial and Demo modes .

Trial Mode

For the first 10 days after RX Final Mix is opened or instantiated, RX Final Mix will run in Trial mode . Trial mode offers full functionality of the RX Final Mix plug-in .

Demo Mode

After 10 days, RX Final Mix will go into Demo mode . In the plug-in, Demo mode will mute audio output periodically .

Serial Number

Each purchased copy of RX Final Mix contains a unique serial number to authorize your plug-in .

If RX Final Mix has been downloaded directly from iZotope or another reseller, the serial number will be emailed to you, along with the link to download the product . The serial number should resemble:

SN-RXFINALMIX-XXXX-XXXX-XXXX-XXXX


Instructions on how to use this serial number to authorize are outlined below:

AUTHORIZING YOUR COPY OF RX FINAL MIX ONLINE

Launching the Authorization Wizard

The first time you open the RX Final Mix plug-in, the Authorization Wizard will appear .

You can choose to either click Authorize to authorize RX Final Mix, or instead click Continue to use it in Trial mode for evaluation purposes . Please use your supplied RX Final Mix serial number to fully authorize your product .


After opening RX Final Mix and launching the Authorization Wizard, perform the following steps to complete the authorization process online:

1 . Click on “Authorize .”

2 . Enter the serial number, using all capital letters, as it is shown in the purchase confirmation email . SN-RXFINALMIX-XXXX-XXXX-XXXX-XXXX

3 . You must also enter your name and a valid email address .

4 . Note: Clicking the Advanced button reveals a set of options that allow you to store your RX Final Mix authorization on a portable hard drive or flash drive . More detail can be found at www .izotope .com/en/support/authorization/

5 . Please make note of the email address you use to authorize your license, as your license and iZotope account will be linked directly to this email address .

https://www.izotope.com/en/support/authorization/


6 . When you have confirmed that your serial number and email information is accurate, click once more on “Authorize .”

7 . Click on “Submit” to send your authorization information to iZotope .

8 . Once the authorization is accepted, click on the Finish button to complete the authorization .

AUTHORIZING YOUR COPY OF RX FINAL MIX OFFLINESome customers choose to keep their audio workstations offline; for these instances, a simple offline authorization option has been included .

After opening RX Final Mix and launching the Authorization Wizard, the following steps will complete the authorization process offline:

1 . When first prompted to authorize RX Final Mix, click on “Authorize .”

2 . Click on the option for “Offline Authorization” at the bottom of the authorization window .

3 . You will be given a unique Challenge Code that is specific to your computer only .

4 . Write down or make a copy of the exact Challenge Code . It will look like this: IZ-RXFINALMIX-XXXXXXXX-XXXX-XXXX

5 . Next, using a system with Internet access, login to your customer account at the iZotope website: www .izotope .com/en/account/log-in/

https://www.izotope.com/en/account/log-in/


6 . Click on “Activate Software with a Serial Number,” enter your full serial number, then click “Submit .”

7 . Select the “Challenge/Response option and click on “Submit .”

8 . Enter your full Challenge Code copied in step 3 .

9 . After submitting your Challenge Code, you will receive a unique authorization file named “iZotope_RX_Final_Mix_xxxxx .izotopelicense” . Copy this file to your offline computer .

10 . Once the authorization file is copied to your offline computer using a network, hard drive, or USB thumb drive, click the Choose File . . . button in your authorization wizard .

11 . Navigate and select the authorization file and click “Next” to authorize your machine .

12 . You should now receive a message that your authorization has been successful, you may click “Finish” to begin using RX Final Mix .

ILOK SUPPORTRX Final Mix supports the iLok copy protection system .

The plug-in will be able to detect iLok keys and assets if you already use iLok and PACE software on your system .

If you don’t already have PACE or iLok, we will not install any PACE or iLok software to your system, and iLok authorizations will be unavailable .

Authorizing RX Final Mix with iLok

1 . When first prompted to authorize RX Final Mix, click on “Authorize .”

2 . Next, enter the serial number in all capital letters as it is shown on the included card or purchase confirmation email .

