Neutron 4 Help Documentation

Introduction

Mix smarter and faster with Neutron 4, your complete suite for crafting a professional mix. Seven professional plug-ins combine forces with AI-powered assistive audio technology to create a modern and intelligent mixing experience. Mix in the moment with the new Mix Assistant view, make space with the Unmask Module, and magically match sounds in your Target Library with AI assistive technology. Distort, destroy, and discover new extremes in Neutron 4 with processing from the iZotope fan-favorite plug-in, Trash. With Neutron 4 you can sculpt sounds seamlessly while staying in your flow.

Included Plug-ins

PLUG-IN
Neutron 4	Improved!
Neutron 4 Compressor	Improved!
Neutron 4 EQ
Neutron 4 Exciter	Improved!
Neutron 4 Gate
Neutron 4 Sculptor
Neutron 4 Transient Shaper
Neutron 4 Unmask	New!
Visual Mixer
Relay
Tonal Balance Control 2

Getting Started

Overview

Welcome to Neutron 4! If you have never used an iZotope product or want to know more about Neutron, then this is the right chapter for you. The topics include:

• Product Portal
• Authorizing Neutron
• Navigating the Detailed View
• Navigating the Assistant View
• Signal Flow
• Working with the Signal Chain
• Working with Neutron Plug-ins
• Workflow suggestions
• Working with IPC

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Product Portal

Download Product Portal to get started with Neutron 4. You can follow the directions on the Product Portal download page to: register new products, download, install, and authorize existing products, as well as access trials/demos or expansion content.

Authorizing Neutron

The first time you open a Neutron 4 plug-in, the Authorization window will appear.

• Selecting Sign In will open the Product Portal if this application is installed on your computer. If Product Portal is not installed you will be brought to the web page to download Product Portal.
• Selecting Manual Authorization will open the manual Authorization window:
  

  

The Authorization window allows you to:

• TRIAL: Select the Continue in Trial option to continue a Trial period evaluation prior to purchasing.
• DEMO: Continue evaluating the product with Demo limitations (after the 10 day Trial period ends).
• AUTHORIZE: Authorize the product with a serial number.

Trial Mode

Trial mode allows you to evaluate Neutron 4 over a 10 day trial period. The trial period begins when you first open Neutron 4 plug-ins in a DAW/NLE. The Authorization window will display the number of days remaining in your trial period. Click the Continue button to exit the Authorization window.

Demo Mode

After your 10 day trial period expires, you have the option to operate Neutron 4 in Demo mode. To continue evaluating Neutron 4 in demo mode, click the Demo button.

Authorization Methods

To disable Trial or Demo mode, you must authorize the product with a valid serial number. We offer three authorization methods for Neutron 4:

• Online Authorization: Authorize Neutron 4 on a computer online.
• Offline Authorization: Authorize Neutron 4 on a computer offline.
• iLok Authorization: Authorize Neutron 4 using iLok.

Navigating the Detailed View

The Neutron 4 Detailed view is divided into four main areas as seen in the image below:

1. Global Header: The global header area provides access to: the IPC plug-in name editor, Mix Assistant, the Preset Manager, Undo History, Zero Latency, Options, and Help.
2. Signal Chain: The Signal Chain allows you to add or remove modules and adjust the processing order of modules included in the chain. The Signal Chain area is exclusive to the Neutron 4 mothership plug-in, Neutron 4 component plug-ins do not include the Signal Chain because they only include one processing module. See the Signal Chain section for more information.
3. I/O Panel: The Input/Output (I/O) panel area includes: global I/O gain controls, I/O metering, channel operations controls, and global bypass. See the I/O Panel section for more information.
4. Module Interface: The module panel area includes all controls and meters associated with a specific processing module.

Navigating the Assistant View

The Neutron 4 Assistant View is divided into three main areas as seen in the image below:

1. Intent Controls: The Intent Controls provide broad control over tonal, dynamics, character, and width processing in Neutron 4. These are intelligently set when you access the Assistant for the first time in Neutron 4.
2. Target Library: The Target Library lists all available targets that Neutron 4 uses to generate an intelligent starting point for input audio. These are organized by instrument type and provide a Custom Folder for user-generated targets.
3. Metering: The metering in the Assistant View shows you input audio against the frequency balance of the currently selected reference Target or Reference file.

