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iZotope's Neutron promises a leap forward in how we use software when mixing music and audio. There's been plenty of buzz about it since its announcement, but does it live up to expectations?
Feb 10, 2018 COMPLETE TOOLKIT. Perfect for post production studios and facilities, RX 6 Advanced is the flagship of the RX family of products, the industry standard audio repair and enhancement tool that’s been used on countless albums, movies, and TV shows. Apr 20, 2017 iZotope have today released RX6 Standard and RX6 Advanced and also added a new product, RX Elements which replaces the RX Plugin Pack and includes the RX 6 Standalone Editor application as well as.
Watch our iZotope Neutron tutorial video course in the AskAudio Academy here.
iZotope is well known as a purveyor of some of the best software tools around for mixing, mastering, post-production, and other creative tasks in the studio, so when they introduce a new processor, expectations tend to run high. Well, their latest offering—Neutron—definitely lives up to those high expectations.
On the surface, Neutron appears to be an ordinary—if especially full-featured and good-sounding—Channel Strip plug-in (intended specifically for per-track use rather than master bus applications). It’s available as a regular and an Advanced version—Neutron Advanced includes additional separate plug-ins for each of the included processors, along with surround capability. With either version you have a flexible arrangement of processing modules, an output Limiter, and even an option to run in Zero-Latency mode. But hidden away beneath the surface are several surprises—Neutron provides a number of intelligent analysis, display, and auto-mix features that lift it well above the crowd. Those features offer both novice and experienced mixers some extremely useful tools for mixing.
There’s the terrifically convenient Masking Meter, which makes quick work of tracking down and alleviating problematic masking in a mix, and the built-in Neutrino processing (just as in their new free Neutrino plug-in), which applies Spectral Shaping for finishing, for a very subtle “lift” on each track. And Neutron’s signature feature is the full-blown automatic analysis and mix setup provided by the Track Assistant, which automatically creates per-track mix settings—utilizing the plug-in’s excellent processing modules—based on intelligent analysis of the instrument type and specific audio in each track.
So what are the specifics Neutron provides for intrepid mixers in its arsenal of tools?
The Processors
Neutron is laid out as a Channel Strip, with five main processing modules, and a separate output section.
Fig 2 The basic layout of Neutron, with the five main processor slots (upper left), the main work area (lower left), and the output section (right).
The five main processor slots each contain a different processor, with two Compressor modules. You can only have one of each processor (though the compressor is doubled up by design), but you can re-arrange the order of the processors, to taste, and enable or bypass each. There’s also a Mix slider for each module, that lets you dial up parallel processing on a per-module basis.
The EQ is a 12-band parametric design, with high- and low-cut Filters, high- and low-frequency Shelves (with several response curves, including one from the Pultec model from Ozone’s Vintage EQ), and 8 bands of peaking (bell curve) fully-parametric EQ. Except for the Filters, each band can be individually switched to Dynamic EQ mode, where boosts and cuts will only occur when the signal in that frequency range crosses a user-set Threshold (this can also be controlled via external sidechain—very useful when using the Masking Meter function).
All of the other modules can be set up as either single-band or multi-band processors, with up to three user-configurable bands. Each offers user-adjustable Crossovers (though another helpful “Learn” feature will optionally determine suggested settings for you), and the Compressor and Transient Shaper let you apply parallel processing on a per-band basis, as well.
The Compressor has a choice of modes—a more full-featured clean mode, and the more characterful Vintage mode (as per Ozone’s Vintage compressor), which adds some analog warmth and response. Depending on the mode selected, you’ll see either a histogram showing real-time gain reduction, or more traditional VU-style gain reduction metering. RMS or Peak detection options, and an optional Auto-Release help you dial up the most musical response.
The Transient Shaper offers multi-band Attack and Sustain (Release) controls, along with three response curves, which have a noticeable effect on transient response. And the Exciter is more than just a traditional multiband high-frequency enhancer—it’s really a flexible saturation processor, which provides the overdriven sound of Tubes, Tape Saturation, Retro saturation (transistor drive), and an option labeled “Warm”, which is a softer type of tube drive that creates even harmonics, for a gentler saturation effect. And thanks to the XY grid in each band, you can combine these different forms of saturation/excitement, just like you’d have in a real analog studio, where signal would be passing through multiple hardware devices, all contributing their own specific analog character.