3 . This would look something like: SN-RXFINALMIX-XXXX-XXXX-XXXX-XXXX

4 . You must also enter your name and a valid email address . Make note of the email address you use to authorize your license . Your license and iZotope account will be linked directly to this email address .

5 . Select “Use iLok Authorization” and enter your iLok ID .

6 . When you have confirmed that all your information is accurate, click once more on “Authorize .”


7 . Lastly, click on “Submit” in order to send your authorization message to the iZotope servers .

8 . You will now be instructed to log in to your iLok account and transfer your RX Final Mix license to your iLok .

9 . When you have completed this step and have your iLok connected to the computer on which you want to use RX Final Mix, click “Next .”

10 . You should now receive a message that your authorization has been successful and may click “Finish” to begin using RX Final Mix .

REMOVING YOUR CURRENT AUTHORIZATIONUse the Remove Authorization button in the RX Final Mix’s General tab within the Options panel to remove your current RX Final Mix authorization .

After removing your authorization, RX Final Mix’s authorization screen will pop up when you restart the program . Now you can re-authorize the plug-in using a new serial number . You may also remove your authorization at any time in order to run in Trial or Demo mode .


HOW TO CONTACT IZOTOPE CUSTOMER CAREFor additional help with authorizing RX Final Mix:

Check out the Customer Care pages on our web site at www .izotope .com/support

Contact our Customer Care department at support@izotope .com

More information on iZotope’s Customer Care department and policies can be found in the iZotope Customer Care section .

https://www.izotope.com/support

mailto:support%40izotope.com?subject=

RX FINAL MIX | WHAT IS RX FINAL MIX? Page 9

What is RX Final Mix?

Specifically created for audio post production professionals, RX Final Mix is the ultimate processor for stem and master buses . Whether you’re dealing with dialogue, production sound (ambience), sound effects, music, or your overall final master bus, you’ll get a consistent, clear, and intelligible mix that’s incredibly smooth, and True Peak compliant .

EQUALIZER MODULE (STATIC AND DYNAMIC)The EQ shapes the sound of individual buses and/or your final mix, adding high-end (i .e . dialogue) and low-end (i .e . sound FX) cuts or boosts only when needed . Up to eight nodes of EQ toggle between static or dynamic . Balance quickly and intuitively with problem-solving filter shapes, and create overall color changes with post-specific enhancement filters . You can also use ultra-narrow Q settings for precision sonic sculpting . One of the first EQs where you can switch the behaviors between static and dynamic, this is a versatile and cutting-edge technology—the sound of the future .

LIMITER MODULEMaximize your audio by transparently reducing dynamic range, allowing for a more impactful sound, while reducing peaks with an always-on True Peak ceiling to meet specification . iZotope’s mastering-grade Limiter sets a new standard in transparency and accuracy, conforming any audio to your delivery specifications .

RX FINAL MIX | WHAT IS RX FINAL MIX? Page 10

METERINGThe Limiter module includes True Peak and RMS metering from our award winning Insight metering suite, so you can easily keep an eye on your output levels at all times . The True Peak metering is accurate to all the latest loudness standards .

SURROUND SOUNDRX Final Mix offers explicit support for mono, stereo, 5 .0, 5 .1, 7 .0 and 7 .1 audio formats .

As each audio or video host works with different internal channel processing orders (which are separate from the channel configurations of your host and your hardware’s I/O), RX Final Mix detects the host and where relevant, supports the right configuration, such as Film, DTS, ITU/SMPTE and SDDS channel configurations .

OPERATING SYSTEM REQUIREMENTSRX Final Mix runs as a plug-in for your video or audio editing software .

Windows: 7 or later

Mac: OS X 10 .7 or later (Intel only)

PLUG-IN FORMATSAudioSuite DPM and AAX, RTAS 32 bit, AAX 64 bit, AU, VST 2 and VST 3 32/64 bit .