Signal Flow

The following diagram represents the signal flow in the Neutron plug-in.

1. Input Gain
2. Signal Chain (Mothership plug-in only)
3. Output Gain
4. Limiter (Mothership plug-in only)

Working with the Signal Chain

You can add, remove, and reorder modules in the Signal Chain area of the Neutron 4 mothership plug-in. By default, the Neutron 4 Signal Chain includes the Equalizer module.

Working with Neutron Plug-ins

Throughout this manual, the terms “Mothership” and “Component” are used to describe plug-ins included with Neutron 4.

• Mothership plug-in:
  • Refers to the main Neutron 4 plug-in.
  • Offers multiple processing modules in a single plug-in instance.
• Component plug-in:
  • Refers to the plug-in equivalent of any individual module included in the Neutron Mothership plug-in. i.e. Compressor, Equalizer, etc…
  • Offers focused control over an individual processing module.
  • When working with a single processing module, component plug-ins can be used as resource-friendly alternatives to the mothership plug-in.

Mothership and Component Plug-in Feature Differences

Some features included in the Neutron 4 mothership plug-in are not available in the Neutron 4 component plug-ins. Differences include:

• The Limiter is only available in the Neutron mothership plug-in.
• The global Zero Latency mode option is not available in the Sculptor component plug-in.
• The global Zero Latency mode option is not available in the Unmask component plug-in.
• The Assistant Pre-EQ static matching capabilities are not available in the Sculptor component plug-in.
• The Assistant View (which includes the Target Library, Tonal Balance Curve meter, Intent Controls) is not available in the Neutron component plug-ins.

Component Plug-in and Module Comparison

The following table outlines if a given Neutron component plug-in is also included as a module within the Neutron mothership plug-in.

Feature	Component Plug-In	Module
Unmask	✓	✓
Compressor	✓	✓
Equalizer	✓	✓
Exciter	✓	✓
Gate	✓	✓
Sculptor	✓	✓
Transient Shaper	✓	✓
Tonal Balance Control 2	✓	X
Visual Mixer	✓	X
Relay	✓	X

Workflow Suggestions

There are a number of different ways to approach working with Neutron plug-ins. We’ve included some workflow suggestions you can use if you aren’t sure where to start. These workflows are merely suggestions and any workflow is valid if it works for you.

Using the Assistant

The Neutron 4 mothership plug-in and Neutron 4 Visual Mixer plug-in offer intelligent assistive features aimed at helping you find a starting point for your track or entire mix based on an analysis of your audio.

Use the Assistant to build a starting point for an individual track. You can access the Assistant by inserting the Neutron 4 mothership plug-in on a track and clicking the Assistant button to the left of the Presets button in the global header area.

Using Presets

Neutron 4 plug-ins include a built in preset manager with a wide variety of factory presets to get you started. Open the Preset Manager by clicking the Presets button in the global header area of any Neutron 4 plug-in (except for Visual Mixer). Load a preset by selecting it in the preset manager window or quickly try out different global presets by clicking the left and right arrow buttons directly to the right of the Presets button in the global header area.

Working with IPC

Wouldn’t it be cool if all of the iZotope products that you owned talked to each other? Well, it’s a dream come true! With iZotope’s Inter Plug-in Communication (IPC) technology, different iZotope plug-in instances on separate tracks can send data back and forth to each other.

Neutron 4 includes the following IPC functionality:

• The Masking Meter feature, included in the Equalizer module, uses IPC technology to highlight masking occurring between tracks with IPC compatible plug-ins. See the Masking Meter chapter for more information.
• The Assistant feature included in the Visual Mixer plug-in uses IPC technology to provide a starting point for your mix by grouping and adjusting levels of IPC compatible plug-ins in your session. See the Assistant chapter for more information.

