reverb out of a recording. How do you de-convolve a room without knowing where all the reflections are coming from, and when they’re arriving? Still, the day I installed the RX3, a colleague brought me a recording made with a boom mic that, thanks to that old devil, wide-and-tight cameras, sounded very wide. It was also in a hard room. The hope was to find out if intelligibility could be improved, since some problem occurred with the subject’s wireless and the director would not let production stop to correct it. Once again, this was on day one of having the software. As a matter of fact, it was hour one. In about 10 minutes, we had gotten about half the reverb out of the signal, and I think multiple passes would have improved it even more, but we reached our goal of useable intelligibility and went on to more pressing matters in the malt beverage family. Using the software reminded me of the first time I was ever at a music mastering session. The desired effect can best be achieved through critical listening and having the ability to tell when you’ve gone too far. When you’ve gone too far, you can introduce artifacts, and they are subtle. I’m not a stranger to restoration tools in general, but I am a rookie with the iZotope suite. Still, I was able to get really good results with just a few minutes’ work. I can only imagine the magic that can be wrought by a full-time post mixer! •
Using the software. Top row: hum, declip and denoise. Bottom row: spectral repair, deverb and deconstruct.
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