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IZotope is having their fall sale and once again I'm tempted. The bundle for Ozone and Neutron advanced is a crazy good deal but I can't figure out why you would need both. This is largely unchanged from Neutron 2, and still works using absolute values rather than analyzed relative perceptual values. Tonal Balance Control, available only with Neutron Advanced or with iZotope Ozone, profiles the distribution of frequencies on your master channel, comparing them to commercial averages that have been analyzed by iZotope.

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Neutron 3 is now 3x faster. Load more instances of Neutron 3 onto your session without worrying about slowing down your machine. Resize the Neutron 3 window so it doesn't get in your way.

• From the makers of popular audio plugins like RX and Ozone, iZotope’s Neutron 3 Standard is designed to optimize your mix workflows like never before. Bend and shape your audio to any instrument profile with the new Sculptor, create custom presets through machine learning with Track Assistant, communicate across plugins with the smartest EQs on the planet, and automatically find and fix masking issues with the most intelligent Masking Meter on the market. With eight modular mixing tools in one master plugin, it’s the easiest, most intelligent way to bring unrivaled quality and speed to your mix.

• Neutron 3 Features	Standard	Advanced
  Mix Assistant New	•
  Improved Tonal Balance Control New	•
  Sculptor Module New	•	•
  EQ Module	•	•
  Two Compressors	•	•
  Gate	•	•
  Exciter	•	•
  Transient Shaper	•	•
  Output Limiter	•	•
  5.1 & 7.1 Surround Support	•
  All modules available as plugins	•

• For the most up-to-date system requirements and host compatibility details, please visit the manufacturer's website.
• Mac OS X 10.11 - 10.14. Please note Neutron 3 is not compatible with Mac OS X 10.15 Catalina
• Windows 7, 8 & 10
• AU, AAX, VST2, VST3. All formats are 64-bit only.

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Like all iZotope audio assistants, Mix Assistant is also a learning tool, helping you see why certain settings might be appropriate for specific circumstances. As we’re all about the business of learning here, we thought we’d give you a little overview on common techniques for achieving your initial level balances—for setting up your static mix.

But first, a question:

When does the static mix come into play?

Often it starts after mundane tasks like editing, tuning vocals, or routing instruments into their proper submixes have been addressed. I like to take care of these elements so that the static mix becomes the first entry point into the mixing process.

It’s a bit like eating all your vegetables before moving on to the meat or pasta on your plate: you do the annoying stuff before rewarding yourself with the fun. If I’ve edited for a while, I’ll usually insert a break in between the mundane tasks and the static mix.

Now, let’s begin properly:

1. Use these three tools

A static mix often involves two, sometimes three tools—and that’s it (with a caveat I’ll mention later). Moving the fader and twisting the pan-pot are the two main moves. Change the level, and place the sound in the stereo space.

When working with multi-miked instruments, you can also make use of the polarity-inverter, commonly known as the phase switch. Always keep an ear out for the fullest, most robust sound when auditioning the polarity between two instruments. When it comes to stereo overheads, you’ll probably know instantly which phase position works better—one will sound just plain wrong.

Your goal is simple: with these three tools, aim to fashion yourself a mix one could call “serviceable.” You wouldn’t be happy to release it in this state, but if you had to, you could live with yourself. That’s all you’re asking for.

2. Consider using a gain or trim plug-in as well

Some people utilize a fourth tool, which is a trim plug-in, instantiated first in the chain. This operation differs from the fader: you’re monkeying with the level before it even hits the fader. The philosophy of trim-balancing heralds from the analog days—it seems to have its genesis in maintaining an even signal strength between tracks.

The idea was congruence among tracks: each channel would individually hit 0 on the ol’ VU meter when played at unity. You’d fiddle with the trim pot to achieve this goal, hardly ever going over that value. When you were done, no one sound would boast an innately stronger signal than any other; each subsequent decision would be easy to make, as the balance between each track would be relatively consistent at unity.

I’ve gone back and forth with this strategy. Sometimes it really helps me with smaller track-count mixes. I calibrate the VU for -14 on RMS meters, and set about the method listed above. When each track is calibrated to 0 VU = -14, I bring each fader down to -infinity and start the proper static mix. Usually this ensures that my faders stay at a healthy position, never creeping up too high—certainly never higher than the submix—yet conveying a strong signal.

Though it takes longer at the outset, this process can help me arrive at a static mix more quickly. Another method involves pink noise: you set up a pink noise generator within your session, set it for the desired loudness target (say -20 to -14 RMS), and solo each track in your mix, playing with the gain or trim until it’s just audible over the pink noise. When you’re done, you’ve achieved roughly the same goal: congruence between all the tracks, with no sound poking out above another—an excellent starting point, where it’s easier to preserve headroom going forward.

3. Start with the loudest/most complicated section

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When setting up the static mix, try starting with the loudest section of the song—or the one with the most instruments playing at any one time. They are usually one and the same.

The method is simple: pull all the faders are pulled down (save for the vocal—it can be beneficial to leave it in as often as possible.)

Now, I have my own order of events, starting with the drums, then the bass, the harmonic instruments, the lead parts or lead vocals, the background vocals/melodic elements, and finally, any contextual effects. Your plan of attack might differ. Whatever you do, go about setting a balance, aiming for a mix you’d be “simply okay with.” It’s as simple as pushing up one fader, then another fader, all the while determining if the relative level and pan position are correct (also phase, if I’m dealing with a multi-mic’d instrument).

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“Correct” here means “in appropriate balance to one another.” You want to make sure the balance between every instrument feels good—the kick shouldn’t overwhelm, the bass shouldn’t loom inaudibly.

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4. Don’t take too long

But we don’t want to get bogged down in this process. For one, there’s lots more work to do. Repeating a section over and over is also a surefire way to lose your perspective, if not your mind.

All we want to do is achieve an acceptable balance. We don’t need to hear every word of the vocal—EQ, compression, and automation will help us out later on. We don’t need to worry about the low-end rub between the kick and the bass; sidechaining and dynamic equalization can give us the boost (or the cut) we need.

Don’t spend more than five minutes on this if you can. Set a timer, and see if you can beat it.

5. Leave your buses at unity and keep your tracks below unity

If you’re mixing through submixes, leave them at unity gain. We want them to hover higher than our individual tracks, because it’s always good to follow the roundly trodden road of common-sense gain staging. Yes, we can break the rules in the 32-bit floating-point world, but analog-style gain staging translates among systems, and this helps us avoid bad habits. It’s also an elegant solution for maintaining headroom throughout the chain.

Keep in mind we’re not aiming for unity gain with the faders of our individual tracks; many people advocate for 6 dB below unity. I don’t particularly care about a number—I care more about a color—the color red, to be specific.

To be even more specific: the color red at the tippy tippy top of the master fade. We don’t want to hit the red on the master fader, for we will leave no headroom for the mastering engineer. A lack of headroom can lead to a dynamically choked, small-sounding mix.

If you were to use Mix Assistant, you’ll note that headroom will be preserved, as evinced by the following screenshot.