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General Controls

Overview

The general controls in Neutron can affect the entire plug-in or individual modules only.

The following general controls affect the entire plug-in:

• Resize Window
• Global Controls
• Signal Chain
• I/O

The following controls affect individual modules:

• Multiband Crossover Spectrum View
• Detection Filter View
• LFE

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Resize Window

You can resize the main window by clicking and dragging the bottom right corner of the plug-in window. The Neutron 4 mothership, Visual Mixer, and component plug-ins are all resizable.

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Global Controls

The following controls are included in the header area of the Neutron 4 mothership plug-in:

1. Plug-in Instance Name: Displays the name of the current instance as it appears in IPC lists in supported iZotope plug-ins.
2. Assistant View: Opens the Assistant view. See the Assistant chapter for more information.
3. Detailed View: Opens the Detailed View, allowing you to access deeper controls in the modules.
4. Preset Manager: Opens the Preset Manager window. See the Presets chapter for more information.
5. Undo History: Opens the Undo History window. Undo History allows you to compare settings you’ve adjusted. See the Undo History Controls section below for more information.
6. Zero Latency: Enables Zero Latency processing. When enabled, some processing options will be automatically adjusted: Disables Limiter mode selection, disables the Sculptor module, disables the Unmask module, locks the crossover type in the multiband modules (Compressor 1 & 2, Transient Shaper, Exciter) to the “Zero Latency (Analog)” option.
7. Options: Opens the Neutron Options window. See the Options chapter for more information.
8. Help: Opens the Neutron help documentation in your default web browser.

Undo History Controls

The Undo History window allows you to compare controls you’ve adjusted in the current Neutron instance. You can revert settings to audition a specific parameter change by clicking on one of the history list items. The following controls are available in the Undo History window:

Controls	Description
CLEAR	Clears all events from the current history list.
CLOSE	Closes the History window. Processing resumes from the point you had last selected, so you can continue building on the History list from an earlier point.
SETS	You can assign up to four points in the History list to sets A, B, C, or D. This is useful for comparing a collection of different settings at once. To assign a History item to a Set: Select an item in the history list you want to capture. Click on the A, B, C, or D text labels to assign the selected history item to the button. Click on the assigned A, B, C, or D buttons to quickly toggle between set events in the history list.

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Signal Chain

You can add, rearrange, and move the following modules in the Signal Chain:

• Gate
• EQ
• Compressor (x2)
• Exciter
• Transient Shaper
• Sculptor
• Unmask

Use the signal chain controls outlined in the table below to customize your Signal Chain.

Icons	Control	Description
	Add	Click the + button in the Signal Chain to open the module menu. Select a module from the list to add it to the last slot in the Signal Chain.
	Power Button	Click the power button the upper left corner of a module tile to bypass processing of that module.
	Module Presets	Opens the module preset manager for the associated module. See the Presets chapter for more information.
	Remove	Click to remove the associated module from the Signal Chain.
	Reorder	Click and drag a module panel left or right within the Signal Chain to change its order in the signal flow.
	Wet/Dry Mix	Adjust the slider to balance between the dry (unprocessed) and wet (processed) signals.

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I/O Panel

The I/O (input/output) Panel allows you to monitor levels and adjust gain, stereo width and pan, limiter settings, and channel operations.

1. Limiter: Enable to apply transparent limiting while preserving transients in the output. See Limiter section below for more information.
2. Gain (Input/Output): Adjusts the input or output gain. Output gain level comes before the Limiter in the signal flow.
3. Bypass: Toggle to either turn processing on (Bypass disabled) or off (Bypass enabled). When you toggle Bypass ON (processing disabled), you will not be able to modify module controls.
4. Sum To Mono: Toggle on to sums the left and right channels from the stereo signal into a mono output signal.
5. Pan: Pans the output signal to the left or right channel. Only functional in stereo instances of Neutron.
6. Invert Phase: Enable to invert the polarity of the signal.
7. Width: Adjusts the amount of stereo widening. Decreasing this control results in a narrowing effect (-100% is equivalent to mono), increasing this control widens the apparent stereo field. Only functional in stereo instances of Neutron.
8. Swap Channels: Enable to route the left channel to the right channel output and the right channel to the left channel output.