HOST COMPATIBILITYRX Final Mix is currently compatible as a plug-in for many audio and video editors, including:

Pro Tools 10-12Nuendo 6 .5Premiere Pro CC 2014Audition CC 2014Media Composer 7 .0 .4 & 8 .4

Final Cut XLogic XCubase 7 .5 & 8RX 4

VST, VST 3, AAX, RTAS, and AudioSuite will support mono up to 7 .1 .

The AU version of RX Final Mix will support mono up to stereo only . For hosts that support both VST and AU, surround functionality can be used via VST . For AU-exclusive hosts, namely Final Cut and Logic, RX Final Mix supports stereo only .

RX FINAL MIX | GENERAL FUNCTIONS Page 11

General Functions

UNDERSTANDING THE MICROVIEW VS. THE EXPANDED VIEW

Microview

The microview is a condensed metering view, in which you have quick access to small meters for important information without visual clutter .

The microview is only accessible in certain hosts and plug-in formats that support resizing . In all other hosts, RX Final Mix will default to the expanded size for access to the controls . Switching between microview and expanded view is accomplished by clicking on the collapsible arrow at the right edge of the window .


Expanded View

The expanded view provides access to the controls in both the EQ and Limiter modules .

UNDERSTANDING THE OPTIONS MENU

General

Build Number

In the top right, RX Final Mix will display the version number and other relevant diagnostic information, which may be useful if you need to contact Customer Care for technical support .

Enable Analytics

Click this box to allow RX Final Mix to occasionally upload data on your usage patterns of the plug-in to iZotope’s servers . This info is completely anonymous, and allows us to better understand how users use RX Final Mix in order to provide the best updates possible in the future .


Delay Compensation

Enabling this feature will result in RX Final Mix engaging the appropriate level of delay compensation needed in that specific host or session . Most commonly this should be left on by default, to always maintain sync, and this feature exists mainly for diagnostic and test purposes .

Updates

RX Final Mix allows you to check for updates from iZotope with recurring frequency . Check Now is an instant check, but you can also define periodic, automatic checks .

These options are:

Never

Daily

Weekly

Monthly

Authorization

This section allows you to authorize and deauthorize RX Final Mix .

Clicking on Authorize will load the authorization window discussed in detail in the earlier chapter .

Clicking on Remove Authorization will remove the authorization from your machine to facilitate transfer to another computer . This is specific to local authorizations and will not affect iLok .

Clicking on More information . . . will take you to the authorization help section of www .izotope .com/en/support/authorization/

http://www.izotope.com/en/support/authorization/

http://www.izotope.com/en/support/authorization/


Equalizer

Show Spectrum

Shows a down-mixed spectrum of the output audio signal underneath the EQ, to provide a visual indication of general frequency levels and allow for targeted equalization changes .

Fill Spectrum

Allows you to display the real-time spectrum as a solid graph as opposed to a line graph . This option can be used to differentiate the real-time spectrum from the peak hold spectrum .

Alt-Solo Filter Q

If you hold down the Alt key and click on the spectrum, you have a temporary “audio magnifying glass” that lets you hear only the frequencies that are under the mouse cursor, without affecting your actual EQ settings .

This is useful for pinpointing the location of a particular frequency in the mix without changing your actual EQ bands . Releasing the mouse button returns the sound to the actual EQ .


Limiter

Show Peak Hold

Check this setting to allow the output meters to visually display a peak hold, whenever peaks occur in the loaded audio file .

Integration Time

This setting lets you specify the integration time for the RMS calculation . In most RMS meters, the integration time is set to around 300ms . The available options are:

10 mms

50 ms

300 ms (vu)

1,475 ms

2,650 ms

3,825 ms

5,000 ms

Peak Hold Time

Selects how long a peak will display in the level meter before falling back to normal level . Choices include:

5

250

500

1000

5000

Infinite


Readout

Selects whether the peak hold section of the meters displays the current peak status (current) or instead displays the highest peak that has occurred in the audio file (max peak) .

Average Time

Averages the spectrum according to this setting . Higher average times can be useful for viewing the overall tonal balance of a mix, while shorter average times provide a more real-time display .

