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Digital Subscriptions > MusicTech > Jan 18 > IZOTOPE Ozone 8 And Neutron 2

IZOTOPE Ozone 8 And Neutron 2

The latest versions of iZotope’s flagship mixing and mastering suites add a host of new features. Alex Holmes loads a mix and put them to the test…

Contact iZotope www.izotope.com | Time+Space www.timespace.com 0183755200

I Zotope has been one of the companies at the forefront of cutting-edge user interaction and DSP over the last few years, and the potent Ozone/Neutron combo has become a flexible go-to tool for many composers, producers and engineers. These latest versions see the two more intrinsically linked than ever, with inter-app communication, new shared plug-ins and a universal look for the GUIs. We’ve reviewed various versions of Ozone, and not all that long ago, the first version of Neutron.

So, here, we’ll focus more on what’s new. To give a super-quick overview, though, Ozone comes both as a standalone program and as a plug-in, with a host of features aimed at mastering, and 11 modules (available as separate plug-ins in the Advanced version) including an Equalizer, Dynamics, Dynamic EQ, Imager, Exciter, Vintage EQ, Vintage Tape, Vintage Compressor, Vintage Limiter, Spectral Shaper and a Maximizer. Other key features include an MP3 Codec Preview section, Dithering, and extensive metering throughout. Neutron on the other hand, is more focused on mixing, with six modules (again, available as separates with the Advanced version), including a dynamic EQ, two Compressors, Exciter, Transient Shaper and a Gate. There’s also a Limiter, a unique spectral-shaping section, a Masking Meter that shows overlapping frequencies between instruments, and a ground-breaking AI Track Assistant that builds intelligent preset starting points for you. A lot of the modules across both Ozone and Neutron are multiband for added flexibility, and in Ozone, function in M/S mode.

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About MusicTech

2017 has been an exciting, innovative year for new music-making technology, from machine-learning plug-ins to laser-guided microphones and from scientifically crafted, point-source monitors to boutique synthesisers, the past 12 months has offered up new variations on classic gear and inventive new creative tools for making and recording music. We pay tribute to the best gear of the year in our roundup, with our winners compiled by a fusion of reader votes and our expert panel. Elsewhere this issue, we have the second part of our new A-Z series with Gear4Music, chat to MPG Award-winning mastering engineer Mandy Parnell and Grammy-winning producer and engineer Mark Rankin, and cast of our eye to the future with tutorial content in the latest iterations of Live and Reason. Additionally, you’ll find all the latest reviews from the likes of Toontrack, Dynaudio, Sonokinetic and more.It's been an excellent year for the music-technology industry, and MusicTech as a magazine. Here’s hoping 2018 will be equally as fruitful… enjoy the issue.