Yes, you raise an interesting issue and I am sure that is what izotope intended. I have been using Neutron like a channel strip but I never seem to run into resource issues using a PC with 32GB ram. Perhaps it is because I hardly ever use more than 15 tracks. If I did run ito problems, I could just bounce my instrument tracks individually to audio files.
If I were to operate using only the relays for Mix Assistant, I would miss out on the individual instrument track improvement I get with Neutron. By getting Neutron to listen to each instrument, I get a tonal match for each individual instrument with favoured EQ and other adjustments for each instrument track. Also, you can use Neutron instead of the relays for Mix Assistant. Still, early days for me on Neutron 4, and I may be doing all it wrong, but I feel I am getting good results with this approach.
I have some tracks posted on Soundcloud if you are interested. Comments of any stripe welcome!
I can only add that putting Neutron on each track, as I often do, involves the risk to exaggerate with effects, possibly ruining the presets (mics, EQ, etc) of certain instruments like e.g. EzDrummer that are very good to me
This is why I use currently Neutron on tracks less then at the beginning, and often only on instruments whose presets are poor
Everyone seems to use Neutron differently, years ago I was told to place only one mother ship onto the master but now I see a different answer such as yours.
Iām going to try skipping the relays and just go with a neutron mother ship for each track.
When you use Ozone 9 for mastering do you find the outcome of the Ai leaves your mix way too bright and tinny? If so, what additions do you make using ozone? or any other vsts.
Iāve noticed ozone makes everything way too bright, it almost rids any low end.
It depends on preset, but certainly can you improve it by using the options in each module wher you can obtain richer sound. Generally, I do some minor changes.
I put their Tonal Balance Control at the end of the master chain to see where Iām at compared to their genre curves (or I can add a reference track of my choosing). I still then use my ears and also listen on my home/car stereos to get the final adjustments down. I try to find and solve any balance problems with Neutron before I get to Ozone.
Ronnie, 16 gb might be a limiting factor. You could try using Neutron on your main instruments and relays on the remainder.
Alternatively you could use Neutron on your instruments and bounce the result to create individual audio tracks, so that it is no longer a factor.
I am no expert, but I cannot see how Neutron can work for individual instruments if it is on the master bus, except for the entire mix. Each instance of Neutron can only hold one set of adjustments. I may need to go back to school to understand the āMothershipā concept.
He actually places a relay on all tracks to use with Visual Mixer, which is to balance volumes and panning for all of the tracks, which he does first.
After that he uses an instance of Neutron on many of the tracks including: Kick, snare, bass, using track enhance.
In addition he uses a Neutron module Sculptor on: guitar, synth, synth pad tracks. On top of this he uses Nectar (which is similar to Neutron but is specialized) for vocals.
The only things he places on the master buss is Visual Mixer followed by Ozone.
He explains that the reason they call Neutron the āMothershipā is because it contains a broad range of modules that can be added or taken away as needed, and all re-sequenced to make a customized channel strip.
One issue is that if you add Neutron and Relay on all tracks, they all show up in Visual Mixer as duplicates, which can be confusing. But if you add Neutron after your visual mix, I suppose this is not a problem, unless you tinker with that later.
Yes, but you can select/deselect them one by one to isolate the only one you need to move in Visual Mixer
this works as far as you give meaningful names to all items
for example Guitar solo (to one Relay instance) then āNeutron for guitar soloā to the matching Neutron etc.
Well, since you are talking about dominants, I would like to comment that the natural chord that is formed from the 2nd degree of the scale is known as the dominant of the dominant. Think, for example, of C major: the dominant chord is created from the G (G - B - D), whose dominant, 5th degree, is D. If you make the chord it will be D - F - A.
Well, in Spain we usually call that chord āthe mother-in-lawā