RX FINAL MIX | USING THE PRESET BROWSER Page 17

Using the Preset Browser

RX Final Mix ships with a number of presets, covering both common and creative use cases for print master, dialogue, production sound, sound effects, and music stems/buses .

1 . Clicking the Preset Browser button or clicking the text displaying “Presets” brings up the Preset Browser Window .

2 . Clicking on any preset in the list will immediately apply the associated parameters to all of the controllers in the RX Final Mix plug-in .

3 . Double clicking on any preset in the list will immediately apply the associated parameters and also close the Preset Browser .


Working Settings

If you decide not to use a preset and would like to apply the last settings used that were not associated with a preset, you can select <Working Settings> to return parameters to the previous state .

Default

Select <Default> to return all parameters to the state they are in on instantiation of the RX Final Mix plug-in .

Preset Information

Below the list of presets, some text details the parameter settings associated with the selected preset .

If you select a preset and change any parameters in the plug-in, the preset name in the Preset Browser’s list will have an asterisk before it . This simply indicates that your current settings differ from those associated with the preset as it was last saved . Simply click the preset name in the Preset Browser list once to return your plug-in parameters to the associated preset’s saved state .

Adding And Removing Presets

The Preset Browser includes methods for creating new presets, creating new folders, and deleting presets .

To create a new preset:

1 . Set the parameters in RX Final Mix to the values you wish to save and open the Preset Browser (as described above) . You can click <Working Settings> in the Preset Browser to confirm that the settings of the plug-in are set to match your expectations of what should be saved in the preset .

2 . Click the New Preset button in the Preset Browser . You will be prompted with an edit box to enter a name for this new preset . This will create a new preset with the parameters saved from the <Working Settings>, and will save to the same location as all RX Final Mix presets (see “Preset storage location” below) .

3 . Note that if you in a subfolder or have a subfolder selected in the Preset Browser, your new preset will be created within that subfolder rather than at the top level of the preset directory . This preset can then be used in


your workflow as you would any other preset . If you so choose, you can give your preset a custom comment by clicking the text that says [Click here to comment] .

4 . For better organization, the Preset Browser also allows you to create a new folder in which to place any preset . To do this, click the New Folder button in the Preset Browser . You will be prompted to give the folder a name . To move any preset or even any folder into another folder in the Preset Browser, click and drag the preset or folder you want to move, place it in the expanded folder, and release the mouse .

To rename any item in the Preset Browser, click twice on the preset name or folder to bring up an edit box .

To delete any item in the Preset Browser, select the item and click the Delete button . A dialogue box will appear to confirm your choice .

Preset Storage Location

The presets used in RX Final Mix are stored on disk:

Windows: C:\Users\<your_user_name>\Documents\iZotope\RX Final Mix\Global Presets

Mac: /Users/<your_user_name>/Documents/iZotope/RX Final Mix/Global Presets

This folder contains the presets included with the installation and any custom presets you have added via the Preset Browser . Keep in mind that factory defaults can be restored by deleting the Presets folder and reinstalling the RX Final Mix plug-in .

Distributing Presets

As these presets are saved as .xml files on your hard drive, you may create and save presets, then distribute them across an entire organization or facility that may benefit from using the same settings .

RX FINAL MIX | UNDERSTANDING THE EQUALIZER (EQ) MODULE Page 20

Understanding the Equalizer (EQ) Module

OVERVIEW

Filter Types

The EQ module contains the following filter types, for a variety of sonic options:

Highpass Low-shelf Bell High-shelf Lowpass

Resonant Flat Proportional Q Flat Resonant

Band shelf

High/Low Pass (resonant)

These filters reduce all frequencies above or below a certain cutoff frequency . The highpass filter is very useful for cutting low-frequency noise or rumble, while the lowpass can be used to tame unwanted signals on the high end . Both filters are equipped with a resonance control, which can modify the curve to either emphasize the cutoff frequency with positive resonance or smooth the curve around the cutoff frequency, with negative resonance


High/Low Shelf (flat)

These filters provide an overall boost or cut to either high or low frequencies . These can be used to adjust the overall sound and frequency balance of the mix . A high shelf filter with a negative gain will reduce brightness, while a low shelf filter with a positive gain will provide a bass boost . Both filters have a Q control that affects the slope of curve .

