One great trick inside the RX2 software an engineer in my studio discovered was to perform equalization within RX2 to rescue location audio (or other troublesome clips). If I’m squeamish, I’ll duplicate the track and bounce the clips before denoising. It’s a risky way to work, but I can restore the clip if it came from an AAF/OMF. Upon opening Nuendo, it redraws the waveform and is now de-noised. I close out Nuendo, open RX2, process the clip, and overwrite the audio file. My normal workflow though, is to rename clips (by putting a character in front such as so I can find them in the RX2 software. When I do, I usually “freeze” the track after adjusting it to save CPU. The RX2 Denoiser is superior and is an everyday tool for me. What improvements would you want to see? What annoys you about the way it works now? (maybe your annoyance will be contagious i.e. That I can easily understand I even sometimes run RX standalone on a separate networked computer so I can batch out a bunch of long files while I keep working… Why don’t you like to use denoiser as a plugin offline process? Seems to me it would save you time and keystrokes- unless your objective is to process long files while you continue to work. Not trying to be contentious… just curious: Steinberg needs to improve this! I wish they would concentrate their energies on those “little” big annoyances in workflow! I drag and drop into RX, save as “filename_denoised” and drop back into Nuendo. The directory is sotred by date, so when I “bounce to a new file” it will be top of the list. Usually I have a directory window of my project’s audio path and an RX instance open on a seperate space (OS X). So you basically just have a key combo to open up the plug-in? Or that I could assign key commands or a macro to do the same. My only comment there is that I sometimes wish there were a more elegant way to open, sample and repair within the spectral editor. I haven’t really been bothered by the issues you’ve described in your thread a while back (maybe because I “pre-treat” my tracks with noise reduction, as a rule, which is usually a simple option the way I typically receive files there are certainly many cases where this would not be practical). For a large, dialog-heavy project I’ll take and save noise profiles of each problem location (plus repeatable intermittent tonal problems, such as indoor pipe noises, fans, ac hum, passing cars, etc) and will, if necessary, make a batch process for basic early treatment (denoiser/decrackler, for example), and work with the spectral editor as I go. Nothing special- I just have each part of the RX suite assigned to an easy-to-access key combo. I’m normally on PT and Nuendo’s seriously crappy handling of offline-process windows/plugs annoys me to no end when doing restoration. Could you tell me how you set it up with key commands? I’m curious how you make it more effective.
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