#HOW TO USE VST PLUGINS AS APO MANUAL#
#HOW TO USE VST PLUGINS AS APO PRO#

Ideally, you wouldnвЂ™t use Ambience Match on entire tracks, because youвЂ™re matching one out-of-place audio source with a reference. I may slap de-click as the first instance and just go about my processing from there. Say I have a really clicky DI bass that will then get the fuzz treatment. However, if time is an issue, you can get away with de-clicking something as a plug-in, especially if heavy processing will be induced downstream.

#HOW TO USE VST PLUGINS AS APO PRO#

While De-click can be employed in a gentle way, I choose to err on the side of caution by either using the RX plug-in for specific clicks, or porting over to the standalone app through AudioSuite or RX Connect (in Pro Tools) or external editors (in Logic). In Pro Tools, IвЂ™ll run the plug-in in my DAW, or use RX Connect.ДЄgain we reference the Hippocratic oath: вЂњFirst do no harmвЂќ is a good motto for audio. In Logic Pro, IвЂ™ll open up the external editor with a key command (Shift+W by default, after you set iZotope RX to be your external editor).

IвЂ™d rather deal with the selections that need de-clipping on an individual basis. That offends my Hippocratic sensibilities. Yes, with the right settings, it can leave everything I donвЂ™t need de-clipped untouched-but IвЂ™d rather not process all the audio for a couple of selections worth of clipping. I get the best use of De-clip in both the standalone app and the DAW plug-in.

#HOW TO USE VST PLUGINS AS APO MANUAL#

I would advise trying this exactly once before you move on to manual editing, because at this point, it will take the same amount of time. HereвЂ™s a tip for you: if Breath Control is only catching a majority of the breaths, you can easily automate parameters for the stray offender. The glory behind something like Breath Control lies precisely in using it as a plug-in insert. Breath Control is meant to automate the process to some degree, which is why IвЂ™d recommend using it as a plug-in (before any de-clicking, de-noising, EQ, or compression). Breath ControlД«reaths are annoying not because theyвЂ™re hard to edit, but because theyвЂ™re very time-consuming to edit. That might be the best way to go if youвЂ™re trying to save time here.

YouвЂ™ll begin to recognize them by sight, they look like this:ДЄgain, Pro Tools lets you tinker with settings in real-time with an AudioSuite plug-in. Instead, I pull the track into the standalone application and use this process selectively on the passages that need them. Because of this, I rarely use Mouth De-click in a music track. Music differs from broadcast in that you often strive for the impeccably polished song. Again, use this plug-in before any vocal de-noising, compression, or EQ. In these instances, run Mouth De-click as a plug-in first and see where that gets you. Furthermore, the vocal often sits in a sound-bed of noise: sound design, room tone, or music can distract the listener from imperfections, allowing you to work quicker without fear of obtaining вЂњthe perfect resultвЂќ-simply put, no one will notice.

An overly polished sound with crispy, expensive high end is less important than character, mise-en-scene, and intelligibility. Mouth De-clickДЄ dialogue track for a film, podcast, or radio broadcast holds different considerations for mixing. Also, on the occasions where De-plosive might add an artifact, you can easily take it out with De-click. In RX Audio Editor, tweak the settings to treat the specific plosive, or run the process subtly a couple of times (this can help in certain situations).

Here it pays to be selective: try to AudioSuite the plosive, or take it over to the standalone app if youвЂ™re using Logic or a similar DAW. Other times, the dynamics of the pop donвЂ™t trigger the settings youвЂ™ve utilized for other instance. Sometimes, one pop вЂњhitsвЂќ higher up in the frequency spectrum than another. However, not all pops in a track are the same. I would insert the plug-in before any vocal denoising, EQ, or compression. If you have a vocal with the occasional pop, running De-plosive as a plug-in process should work most of the time. If youвЂ™re working with a track that only has hum some of the time, use in standalone or AudioSuite (in the case of Pro Tools) to better adjust the problematic region. It works well as a plug-in for tracks that have a consistent hum. I would advise using De-hum similarly to Voice De-noise. Depending on your DAW, you can use an external editor, RX Connect, or, in the case of Pro Tools, simply apply the AudioSuite to the region that needs fixing. Should the noise change throughout the recording-if the hard drive suddenly whirrs louder, for instance, or if the fridge compressor kicks on mid take-itвЂ™s better to engage the standalone app for de-noising.

How to use vst plugins as apo