New Software Mini-Review: iZotope Neutron 5

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Before I get into this mini-review, I should point out that I never thought Neutron 4's AI mix features were useful except for beginner reality checks, so I don't use part of what Neutron 5 may be decent at, for all I know.

Because I'd eventually upgrade from Neutron 4 to Neutron 5, and would hate getting that "... can't find the plugin Neutron 4" message when pulling up a mix to make later changes having upgraded, I decided to bite the bullet and upgrade to the new version right away.

I use Neutron to figure out and solve particular problems, like frequency masking between tracks, and it does a remarkable job making short work of that with its Unmasking module. Neutron 5's version improves the workflow a bit as well. I use unmasking on a lot of mixes. In Neutron 5 you can adjust how much unmasking you want very easily and quickly.

It's simple to use: simply use the sidechain feature in most DAWs, insert Neutron on both tracks, sidechain the track you want to come through clearer into the track that's masking it, and blammo! Adjust the unmasking % to taste and you've solved a crusty problem in far less time than it took to type this sentence.

Version 5 also has some useful new features. It has density (upward compression), phase and clipping modules. I'll use density and phase all the time, since I like to use room mics with close mics on guitar cabs and the like, and because some instruments tend to get lost in mixes and make you want to tear your hair out trying to create complimentary EQ curves to unmask using standard tools, something that works quickly to reduce the trial and error is a good thing.

I like using Neutron's Unmasking module more than the Equivocate EQ that's offered by Eventide; it's good but there's a lot of fiddling you still need to do just to get into the ballpark.

With Neutron's unmasking module, you're in the ballpark right away, then you tweak by ear if so inclined (I'm always so inclined).

Upward compression is probably self-explanatory, but for those unfamiliar with it, in regular compression you reduce loud sounds in level. In upward compression you make soft sounds louder. This is great for an otherwise excellent take where maybe the singer backed off too far from the mic for one or two words, or something similar happens with an instrument, but it's useful for anything that can get lost in the mix, and an awful lot of things get lost in mixes because the levels are inconsistent. This is a terrific module. I've used a version of it in Ozone 11 Advanced, but this is intended for individual tracks or busses instead of entire mixes.

We all know how to flip the phase during a mix, but phase can be trickier than your typical 180 degree phase shift that a phase switch gives you. You can get phase issues greater than, or less than, 180 degrees. The new phase module does a nice job or letting you experiment with the in-between options when there are issues from mics, or even when you want to create different kinds of effect-y things.

Clippers have generally been used by mastering engineers if they don't like hard, brick wall limiting. Not being a mastering engineer by trade, I don't consider myself experienced enough with clippers to comment on the efficacy of this one. I'm going to have to play around with it and report back.

The upgrade was $99. If you're into Neutron and are on the fence, think of it as three very good added plugins for $33 each, and some interface improvements.

If you don't need the stuff this does, obviously no need to buy it, and there's also a 'light' version called Elements available for not much money. It cuts down on the controls. I don't know whether it has the added modules, and am too lazy to look that up because no one's paying me to do this.

On the other hand, if you want to have me look it up use this link:

IfYaReallyNeedMeToDoYourHomeworkRush$1000ToLesImmediately.com.



"Anyone ever used that link, Laz?"

"A man can dream."

 

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I forgot to mention that Neutron now has a "delta" solo feature that lets you solo only the frequencies you changed. This is part of Ozone 11 as well, and it's something I find useful. It really lets you zero in on what you're doing.

It's not too dissimilar to one of the features that Plugin Alliance's newer channel strips let you do with EQ; but it's part of Neutron's dynamics and other modules, not just EQ.

Some of the presets are very useful. Others are heavy-handed, but the presets vary by musical genre, so it's very easy to try out a 'what if I gave this drum track more of an EDM sound than a rock sound', etc., and see what happens. I like quite a few of the starting points.

One thing I'll mention is that most of the time, I'll use other plugins for characterful coloration. So if, say, a compressor is set a certain way in a preset and I want something with more color, I'll turn of the compressor in Neutron and use something else. You simply turn the offending module off, and insert something else in the effects chain. I do the same with other modules on an as-needed basis.

A note about the unmasking feature, and why it's brilliant:

With Neutron, you can set the threshold of what level you want the unmasking to start at. So it's not static, like using, say, a traditional EQ to carve out space in a mix. Instead, it only carves out space when the amplitude hits a certain threshold, and you can tweak it by ear, set it, and forget it.

There's no need to go through the process of automating the controls as you mix, something I find somewhat haphazard in a DAW because of the time lag between hearing where something needs tweaking and moving your hand to do it. Instead, that's all done by the interactive controls in Neutron, and that is not only a time saver, it's positively genius.

Finally, I don't use Neutron on every mix, far from it. It's a tool I use on a case-by-case basis. I start with other tools I like the sound of, but if there's an issue with a track where I'm not satisfied with my usual MO, I'll insert Neutron and see if I can fix it.