Limiter

Enable to allow the BS.1770-2/3-compliant¹ True Peak Limiter to process digital loudness maximization of your output signal while preventing True Peak overflows across all of your mono, stereo, and surround channels.

The limiter comes after the output gain slider in the signal flow. You can use the output gain slider to increase or decrease the level of the signal going into the limiter.

When the limiter is enabled, gain reduction activity is drawn in orange on top of the output meters.

The limiter includes the following controls:

• Ceiling
• Limiter Style
• Limiter Mode
• Limiter LFE

When the Limiter is actively limiting audio, you will see the amount of gain reduction shown in orange from the top of the meter.

Ceiling

Determines the maximum output level of your audio. All peaks above this point will be limited. You can set the Ceiling of the Limiter via the Ceiling slider overlaid on the output meter, within a range of 0 to -20 dB.

There are two ways you can adjust the Ceiling slider:

• Click and drag the Ceiling slider UP or DOWN to the desired value.
• Hover over the Ceiling readout, and click and drag the mouse UP or DOWN to the desired value.

Limiter Style

You can choose from one of three user-definable character options for more direct control over the adaptive, transparent nature of the limiting algorithm.

Character	Description
Clear	The Limiter will respond more quickly in order to better present fast-moving transient material in the mix.
Smooth	Smooth is the most common, best-sounding middle ground between Clear and Thick. It’s the most appropriate algorithm for the majority of program material, including most vocals and dialogue.
Thick	The Limiter will respond to audio more slowly, useful for louder, slower-moving sounds like a big explosion sound effect, or a bass/low-frequency swell, where you wouldn’t want an aggressive limiter to break the sound up.

Limiter Mode

You can choose to optimize the Limiter in three different ways using the algorithms described in the table below. Each algorithm has a different sonic quality and latency requirement.

Limiting Algorithm	Sonic Quality	Latency Requirement
IRC II	Transparency	Higher latency: 3772 samples at 48 kHz Ensures maximum transparency when hitting the limiter hard, particularly with low frequencies that you’d like to remain loud, without crunch or distortion.
IRC LL	Low Latency	Lower Latency: minimum is 120 samples at 48 kHz ensure efficient performance, yet still maintains a high level of sound quality and broadcast-standard True Peak performance.
Hard	Brickwall	Zero Latency Most latency-efficient algorithm. Final output level does not exceed the ceiling. Not True Peak compliant due to zero latency.

Limiter LFE

Appears when Neutron is inserted on a 5.1 or 7.1 surround track. The limiter applies gain reduction equally to all channels when the peak level of any given channel exceeds the Ceiling value. It may be desirable to exclude the LFE channel from triggering gain reduction or from being affected by the limiter.

• Enabled: LFE channel is included in limiter input and will be processed by the limiter.
• Disabled: LFE channel is excluded from the limiter input and not affected by limiter gain reduction.

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Vocal Unmask Controls

When Neutron is selected in the Vocal Unmask source menu in Nectar and masking is detected by Vocal Assistant, an EQ cut curve will be applied to the output of Neutron to unmask the vocal track. An Unmask control box will appear above the I/O meters in the Neutron interface that is unmasking the vocal track.

Depending on the edition of Nectar you are using, different Unmask controls will be available in Neutron:

• Using Nectar Standard edition: An Unmask EQ power button will appear in the Neutron instance that is unmasking the vocal.
  

  

• Using Nectar Plus edition: The Unmask box in Neutron will include a power button and an expandable advanced controls panel. The Advanced unmask controls panel includes: the Nectar Plus instance name that Neutron is unmasking, an Unmask EQ curve display, EQ amount control, Dynamic Unmask EQ on/off, and an external sidechain option when Dynamic mode is enabled.
  

  

  

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I/O Panel Meters

The Input and Output meters display Peak and RMS metering information.

