Not so much sonically, but in the quality control department for sure. Using an audio editor/DAW with mastering focused features will make things like this much easier for you, save time, and improve results.

I’m a firm believer that your project isn’t fully “mastered” until it’s production and/or distribution ready without any further processing or changes. Longer release times can result in less musical noise, but may also reduce or soften the signal’s initial transients or reverb tails after the signal’s decay.One thing I see a lot on audio forums is a person saying something like “I have all my songs mastered in my DAW (Logic/Pro Tools/Cubase etc.), now I just need to sequence them and convert to 16-bit/44.1k” for digital distribution and CD production. RELEASE : Selects the release time of sub-band noise gates in milliseconds.This may result in a lower depth of noise reduction, but can also have fewer artifacts. At lower values, the denoising becomes more forgiving around the knee, and applies less attenuation to signals that are only slightly below the threshold.At higher values, transitions in the De-noise are more abrupt and can become prone to errors in the detection of the signal with respect to the noise.This slider controls the sharpness of the gating knee in the denoising process. KNEE: Controls how surgical the algorithm’s differentiation is between the signal and noise.Changing the noise floor balance with Whitening can help prevent gaps from over-processing, but an unnaturally white noise floor can introduce problems like noise modulation when editing or mixing with other noises from a unique space (like a set location.)

Izotope rx free trial