Proportional Q

This filter’s shape varies in proportion to the amount of cut or boost . As the cut or boost is increased further away from center, the shape tightens for more precision, which is particularly useful for suppressing resonances, hums or other narrow frequency bands that need to be removed .

The user is still able to adjust the Q .

Band Shelf

Though this is a bell filter, this filter’s shape has a flat top, allowing the user to perform wider, flatter EQ adjustments in a particular frequency area . This is useful for attenuating a block of boxy frequencies, or boosting dialogue presence in the 3-7kHz range .


STATIC VS. DYNAMIC EQEach individual node in the EQ module can be toggled between static and dynamic behavior .

When in static mode, an EQ adjustment will be consistently applied to the audio . The Equalizer Curve’s node shape is circular when that band is in static Equalizer Mode, and the Dynamic Equalizer related buttons and meters become disabled .


UNDERSTANDING THE DYNAMIC EQ

The Dynamic EQ in RX Final Mix works like the combination of a static EQ and a compressor . Each band allows you to set a compression threshold . When the volume of the signal in the frequency range of the band passes over that threshold, it is reduced or boosted according to the band settings .

Dynamic EQ adjustments will be program dependent, in which the shape and depth of the EQ curve will change and adapt in response to the audio it's adjusting . This allows an EQ adjustment to behave differently depending on the input sound, such as a large explosion, a sudden gunshot, a dialogue ess reduction and any other scenario . A user definable threshold sets the point at which the dynamic ballistics begin to kick in . Taking an audio input from only the area surrounding the EQ node, the further it falls above or below the threshold, the greater the adjustment will be .

The attack and release times for the trajectory of this dynamic behavior intelligently scale in accordance to the type of audio passing through, and will react differently on a sibilant dialogue area, to say, a low frequency LFE burst for example .

This intelligent behavior results in reactive, program dependent, and most importantly, more transparent mix results, which allows you to perform much more transparent EQ adjustments that affect your audio only when you’d actually like them to .


Dynamic EQ Modes

The Dynamic EQ has two modes, compress and expand .

Compress

In this mode, when a specified frequency range exceeds the threshold, boosts are reduced and cuts are increased, thus compressing the dynamic range of the affected frequencies . For instance, if you had an occasional harsh, peaking frequency area, a dynamic EQ cut would only reduce that frequency area when the harsh peaking was actually present, and with the right degree of variable strength, preserving the overall sonic color of your mix .

Expand

In this mode, filters respond more like an expander . A boost you’ve programmed in will only start to boost once the specified frequency range exceeds the threshold, and a cut will decrease in strength . This can expand the dynamic range of the affected frequencies . For example, if you wanted to bring out a particular sound effect in a mix, you could adjust a filter to boost at the appropriate frequency and set the dynamic settings to respond to the level of the sound effect . This boosting filter will only activate when the sound effect is present, thus expanding the dynamic range and enhancing the impact of these frequencies .

When in the Dynamic EQ’s Compress or Expand mode, the node’s in the Equalizer Curve will change to indicate whether a band is compressing (downward shape) or boosting (upward shape) your audio when it exceeds the specified threshold .


LFE Processing

If you’re running RX Final Mix in a channel config that includes an LFE channel (such as 5 .1 or 7 .1), there will be an LFE power button in the EQ panel, above the EQ Curve . By default this is on and the LFE channel will run through the equalizer and be processed according to the equalizer settings as normal . You can click the power button to turn off LFE processing and pass through the LFE channel as-is without any equalization .

GENERAL USER INTERFACE

The Equalizer panel is divided into several sections that allow access to the Equalizer bands and their associated parameters . Selecting a node on Equalizer Curve adjusts the bottom view to display that nodes parameters . You can always tell which node’s parameters you’re viewing by either checking the color of the parameter readouts or checking to see which band’s button and label is highlighted with a grey tab . You can also switch between different bands by clicking the label next to each band’s power button .