• The current Peak value is displayed in white.
• The current RMS value is displayed in light grey.

The text readouts directly above the meters display the current Peak and RMS values.

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Multiband Crossover Spectrum View

You can use the Multiband Crossover Spectrum View to select, adjust, and audition processing bands in mulitband modules. The following modules include multiband processing: Compressor, Exciter, Gate, and Transient Shaper. Each multiband module supports up to three adjustable processing bands.

Icons	Control	Description
	ADD	To add Crossover Cutoff nodes, hover over the Crossover Cutoff node bar and click on the + button that appears. You can add up to 3 crossover regions.
	REMOVE	To remove Crossover Cutoff nodes, hover over the band area and click the x button.
	POWER BUTTON	Toggle ON/OFF to enable/disable processing for the cutoff section.
	SOLO	Enable to hear only the band selected.

Adjusting Crossover Cutoffs

You can manually adjust the multiband crossover points in the crossover spectrum view using the following methods:

• CLICK & DRAG CUTOFF HANDLES
  1. Hovering over the crossover handle.
  2. Left-click and drag the handle left or right to the desired position.
  3. Use the frequency readout at the bottom of the handle while dragging as a reference to where the crossover point is in relation to frequency.
• ENTER TEXT INPUT
  1. Double-click on a crossover handle to open the readout as a text edit field.
  2. Type the desired frequency value for the crossover cutoff into this field.
  3. Hit the enter or return key to update the value.

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Detection Filter View

Enable the Detection Filter to adjust the frequency response of the detection circuit in the Compressor or Gate modules. When the Detection Filter is active, you can access the controls outlined below.

When enabled, the Detection Filter gives you access to the following controls:

Icon	Control	Description
	Power Button	Toggle ON to enable the Sidechain Filter. By default the Detection Filter is OFF.
	Solo	Enable to audition the output of the Detection Filter. This can be useful to enable when adjusting the Detection Filter nodes.
	Resonant Filter Nodes	Adjusts gain and center frequency in lowpass bands and highpass bands.

Resonant Filter Node Adjustments

The Resonant Filter Nodes are displayed within the the Detection Filter view. You can use these to tailor your frequency response:

• Click and drag the resonant filter nodes UP or DOWN to increase or decrease gain.
• Click and drag the resonant filter nodes LEFT or RIGHT to adjust the center frequency.

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LFE (Low-frequency effects)

The LFE (Low-Frequency Effects) button only appears when Neutron is loaded on 5.1 or 7.1 surround tracks. LFE For more information on surround sound support, see the Surround Sound section below.
You can find the LFE button for modules in the module header.

• Enable to include LFE in the audio processing. This is the default setting.
• Disable the LFE button to exclude low frequencies when passing audio through the Low Frequency Effects (LFE) channel with the relative latency compensation.

LFE Rolloff Filter

If you are mixing to a surround sound specification that requires a band-limited LFE signal, the 24 dB/octave LFE rolloff filter helps you achieve this. You can enable the filter and select a cutoff slope value in the Options under the Metering Tab.

Surround Sound

Neutron supports the following surround sound formats in the following hosts. Neutron processes all channels equally unless LFE processing is bypassed in any particular module.

DAW	Surround Format	Channel Configurations
Pro Tools	Film	1.0, 2.0, 3.0 (LCR), 4.0 (Quad), 5.0, 5.1, 7.0, 7.1
Logic Pro	DTS, ITU/SMPTE, SDDS	1.0, 2.0, 4.0 (Quad), 4.0 (LCRS), 5.1 (ITU/SMPTE)
Cubase	ITU/SMPTE	1.0, 2.0, 3.0 (LRC), 3.0 (LRS), 4.0 (Quad), 4.0 (LCRS), 5.0, 5.1
Nuendo	DTS, ITU/SMPTE, SDDS	1.0, 2.0, 4.0 (Quad), 4.0 (LRCS), 5.0, 5.1, 7.0 (cine), 7.0 (music), 7.1 (cine), 7.1 (music)

Surround Sound configuration in Neutron will include LFE button and surround sound meters in the I/O panel as seen in the image below.

