Could iZotope’s free Audiolens software give you an easier way of making your own music sound like the tracks you love?

iZotope is promising to make track referencing easier than ever with the launch of Audiolens, a free (for now) desktop application that will analyse audio from any streaming platform or other source without the need to download any files or set up any routing.

The theory is that Audiolens will make it easier to make your own music sound more like the tracks you love. Specifically, in regard to their tonal balance, width and dynamics.

What’s more, reference analysis from Audiolens will seamlessly integrate with iZotope’s Ozone 10 and Neutron 4 plugins. Once the relevant reference target is loaded into one of these tools, you can use their AI-powered assistants to match the mastering (Ozone 10) or mix (Neutron 4) settings, which you can then customise yourself.

Using Audiolens is simple: play your song, then hit Capture in the software and it will start analysing its audio characteristics. Ideally you need to do this for at least eight seconds; Audiolens will automatically stop analysing after three-and-a-half minutes.

There’s no recording going on here - Audiolens is simply capturing information regarding loudness, EQ, dynamics and stereo width.

You can then name the track referencing profile and save it, with this profile immediately becoming accessible in Ozone or Neutron.

Audiolens also works on solo tracks - guitar, bass, drum or other instrument parts, for example.

You can currently download Audiolens for free on PC and Mac (you’ll need to create an iZotope account to do so), but only until 22 November, after which you’ll have to pay for it. 

Best head over to the iZotope website and grab it now, then.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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