The Output Section
On the right is the output section.
Fig 3 The output section in Neutron, with (top-to-bottom), the metering, output Limiter, and Neutrino options
Here you’ll find the meters, which should be familiar to users of iZotope’s other products. They’re combined average and peak displays, with some options. The average response can be set to either RMS or Short-Term—Short-Term is a standard developed for broadcast applications, that tries to make the metering better reflect actual loudness perception. While it may be required for some pre-broadcast post-production work, it could be a helpful choice for music mixing as well. Also for broadcast/post-production, you can choose True Peak metering which detects potential inter-sample peaks (also adhering to mandated broadcast standards).
The output Limiter offers a choice of three of iZotope’s well-regarded limiter types. You have the low-latency IRC LL, the transparent IRC II (from Ozone’s Maximizer, though here, again, it’s really for per track use), and a soft-limiter labelled “Hard”, the only one which can operate in Zero-Latency mode.
The Intelligent Mixing Tools
Neutrino has three main intelligent mix/analysis/display features. Neutrino is the simplest—it’s a 32-band Spectral Shaping processor, intended as a “finishing” processor, to add some very subtle extra clarity to individual tracks, and accumulatively to the mix as a whole.
Fig 4 The Neutrino feature in Neutron (bottom right); the separate free Neutrino plug-in (top right)
The version built-into Neutron is pretty much the same as the free Neutrino plug-in iZotope has made available on its own, except that here, when enabled by the automatic Track Assistant function, it analyzes the track and automatically detects the type of instrument—there are choices for Drums, Bass, Guitar, Voice, and “Clean” (kind of a Bypass mode).
Neutrino’s Spectral Shaping—originally developed to increase transparency for iZotope’s IRC IV mastering limiter/maximizer—applies very light dynamic processing to the audio, divided into 32 separate bands. It’s kind of like an automatic 32-band dynamic EQ, but specifically designed for extremely subtle enhancement—like lifting a veil from a track, helping it to float just a little better above the overall mix.
The Masking Meter
The Masking Meter is a display feature that adds a terrific layer of convenience to the plug-in. It’s intended to make quick work of dealing with problem masking between two tracks in a mix—remember, masking is when certain frequencies in a track are covered up by those same frequencies in another track—the result can be a part that doesn’t cut through the mix as well as it could, or even has its tonality altered by being masked at particular frequency ranges.
Enabling Masking Meter on an affected track displays two tracks at once—the one you’re on, and the one you suspect is causing the problem masking.
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The real-time display shows the frequencies at which the masking is occurring—you can then dial up corrective EQ on either track, right from within the same plug-in window, including sidechain-controlled Dynamic EQ, for a particularly elegant and efficient solution to masking issues.
The Track Assistant
Finally, the main event of Neutron’s intelligent mix processing is the Track Assistant. Clicking this simple button will tell Neutron to analyze the track, use the Neutrino algorithm to determine the voice/instrument, and then set a full mix for that track, using its specific appropriate algorithms for that instrument type.
The many things Track Assistant does include the following:
- Enable suitable processing modules (except Transient Shaper) in the most appropriate order
- Select single or multi-band operation, Compressor Thresholds, and static or dynamic EQ, including choosing the EQ nodes and crossover points ( for multiband modules)
- Add what it decides is the appropriate type and amount of saturation in the Exciter
- Create settings for all the enabled modules, again, as per its intelligent algorithms
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The specific settings will be based on the current mode selected for Track Assistant—Subtle, Medium, or Aggressive each will result in a different character and degree of processing, and three additional presets (available for all of the modes) each push the resulting auto-mix in a different direction (Broadband Clarity, Warm and Open, Upfront Midrange).