Alt-Solo Filter Q

If you hold down the Alt key and click on the spectrum, you have a temporary “audio magnifying glass” that lets you hear only the frequencies that are under the mouse cursor, without affecting your actual EQ settings .

This is useful for pinpointing the location of a particular frequency in the mix without changing your actual EQ bands . Releasing the mouse button returns the sound to the actual EQ . The Q of this filter can be adjusted in the Options window .

RX FINAL MIX | LIMITER MODULE Page 27

Limiter Module

OVERVIEWThe surround sound, BS .1770-⅔ compliant True Peak Limiter in RX Final Mix provides intelligent digital loudness maximization of the signal, while ensuring there are no True Peak overflows, across all of your surround channels .


The intelligent digital loudness processor is designed for neutral or transparent limiting . It does so by analyzing the incoming source material and leveraging a psycho-acoustically pleasing algorithm, reacting quickly to transients and reacting more slowly to steady, lower frequency tones . In doing so, it is optimized to preserve transients which makes them sharper and present more clearly in the output signal, even when aggressive limiting is taking place .

In addition to the True Peak Limiter and intelligent digital loudness processor, the Limiter module contains peak and RMS metering for all channels of your audio . This Limiter can limit peaks as well as provide digital loudness maximization of the signal, while preserving transients . On the meter, RMS is shown in white and current peak level is shown in gray . Peak hold is shown above the meter as a white bar and can be configured in the Options window . When the Limiter is actively limiting audio, you will see the amount of gain reduction shown in beige from the top of the meter . The Limiter is linked across all channels, meaning that gain reduction is applied equally to preserve the positioning of surround image and avoid steering . The LFE can be exempted from this gain reduction using the LFE power button .

The averaging, integration and peak hold times for the meter section can all be adjusted in the Options panel .

TRUE PEAK CEILING

You can set the True Peak ceiling of the Limiter via the True Peak slider to the right . This determines the maximum output level of your audio - all peaks above this point will be limited .


LIFT

The Lift control allows you to increase the loudness of your audio without affecting the True Peak level . It provides up to 20 dB of input gain into the Limiter .

CHARACTER

There are three user definable character options, Clear, Smooth and Thick, to allow for more direct control over the adaptive, transparent nature of the limiting algorithm . Both the limiting algorithm and the character options are tuned specifically for post production type audio .

Clear

The Limiter will respond more quickly to better present fast moving transient material forward in the mix .

Smooth

Smooth is the most common, best sounding middle ground between Clear and Thick, and is the most appropriate algorithm for the majority of program material, including most dialogue .


Thick

The Limiter will respond to audio more slowly, useful for louder, slower moving sounds like a big explosion, where you wouldn’t want an aggressive limiter to break the sound up .

LOW FREQUENCY EFFECT (LFE) PROCESSING

If you’re running RX Final Mix in a channel configuration that includes an LFE channel (such as 5 .1 or 7 .1), there will be a power button below the LFE meter . By default this is on and the LFE channel will run through the Limiter and be processed according to the Limiter settings as normal .

You can click the power button to turn off LFE processing and pass the LFE channel through as-is, without any limiting .

RX FINAL MIX | TIPS AND TRICKS FOR USING RX FINAL MIX Page 31

Tips and Tricks for Using RX Final Mix

When mixing different assets — dialogue, production sound / ambience, sound effects, and music — into one cohesive, emotive mix, it can be a challenge to ensure every unique sound has its place .

This is currently solved by mixing into stems . Aside from stems being often required deliverables, they also allow for a combination of volume and surround panning automation, as well as other spacialization and equalization effects .

Some useful and practical techniques for this include:

Positioning dialogue in the center channel

Positioning music in the left and right channels

Panning special effects around all the channels

Automating levels of non-dialogue stems to keep them out of the way

But that’s only the beginning . RX Final Mix introduces some creative mixing techniques for a new level of audio control and enhancement .


TIPS FOR INTELLIGIBLE DIALOGUEIt’s common practice to position a dialogue stem at approximately -23 or -24 LKFS, and then mix in the other assets around it . This usually results in a well-balanced mix .

