"I mentioned this somewhere a couple of days ago and folks said it was generally not well received, and just a glorified karaoke machine."

That may be because Roland advertising has suggested that karaoke is where it's at.


R-Mix has the potential to be fantastic for film sound where it is routine to wish you had a tool which can remove a small background noise from location dialog.

R-Mix has the potential to rescue a drum track with a squeaky pedal by removing the squeak.

There's all kinds of possibilities... not to mention the potential to dig in to sounds to grab samples that may be a basis for some further sound design.

There are uses such as these that Roland hasn't promoted with much vigor. It just emphasizes using it for karaoke backing tracks and so the result is what it is.


I've been looking forward to a R-Mix that will load 24bit files. The current free standing version only works on 16bit files.

Michael Five


I mentioned this somewhere a couple of days ago and folks said it was generally not well received, and just a glorified karaoke machine. 

you can turn a sausage grinder backwards, but pigs will not come out the top.  I fear this is more bloat rather than a professionally useful tool.  Is X2 gonna support the MCU?

I agree.

But the OP's exhuberence took me back lo those many years ago, to a time I saw a new feature in an upcoming edition of SONAR. I was absolutely giddy! Turns out it was only Audio Snao...

*sad* Oh well... But now that we're on the topic I guess I could use any and all advice on isolating elements in a stereo track so I can attempt to remix the take. IE: Isolate bass, guits, vox, drums. Toss them into a new project. Mix and add/replace what is needed. You guys are talking Melodyne here... is that just for vox or can it work on other stuff too?

Well 16 bit would be fine for me as all this crap is on CD already anyway. Not much I can do about that... I don't think.

Melodyne is an amazing product. There's no doubt. But! Complex operations can be tedious and the results sketchy. It does some things much better than others. DNA blew my mind when it was first introduced but I wouldn't begin to expect it isolate all the different vocal and instrumental elements of a song and do it flawlessly with great results.

I want to use it on R-Mix on R-raw tracks.

It seems naive to think you can use it on dense program material like pop music effectively.

I imagine that's why advertising it as a karaoke player met with the reaction some have noted.

It's not all that good at what it was advertised for.

It seems like it great for a bunch of other things.





It's straight out of the play book.

@pdlstl... Thanks for that. Really I'd be focusing on the good takes/performances anyway so I wouldn't really need anything TOO crazy. Just enough to even things out properly and get most of the unwanted noise out of the way. Obviously complete reconstruction of a track is daunting at best and is why I got so excited about this. Anyway, I've heard people here refer to Ozone (I think that's the program I am referring to). I know it's expensive but would that be a tool to save up for for this kind of work? If I actually COULD figure out how to do this properly I'm sure I could get a lot of work from the bands I know not to mention how useful something like that would be to me personally. It'd be worth an investment. Cheers.

Izotope's Ozone is a mastering tool. I used to use it but went to bigger better things (solid mixes primarily) a few years ago. They (Izotope) have a product called RX2 which I own and use currently. It's main focus is spectral repair. IOW, repairing small things like Mike referred to in his earlier post. Unwanted noises which have inadvertently made it on to a track. Neither of the programs seem suited for what you're wanting.

The R-mix could also be helpful as an analyst by showing where things sit in the mix and help isolate things for a clearer mix.

a tool for specialized filtering in raw tracks could be most useful...