We had the opportunity to interview Juergen Wirtz, European manager and demonstrator of the US brand iZotope.
He was courteous and technically prepared on the world of Mixing and Mastering. In a seminar that lasted more than two hours Juergen was able to present Neutron 3, but did not disdain several explanations of use and some goodies about RX7 (Audio Post Production), Ozone 8 (Mastering) e Nectar 3 (Vocal Channel Strip).
The introductory premise was very interesting and Jurgens illustrated iZotope's policy in the world of digital audio to develop all its software: a concentrate of ML (Machine Learning). Basically it is a kind of Artificial intelligence applied to Audio. The AI constantly analyzes the spectral content of all the audio that passes through the plug-ins and, by comparison with models developed ad hoc, returns the possibility of targeted actions on both dynamics and harmonic content.
As you can see, where an attempt has been made to discuss future projects, the good Jurgens, in compliance with US policies, it has armored itself behind a very thick curtain of fog. Enjoy the reading!
A. Capozzi: After Ozone and RX, here is Neutron for mixing. Which users is it aimed at? this new “method or paradigm” for automated mixing?
J. Wirtz: RX is meant for anyone with audio problems (e.g. background noise). Neutron for anyone mixing, Ozone for anyone mastering.
AC: What do I mean by "anyone"?
JW: Let's be clear: absolutely none of our software works as "auto-mixing". As much as a beginner might use a preset to learn production techniques and a semi-professional or professional engineer might use the presets as inspiration or to save time, our assisted editing tools are designed to offer a starting point. Whether it's a starting point for inspiration or to save time, it's up to you.
AC: With this new method of "auto-mixing" is there no risk of homologating the sound of the productions? In particular, the young sound engineers who enter this sector?
JW: No, as this is not self-mixing, as mentioned above. iZotope has contributed a number of tools designed to foster appropriate loudness levels and, above all, a balanced dynamic range.
AC: After the Loudness War era, how much has iZotope helped to restore balance in the mixing / mastering industry?
JW: iZotope has contributed a number of tools designed to foster appropriate loudness levels and, above all, a balanced dynamic range.
Insight 2 is a suite of audio measurement tools that includes all major global broadcast and streaming standards.
Post Production Suite contains tools designed not only to measure, but also to correct loudness problems such as the Leveler and Loudness modules in RX, and RX Loudness Control in Pro Tools.
Nectar contains an Auto Level Mode which helps manage a vocal sound with the net result providing the sound with more texture without being overly compressed.
Ozone contains a Tonal Balance Control designed to monitor levels across a spectrum for a more balanced sound without frequency imbalances.
AC: RME has introduced a new card that brings AD conversion to 768KHz. How decisive do you think it can be to further increase the conversion capacity, when current productions still envisage the use of 44,1 / 48 KHz, as well as your Spire Studio proposes?
JW: We don't believe in the sample rate debate. There are pros and cons for both standard and higher sample rates and the user can choose accordingly.
AC: How do you see the return to vinyl, especially in the US?
JW: It is a desire for material goods in an intangible digital world. It is a return to a more focused form of listening, perhaps as a reaction to the above. It is nostalgia. There is nothing right or wrong with that, it just goes like this.
AC: iZotope has worked a lot on instruments that rely heavily on harmonic spectrum analysis: RX and IRIS, are the main examples. Are you counting on or are you developing any other ideas on these principles?
JW: We can't comment on any current or future developments, but we continue to release tools that combine intelligent audio analysis with tools the user can use to influence positive auditory changes. Neutron 3 contains a new module sculptor which is a perfect example. As the website says: “This revolutionary spectral shaper allows you to completely transform audio or enhance the natural tone of your tracks. By influencing your piece with the sound profile of another instrument, Sculptor is the fastest way to shape the sound of your music in a creative and unexpected way.
AC: To what extent do you think that Sampling can still express something particular and innovative?
JW: Everything is possible.
AC.: Being able to have a "commercial" idea of the ideas and musical proposals of all Europe / world, in your opinion which are the new "centers / nations" that determine today's technical-musical trends? Is it still the US or UK?
JW.: The beauty of the modern world is the growing decentralization and democratization of the tools and places needed to be successful in the music industry.
Jurgen Wirtz
Sales & Product Specialist - EMEA Central
Thanks to the distributor Midiware, Mr. Andrea Pozzi e Alessandro Bizzari for having placed themselves as intermediaries with Mr. Juergen Wirtz
We also thank Nut Academy for hosting us at their headquarters where Juergen Wirtz showed IZotope products.
