RX Final Mix Testimonials

Damian Kearns

Damian Kearns

Audio Post Production Engineer for Frontline and FIFA World Cup

“Never have I had such power in such a simple interface. It’s my new favourite toy. The sound quality of RX Final Mix is so stunning I benched my old bus plug-ins, and my mixes have never sounded better. Now that iZotope has produced such a powerful toolset with such low latency, I can see RX Final Mix actually being used in live broadcasts. It’s that good and that powerful.”

Steve Giammaria

Steve Giammaria

Supervising Sound Editor/Re-Recording Mixer

“RX Final Mix is my new go-to True Peak Limiter. The dynamic EQ is a great tool for balancing your mix at the bus level, and with the addition of adjustable latency settings in v1.01, RX Final Mix is a fit for any session, no matter how complex!”

Matt Sherman

Matt R. Sherman

Sound Mixer and Editor for La ferme des humains and Redshift

“RX Final Mix consists of two great tools, A true Dynamic EQ which is really amazing and the True Peak Limiter that sounds great. I am proud to have helped make this plug-in great.”

Frank Morrone

Frank Morrone

Re-recording mixer for LOST and The Kennedys

"iZotope has once again designed a plug-in that works efficiently, sounds great, and meets the demands of the post production industry."

Deon Vozov

Deon Vozov

Composer for Little Red Plane and SpyforLove

"Working with RX Final Mix is like having an assistant who can read my mind. The interface is intuitive, making setup fast and accurate. The limiter and EQ sections are flexible, transparent, and immediately helpful. (iZotope Dynamic EQ? Best thing ever!) This is a modern tool to quickly and elegantly tame modern audio post mixing."

Jeremiah Moore

Jeremiah Moore

Sound designer, mixer, and sound artist

"The new low-latency limiter mode is a godsend when printing through complex print-mastering chains for surround encoding and confidence monitoring."

“I am using it right now to print 5.1 + LtRt for broadcast mix of a film that was originally done for theatrical. Have a 4 dB lift to get to broadcast level, and dBTP protection, on master faders in Pro Tools. Very easy. As the encoded LtRt ends up with higher levels than allowed, I've got a second limiter in the chain after the encoder."

“Low-latency makes it possible to do this w/o crazy delays on fader moves.”

Tom Marks

Tom Marks

Re-Recording Mixer, Warner Bros.

"The numerous options in the EQ, combined with the ability to adjust limiter algorithms to optimize the latency, makes this the best bus processor for post on the market.”

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