NAMM 2022: iZotope brings a whiff of Trash to Neutron 4, its even smarter auto-mixing software

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NAMM 2022: iZotope has released Neutron 4, the latest version of its intelligent mixing software. This combines eight plugins via an Ai-powered “assistive audio technology” that’s designed to help you out when it comes to making mixing decisions.

The big news is that the Mix Assistant has been ‘modernised’ into the Assistant View. This is powered by machine learning and will ‘listen’ to your audio and make appropriate mix settings. You can then adjust these in what’s described as an ‘intelligent control centre’.

There’s also a new Unmask module that discovers and fixes masking issues for you by making space between two competing tracks. It’ll help you to balance your bass and kick and bring out vocals in a mix, we’re told.

Then we have the Target Library, which will dynamically match the tone of your track to a sample or step using assistive tone-matching technology.

If you want to add a bit of distortion - either carefully or irresponsibly - Neutron now features elements of iZotope’s Trash plugin. These are evident when you engage the Trash mode in the Exciter module.

Other additions include a Punch mode in the compressor that can visualise how hard your sounds hit, a Tone slider and a Tame button in the Exciter module, and sidechain metering in the Compressor module.

As well as being available on its own, Neutron 4 is also included in the new Music Production Suite 5 Universal Edition, a suite of 52 plugins that, as well as featuring iZotope products, also contains two Exponential Audio reverbs and six plugins from Brainworx. Anyone who purchases this will also get two new flagship iZotope product updates that will be released later this year.

Neutron 4 is available now for the introductory price of $299 (regular price $399) while Music Production Suite 5 Universal Edition can be had for the introductory price of $599 (regular price $999). Find out more on the iZotope website.

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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