Tips & Tutorials |
The Dynamic EQ feature in RX Final Mix’s Equalizer module provides eight bands of versatile filters, combining precision control with classic timbral character across all of your surround channels. They provide access to four classic filter shapes: traditional resonant high- and low-pass filters for cuts at the extremes of the spectrum, as well as ultra-flat low and high shelves, a gentle band shelf, and a proportional Q.
But what really makes the Dynamic EQ in RX Final Mix powerful for post production is the ability to use any band in static or dynamic mode. The dynamic mode combines the precision of our finest equalizers with the transparency and expressive control of our compressors and expanders. This means that instead of applying EQ in a static way across the entire length of your mix, RX Final Mix responds to the dynamics of your audio over time, and only processes when the input signal is above or below a certain threshold.
Multiband compression may have been used for processing like this in the past, but Dynamic EQ is different from multiband compression in three key ways:
This dynamic mode takes the precision of an equalizer and combines it with the dynamic control of our very best compressors and expanders, but without the coloration of multiband compression. You can use it just like a traditional equalizer, to tailor the overall sound of your completed mix quickly and easily. In both the Equalizer and Limiter modules in RX Final Mix, you can always bypass processing on the LFE channel, preserving all the power and impact of your sound effects cues.
This makes the Dynamic EQ an optimal choice a number of post production use cases. For example, you can surgically remove sibilance from dialogue without affecting the intelligibility across the entire program. For example: a narrow notch filter centered right around a resonant “s” frequency can be attenuated only when the audio in that frequency band rises above a certain threshold. A powerful de-esser, focused only on the problem frequencies.
When processing an entire mix, we could move to a high-pass filter and use the Dynamic EQ in expansion mode. Now with these resonant high- and low-pass filters, they function slightly differently than the shelves and notch filters to give you a totally unique dynamic resonance control. They have the traditional resonance bump right around the cutoff frequency, but in dynamic mode, that resonance will react to the audio, while everything below the cutoff frequency is still high-pass filtered. When used in expansion mode like this, we can remove rumble leftover from dialogue tracks while giving a dynamic boost right around the cutoff frequency, to add impact and power just above the rumble.
We can take this a step further by bypassing the EQ on the LFE channel, keeping rumble out of the subwoofer from any bass managed channels while keeping all the impact of effects sent directly to the LFE.
Switch any band into static mode for traditional equalization gestures, like gentle tailoring of your stems and complete mix before delivery. When looking at the equalizer display, you can tell which filters are set to dynamic mode by the arrow shaped nodes, and which are set to static by the traditional circular nodes.
RX Final Mix brings the exceptional precision and sonic quality of mastering equalizers, compressors, and limiters to the world of audio post production.