Audio Example: Here are results of applying Track Assistant to individual tracks in a mix, with different modes and presets used (4 bars original audio, then changing every 4 bars):
In Use
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Despite some initial skepticism/grumbling about AI-style mixing, I was quite pleased by how well Neutron acquitted itself when making these mix settings. Of course, while you still have to dial up the overall balance among tracks yourself, many right-brain musicians and producers I know would be more than happy to just use Neutron’s mix choices pretty much as is—they provide a suitably finished sound, and with the different settings you’ll get from the different modes and presets, along with the additional variations you could get if you mix & match the Neutrino instrument modes (which govern the processing choices Track Assistant makes in all the other modules as well), there’s a fair bit the user can do to affect the results, without really doing any manual mix processing. I also think it could be a great learning tool for novices—a little reverse-engineering of Track Assistant’s auto-settings could provide some excellent ideas for mixing approaches and techniques, as fledgling mixers get more experience under their belts.
Naturally, more experienced mixers will take these settings as merely useful starting points, making significant changes and applying additional effects to taste, but even just as jumping-off points, Track Assistant can save a lot of time (and ear fatigue) that would otherwise be spent dialing up the most basic mix starting-point settings by hand, letting the mixer jump right in at a potentially more creative stage of the mix. That alone should making it a welcome addition even to the most skeptical old pro’s toolbox.
Wrap-Up
Anyone who spends any time mixing should check out Neutron—not only do you get a host of iZotope’s best processors (some with the company’s latest algorithms), but the intelligent mix features are definitely worth exploring—whatever level your mixing skills.
Price: Neutron: USD $249 (Sale $199); Neutron Advanced: USD $349 (Sale $299)
Pros: A full-featured Channel Strip with excellent mix processors combined with intelligent analysis/display/auto-mix features
Cons: It may take new users—especially those not already familiar with iZotope’s products—a little time to fully get a handle on everything
Web (iZotope):https://www.izotope.com/en/products/mix/neutron.html
Web (Time&Space incl. Free video course): http://www.timespace.com/product/NEUTRONA-120/3/10000146/izotope_neutron_advanced_mixing_console_%28download%29.html
Watch our training videos on iZotope Neutron in the AskAudio Academy here.
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Three years since the release of RX2, iZotope have upgraded their acclaimed & unique audio suite with more speed and capabilities. Matthew Loel. T Hepworth dives in to see just how good RX3 really is.
For several years, audio producers and forensic audio specialists alike have relied on iZotope RX to improve and even rescue damaged recordings. Now the team in Boston, MA have upgraded the suite to RX3, which has greatly improved a program that, for many, is an indispensable tool. Let’s see what RX3 has to offer.
Installation and Application
RX3 is 32- and 64-bit compatible and cross-platform to run on both Mac computers (Snow Leopard and higher) and Windows-based PCs (XP and higher). It is compatible with the iLok, but can also be authorized via serial number without the need for hardware copy protection. It can run in trial mode for 10 days, providing prospective buyers with an unrestricted hands-on experience.
RX3 is a standalone application, or the restoration modules can run as plug-ins in Audio Unit, VST/VST3, RTAS/AudioSuite, and for the first time ever, AAX formats. This provides real-time RX3 processing in virtually any plug-in capable audio program.
Exploring the Interface
RX2, with its brushed aluminum module buttons and pinstripes, looked... well... a little campy. But the RX3 interface is a work of contemporary art, with all of the program elements integrated into one screen.
The RX3 interface.
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The largest part of the interface is the waveform/spectrogram display, which has a slider to balance each visual element. The zoom and selection tools are located below the timeline. To the right are the frequency and dB scales, which can both be zoomed to reveal more detail.
Also to the right are the Modules. Clicking a Module will reveal the associated restoration tool. Along the bottom, you’ll find the time display, transport controls, VU meters, selection ranges, and the all-important undo list for auditioning ‘before’ and ‘after’ versions of your edits. However, RX3 also includes a new RX Document format, which will save the audio file along with all of its associated edits. This makes it possible to load a file and review all the previous edits.
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Reading the Waveform and Spectrogram
Most of you will be familiar with the waveform view because it is the standard for audio visualization. However, the spectrogram is a much more powerful way to ‘see’ your audio. It displays not only the temporal- and volume-based elements, but the frequency-based elements, as well. Things like fundamentals, harmonics, noise, and tonal elements literally jump off the screen and are very easy to see. For example, take a look at the dialog clip in Figure 2.
“The quick brown fox” as shown in the waveform/spectrogram window.
