RX has a big following in the field recording and post production communities – considering how many audio repair and noise reduction plugins that are out there, why do you think RX stands out?

The visual spectrogram display was always a part of the RX suite, and the ability to see and interact with your audio offered a huge potential beyond this scope, which sets the scene for the story of RX from versions 1 through 4. Elegant, great sounding and affordable solutions for removing hum, surface noise, clicks, crackles and other artifacts were few and far between, and this is where the tools in RX 1.0 were primarily, though not exclusively focused. RX was originally conceived as an audio restoration solution, at a time when a lot of audio was being transferred from older storage formats. I began working freelance for iZotope, and ultimately came on board full time, where I’ve focussed heavily on their post production product line for the past few years. My roommate at the time (this was a few years back) played in a band with the Sound Design Manager at iZotope at the time too. I was using RX pretty heavily in those scenarios, and as I was living in the Boston area, I got to know the iZotope crew pretty well. I was doing a combination of sound design (for video games) and dialogue editing (independent film).

IZotope’s Matt Hines, product manager for the RX series And how did you get involved with iZotope and RX?

Aircraft – Jet/Propeller Plane Sound Effects.

Izotope rx4