However, RX Final Mix allows you to further enhance the clarity of a dialogue stem with intelligent, dynamic EQ and limiting .

Tip 1: Instantiate RX Final Mix on your sound effects and music stems . Use a dynamic EQ node in Compress mode to carve out the frequencies between 3-7kHz .

Adjusting the threshold ensures that the EQ will only begin to cut those frequency areas when they become particularly energetic — which is where they’d begin to interfere with the frequencies on the dialogue track .


Tip 2: Instantiate RX Final Mix on your dialogue stem . Add a gentle proportional Q cut in the low mid-range, set the Equalizer Mode to Dynamic Compress mode . Adjusting the threshold will cause the mud to be cut out of the dialogue only when present .

Add a high shelf boost, set the Equalizer Mode to Dynamic Expand mode . Adjusting the threshold will cause the brightness and clarity in the dialogue to increase, but only when the dialogue is present .

TIPS FOR IMPACTFUL SOUND EFFECTSWhen mixing sound effects, it’s not just about peak volume . Here’s how to maximize a sound effect to really hit home .


Tip 1: Use the Lift control in the True Peak limiter to drive the signal hotter into the Limiter . This will reduce the dynamic range of the sound effect stem and increase the volume for maximum impact, transparently, without distortion .

Tip 2: Instantiate RX Final Mix on your sound effect stem . Add a narrow proportional Q boost to your low end, set the Equalizer Mode to Dynamic Expand mode . Make sure LFE processing is enabled . Now, whenever a low sound effect hits, there will be a transient low boost for more impact . The program dependent behavior of the dynamic equalizer avoids adding rumble across the entire mix, but preserves the full frequency impact of your sound effects .

RX FINAL MIX | IZOTOPE CUSTOMER CARE Page 35

iZotope Customer Care

HOW TO PURCHASE THE FULL VERSION OF RX FINAL MIXIf you are using the demo version of RX Final Mix and would like the full version, you can purchase RX Final Mix directly from the iZotope online store, located at: www .izotope .com/store

Once your purchase is complete, you will be sent an email confirmation and a full version serial number that can be used to fully authorize your current installation of RX Final Mix .

IZOTOPE CUSTOMER CARE POLICYiZotope is happy to provide professional technical Customer Care to all registered users absolutely free of charge .

https://www .izotope .com/support/contact/index .php

We also offer valuable pre-sales support to customers who may be interested in purchasing an iZotope product . Before contacting iZotope Customer Care, you can search our Knowledgebase to see if the solution to your problem has already been published .

https://www.izotope.com/store

https://www.izotope.com/store

https://www.izotope.com/support/kb/index.php/kb/browse/32-iZotope_Knowledgebase

RX FINAL MIX | IZOTOPE CUSTOMER CARE Page 36

HOW TO CONTACT IZOTOPE CUSTOMER CARE FOR TECHNICAL SUPPORTFor additional help with RX Final Mix:

Check out the Customer Care pages on our web site at www .izotope .com/support

Contact our Customer Care department via our support portal

iZotope’s highly trained Customer Care team is committed to responding to all requests within one (1) business day and frequently respond faster . Please try to explain your problem with as much detail and clarity as possible . This will ensure our ability to solve your problem accurately, the first time around . Please include all system specs and the build/version of RX Final Mix that you are using .

Once your Customer Care request is submitted, you should automatically receive a confirmation email from iZotope Customer Care . If you do not receive this email within a few minutes please check your spam folder and make sure our responses are not getting blocked . To prevent this from happening please add support@izotope .com to your list of allowed email addresses .

INTERNATIONAL DISTRIBUTIONCustomer Care is also available from our international distributors worldwide for any customers who purchased their iZotope products through a certified iZotope distributor .

Check with your local distributor for their availability . If you would like help locating your local distributor please contact iZotope Customer Care .

Thank you for using RX Final Mix!

–The iZotope Team

https://www.izotope.com/support

https://www.izotope.com/support/contact/index.php

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