The left-most box in Figure 2 depicts a region that is mostly silent, but the dim spray of orange shows noise or hiss. The center box shows the fundamental and harmonic frequencies of the word “brown”. The right-most box shows the strong ‘x’ consonant in the word “fox”. Once you get the hang of reading the spectrogram, it’s very easy for you to see the kinds of audio elements contained in the waveform.
The Modules and Workflow
The Modules column is split into three regions: restoration, signal processing, and format conversion. Clicking a Module will open its control panel.
The Declip Module (left) and Compare Settings window (right).
Most of the Modules have Preview and Compare buttons, each of which allows for a very useful workflow. Clicking the Preview button will play back the audio while you make changes in the Control Panel, including recalling factory or user presets. After you’ve made some possible settings, clicking the Compare button will open the Compare Settings window and save a processed version of the audio. Then you can make additional changes and hit Compare again, and repeat the process many times. Then take a look at the Compare Settings window. When you want to audition your edits, click an operation from the list and hit the Preview button. When you find the settings you’re happy with, hit the Process button to apply the edit to the audio file, or hit the View settings button to reload them into the control panel for further editing.
Making Selections
Gross edits can be performed on the entire audio file by doing a select-all command. However, more specific edits require a more surgical selection. That’s where the selection tools come in.
The selection tools.
Because you’ll be selecting more than time-based information, you’ll also need to make frequency-based selections, as well. If you’ve used Adobe Photoshop, you’ll already understand most of these tools. There are tools like Lasso, Magic Wand, and Brush, and there’s even an Invert Selection button. Plus, you can make selections of up to ten harmonics for easy tonal editing.
Various time- and frequency-based selections.
Restoration Processes
The name of each Module will inform you of its restoration forte. Got clipping? Use the Declip Module. Got hum? Use the Remove Hum Module. Each Module does a masterful job of repairing various audio anomalies. But you should also know that iZotope recommends a two-step philosophy, meaning that you usually get better results by running two gentle passes. In other words, don’t run the Declicker with radical settings to get rid of all the clicks in one pass. Instead, run one gentle pass, then try another to eliminate any remaining clicks. I’ve found this advice to be sound. (Pun intended.)
The New Stuff
RX3 is FAST! In fact, I ran a simple Declick operation on a seven minute audio file. The process took 90 seconds in RX2, yet only 45 seconds in RX3. In fact, whether you’re processing audio in one module, or batch processing with many (including your own third-party plug-ins), RX3 harnesses multiple cores on your computer’s CPU. Most operations are at least twice as fast as before, and some are as much as six times faster. You can also record directly into RX3, and using the Time selection tool and the Gain Module will allow you to trim segments of audio, as well as adding fade-ins and fade-outs. You can also load multiple audio files simultaneously.
The variety of other new features you get will depend greatly upon which version of RX3 you have. RX3 Advanced comes with the Dereverb Module, as well as the Dialogue mode in the Denoise module. (The former removes both electronic and naturally occurring reverb, whereas the latter makes quick work of cleaning up dialog recordings.) A complete comparison of the differences between RX3 and RX3 Advanced can be found here:
Conclusions
Because RX3 is such a unique program, finding fault is almost impossible. It truly is the industry standard for audio repair and restoration, and does both easily and quickly. However, there are a few missing pieces. While RX3 does provide some basic audio editing, there’s no crossfade editing, nor are there facilities for reversing the audio or adding a volume envelope. While iZotope did not intend for RX3 to be a full-blown audio editor, I do wish it had a few more of the basics.
However, if you need to repair, rescue, or restore any type of audio recording, RX3 is clearly the most powerful tool on the market. It’s absolutely one of my ‘desert island’ apps, in that I’d be lost without it. But don’t just take my word for it... Download the trial version from the iZotope website today and see (and hear) for yourself.
- Pros: Unique and powerful audio restoration made easy, fast processing, uses third-party plug-ins, comes with iZotope Insight plug-in (RX3 Advanced only), and great new features.
- Cons: Only minimal basic audio editing, and RX3 Advanced, while offering features not found elsewhere, is still an investment.
- Cost: RX3 $349.00, RX3 Advanced $1,199.00.
Until September 27th, iZotope are offering a discounted price of $249.00 and $749.00 for RX3 and RX3 Advanced respectively! (Another reason to grab it now!)
Web: http://www.izotope.com/products/audio/rx/