This is arguably one of the most exciting additions, as it allows you to go beyond more traditional and static match EQ tricks, and to use the Sculptor module to dynamically mould your track into the shape of your preferred chosen target. Thankfully, you can now import your own audio, and Neutron will use that as a tonal blueprint. For example, to only have one kick preset is very limiting, as you’re not going to want to EQ a rock kick the same as a booming 808. It’s a bit of a shame though that, after a three year wait, iZotope hasn’t expanded on the instrument list to make it more flexible and targeted. This is a superb way to make quick tonal changes that can massage your tracks into a more pleasing sounding shape. At higher levels, this will pull the frequency shape of your audio closer towards that of the target. A single slider at the top controls the amount that your signal is matched, and it is linked to an Assistant Pre-EQ (essentially a Match EQ) slider in the Sculptor module, and also the Sculptor amount. The most striking here is the Tone Match section in the middle, which shows the intended frequency shape of the selected instrument as an orange region, and the actual output frequency as a thin line. iZotope calls these Intent Controls and it includes Tone Match, Punch, Distort and Width. You’re then presented with several global macro controls for making broad changes, which are linked to parameters in the various modules. We found it was mostly correct, although we occasionally had to switch it to a different instrument in the list once it was done. Previously, you would select the instrument and intensity of processing before running the Assistant, but now it’s a single button that starts the process and works out what the source material is using machine learning. For those that haven’t come across it before, Neutron’s mix Assistant will listen to a channel of your audio and then make adjustments to various settings to give you a preset starting point. One of the main updates is the improved mixing Assistant that has a new Assistant view. For this review though, we’ll concentrate on the new features. If you’d like more info on some of these older tools, you can read our full thoughts on Neutron 3 here. Although it doesn’t see any upgrades here, the multiband Transient Shaper module is still an often used tool that deserves an extra shout out. The fundamental elements remain the same and you get flexible and easy to use multiband processors, with excellent visual feedback to aid with your mixing decisions. Although we might reach for other products if we require more analogue-sounding processing, it’s a comprehensive package that can fulfil most of your audio mixing needs. You also get separate plug-ins for the Equalizer, Compressor, Exciter, Gate, Sculptor, and Transient Shaper, plus the new Unmask plug-in, the Tonal Balance Control, Visual Mixer and Relay plug-ins. It includes the mothership plug-in that houses the mixing assistant and all modules in one place. Where previously there were Elements and Advanced versions of Neutron, this time there’s just the one package. READ MORE: The Big Review: Moog strikes out West with Mavis.But has it been worth the wait? Although the AI mixing is still a little hit and miss and there are a few missed opportunities, it’s a decent upgrade and remains a powerful all-in-one mixing tool. It features an improved mixing Assistant alongside a number of additional tweaks and new features. Now, after a three year hiatus, iZotope has finally released version 4 of its intelligent channel strip mixing plug-in. You can delay the sound with Relay, and I’ll show you how.Neutron was first released in 2016, and it saw two major updates in the space of two and half years. Your first option is to delay one of the piano signals, using your ears to judge what sounds best. If they’re not, the old polarity swap only affords you two choices: bad and worse. The go-to option is to flip the polarity on one of the channels, but this really only works when the mics are completely out-of-phase with each other. You can fix this problem in a few different ways. This is due to phase canceling-a phenomenon that can occur when microphones are not equidistant to the source. If they’re not perfect, you might wind up with a hollow unnatural sound. This allows you to paint a vast and wide sonic picture.Īny time an instrument is mic’ed in stereo, you ought to check the phase relationship between the two mics. If you’re familiar with mixing drums, this tip is going to make a lot of sense: many engineers capture the piano with two microphones in order to give you a stereo capture. Achieve a full sound by getting the mics in phase
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