iZotope Intros RX Loudness Control Plug-In

rx-loudness-controliZotope has introduced its new RX Loudness Control plug-in.

RX Loudness Control is designed to help audio post production and broadcast professionals create high-quality, industry-compliant mixes.

With RX Loudness Control, video and audio editors can quickly choose the broadcast standard they wish to adhere to from a set of global templates. RX Loudness Control automatically analyzes the audio and renders out a compliant file and an accompanying .CSV-formatted loudness report in just two clicks.

“We’re thrilled to offer post and broadcast professionals an automatic loudness correction solution that meets their needs for quality and accuracy,” said Matt Hines, Product Manager at iZotope.

RX Loudness Control supports mono, stereo, and surround channel counts, up to 5.1, for integration into any workflow.


RX Loudness Control supports the Audiosuite DPM and AAX plug-in standard for Avid Media Composer and Pro Tools. RX Loudness Control is also integrated into Adobe Premiere Pro’s open extension API, bringing offline loudness-compliant processing to the Adobe platform for the first time ever.

Pricing & Availability

RX Loudness Control is available for pre-order for $299 (£205 / €279) (MSRP $349 / €325 / £239), with an expected release in Spring 2015.

11 thoughts on “iZotope Intros RX Loudness Control Plug-In

  1. It would be useful to dig in more to find out what is included in those industry specs in terms of dynamic range, peak levels, and things related to frequency.

    For $300/350 we might expect it is doing some multi band limiting, but that’s a guess. Feels a little screechy to put your mix in, and press a button and have it spit out a file. No listening, no user input.

    If it was only doing some version of normalizing, then the price tag would be laughable. But there must be more to it than that.

    1. there’s no actual limiting going on in any of these kinds of plugins, its rather how fast the metering tracks. The only thing it does is control the overall volume so it complies with what ever broadcasting standard you set it too. I may have overstated a non-existent “free” model but I agree that the prices are just ludicrous. TC electronic one is like $40 if I remember

  2. Or You could just mix to spec. You know do your job as an audio mixer and mix it right the first time. Or if your an video editor, let a mixer mix it to spec. Then you don’t have to worry how much it cost, hell let them charge $3000, they put in the work they deserve it.

    1. This is not somthing most Synthtopia readers really would need, but If you are a pro TV broadcast mixer this product will soon pay for itself in time saved.
      I purchased their RX4 last year for dialog enhancement, and it is by far my best $250 investment. The Advanced version is on sale right now and I am considering the upgrade. The RX4 Advanced has a feature similar to this that draws in clip based gain for you to control dynamics without the need for compressor/limiters.

  3. EBU R128 is about broadcast loudness control. You don’t want to put your music in to become the king of the loudness war. This one is for a completely different purpose.
    EBU says True Peak, Integrated Loudness and Loudness Range should be corrected all at the same time. Pretty interested to see how this handles corner cases. Is it able to correct these 3 parameters at the same time? If it works well than it is cheap.
    On the other hand I can not really see Loudness Range on this screenshot.

  4. There is nothing musical about the field you are entering now. It is instead sonics and in the processing things will be lost. I have trailed many plug ins in recent times and despite claims there is more often than not a loss of beauty. The loudness wars are anti music as is what radio stations do to compress music. Ever noticed your music sounds so ordinary on radio? It’s also because we have been convinced by marketing that if only we had that something extra. At least the major DAWs are honest in their dealings with our works of art and keep it clean. Get it as loud as you can in the mixing and forget about the rest. No ones music or sound track will hit the listener where it matters and make it if it’s so degraded by processes that aren’t transparent and are costly.

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