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1. Rec. ITU-R BS.1770-4 (10/2015) ↩︎

Assistant

Overview

Neutron 4 includes an Assistant that helps you achieve your creative intent for individual elements of your mix, helping you finish your project with confidence. The Assistant works together with the Assistant View and Detailed View to help you make broad adjustments early in your workflow and refine your choices as you get deeper into your mix. We highly encourage you to use the Assistant in the Neutron mothership plug-in for individual track processing or use the Assistant in the Visual Mixer plug-in for a multiple track starting point.

Assistant: Neutron mothership plug-in

Neutron’s Assistant in the mothership plug-in helps you make broad mixing decisions early in your mix workflow with streamlined control and visual aids to help you reach your outcomes fast.

Recommended Assistant Workflow: Neutron mothership plug-in

To access the Assistant, click the Assistant button in Neutron’s header.

This will begin listening to the input signal and generate a starting point for your track. Once analysis is completed, the Assistant view will become available.

The Assistant view is a real-time environment that works with the detailed controls included in the modules present the module chain.

Assistant View Interface

The following image outlines the key sections of the Assistant View:

1. Intent Controls
2. Target Library
3. Meters and Displays

Intent Controls

Intent controls are parameters that allow for broad control over early decisions in your mixing workflow. They work together with Neutron’s intelligent analysis, Targets and the Signal Chain to give you a simple workflow for tonal, dynamics, character, and width decisions in your mix. Intent Controls are exclusive to the Assistant View in the mothership plug-in and are not available in the Neutron component plug-ins or the Visual Mixer plugin.

The following Intent control sections are available:

• Tone Match
• Punch
• Distort
• Width

Intent controls are linked to deeper controls in the Detailed View of the mothership plug-in. Here is what each intent control is mapped to in the Detailed View:

Intent Control	Parameter	Connected Module Control	Connected Module
Tone	Match	Assistant Pre-EQ	Sculptor
Tone	Match	Amount	Sculptor
Punch	Amount	Punch Amount	Compressor 2
Punch	Attack	Punch Attack	Compressor 2
Punch	Sustain	Punch Sustain	Compressor 2
Distort	Drive	Drive	Exciter
Distort	Processing Mode (Classic/Trash)	Processing Mode (Classic/Trash)	Exciter
Distort	XY Pad	XY Pad	Exciter
Distort	Tone	Tone	Exciter
Width	Width Amount	Width	Global I/O

Tone Match

Controls the amount of static EQ matching and Sculptor processing applied to the input signal.

The Tone Match slider controls two parameters simultaneously: the Assistant Pre-EQ control and the Amount control found in the Sculptor module. Both controls work together to shape the input signal towards the selected target or custom reference curve in the Target Library.

Punch

• Amount: Controls the Amount parameter of Punch processing mode in Compressor 2. The Amount control is a single control for dynamics processing. Adjust this control to increase or decrease the dynamic range of musical hits. Settings below 100% decrease dynamic range, creating a consistent compression effect. Settings above 100% increase dynamics range, creating a punchy effect.
• Attack: Controls the Attack parameter of Punch processing mode in Compressor 2. Attack adjusts the rising effect of the punch processing. Lower settings accentuate the punch of musical hits and higher settings attenuate the punch of musical hits.
• Sustain: Controls the Sustain parameter of Punch processing mode in Compressor 2. Adjusts the falling effect of the punch processing. Lower settings sharpen the punch of musical hits and higher settings extend the sound of musical hits.
• Enable/Disable: Controls the enabled state of the Compressor 2 module in the module chain. Use this to bypass Punch dynamics processing.

