Since returning from the show, the question I’ve been peppered with most often (after “Where the hell have you been for the last week?!”) has been “Have you tried Neutron, and does it really work?” Well, I have now had the opportunity to give Neutron a thorough going-over, but I can’t really tell you whether it’ll meet your expectations without first explaining a bit more about the nuts and bolts of how it works. The stir caused by iZotope at the Audio Engineering Society’s recent convention in Los Angeles provided further evidence for this trend, as most of the buzz about their Neutron plug-in launch centred not on the software’s audio-manipulation capabilities, but on two innovations aimed at speeding up the user’s workflow: a Masking Meter to help locate psychoacoustic frequency clashes between different instruments in your mix and, more intriguingly, a Track Assistant designed to custom-generate promising-sounding initial processing chains automatically in response to the characteristics of your source audio.
IZOTOPE NEUTRON MIXING MANUAL
IZotope say that Neutron not only has the processing power to address all sorts of mixing issues, but the intelligence to help you identify them.įor a while now, the bundled plug-ins in most mainstream DAWs have provided ample bread-and-butter processing facilities, so a lot of third-party plug-in manufacturers are focusing their development efforts on products that offer a time-saving advantage - for example, by creating ever more user-friendly metering and interfacing, or by working out ways to automate labour-intensive manual mixing tasks. IZotope Neutron’s main interface, showing the five reorderable modules at the top, the controls for Compressor 2 in the central editing pane, and on the right-hand side the Limiter with the Neutrino spectral-shaping controls below it.
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