Distort

• Drive: Adjusts the Drive parameter for all three bands in the Exciter module. Adjusts the amount of distortion applied to the input signal.
• Processing Modes: Adjusts the processing mode for all three bands in the Exciter module. The processing mode in the Exciter changes the style of distortion between subtle and dramatic harmonic profiles per band. Classic processing mode (top) provides four modes for subtle excitation use cases. Trash processing mode (bottom) provides four modes for dramatic distortion use cases.
• XY Pad: Controls the XY pad for all three bands in the Exciter module. Blends different harmonic profiles to achieve the sound you want to hear.
• Tone: Adjusts the Tone control in the Exciter module. Tone adjusts the balance of distortion applied to low and high frequency content in the Exciter. Values between -100 and 0 emphasize low frequency content; Values between 0 and 100 emphasize high frequency content.

Width

Adjusts the global Width control in the I/O panel of the Neutron mothership plug-in.

Target Library

The Target Library contains instrument targets and user generated reference targets. Setting a target provides helpful starting points for the Intent controls in the Assistant View and the modules in signal chain in the Detailed View.

Instrument Targets

The Tonal Balance Targets are directly connected to the Sculptor module in the Detailed View. Changing a Target in the Assistant changes the Target Curve Menu in the Sculptor module. This dramatically changes the sound of the processing applied to the input signal.

Dirty State

Targets will enter a dirty state when the original settings for the Target have been modified in the Detailed view. Selecting this button will restore the original settings.

Reference Targets

You can create and manage your own custom reference targets by importing audio files from your computer.

Press the (+) button to open a system dialog and select audio files on your computer to add to your custom Target Library.

Selecting a sound, clip, or stem will copy the name and that file into the Custom target area of Neutron’s Target Library.

Meters and Displays

Tonal Balance Target Metering

The Tonal Balance Target Meter displays audio as a frequency spectrum, providing a helpful visualization of the selected Instrument Target’s intended shape against the output signal. Switching targets will change the shape of the Tonal Balance Target Meter.

The thin gray line represents the output signal of Neutron, visualizing what the input signal looks like after it’s passed through the module chain in Neutron.

Relearn

Select this to re-run the Assistant in Neutron 4.

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Assistant: Visual Mixer plug-in

The Assistant in Visual Mixer helps you automatically set static level in all the tracks with Neutron 4 mothership, Neutron 4 components, and Relay. For best possible results, use the Assistant in Visual Mixer after you’ve imported raw stems (tracks) into a new session.

• You can access the Assistant from the Neutron 4 Visual Mixer plug-in.
• The Assistant can listen to and adjust the following IPC-compatible iZotope plug-ins: Neutron 4 mothership, Neutron 4 Compressor, Neutron 4 Equalizer, Neutron 4 Exciter, Neutron 4 Gate, Neutron 4 Transient Shaper, Neutron 4 Sculptor, Neutron 4 Unmask, and Relay.

The table below outlines which plug-ins are compatible with the Assistant in Visual Mixer.

Recommended Workflow: Visual Mixer plug-in

The Assistant in Visual Mixer helps you automatically set static level in all the tracks with Neutron 4 mothership, Neutron 4 components, and Relay. For the best possible results, use the Assistant in Visual Mixer after you’ve imported raw stems (tracks) into a new session.

If you want Visual Mixer (exclusively) to set all your pans and faders, make sure to put Relay in the last insert on your tracks.

1. Import all tracks needed for your session. The more tracks you include, the more time the Assistant will save you!
2. Add Visual Mixer on your master bus. Know that Visual Mixer does not process audio, it just needs to know at least that there is activity occurring.
3. Click on the Assistant button in Visual Mixer and begin using the Assistant.

Visual Mixer Assistant Stages

The Assistant in the Visual Mixer involves the following stages:

1. Setup
2. Waiting
3. Listening
4. Audition and Adjust
5. Accept

In each stage, you need to perform an action that will help the Assistant provide you the most accurate results.

Setup Stage

Select the tracks that are the focus of your mix and those that you want to include. Then, click Begin Listening.

This view lists all of the compatible iZotope plug-ins in your session. Make sure every track you want to include is represented and only included once. Do NOT play music during this stage!

Waiting Stage

Place the playhead at the beginning of your arrangement. Then, start the transport for the Assistant to begin listening.

The Assistant can’t do anything without listening to your music. So, make sure you play your audio from where your audio starts wherever you want the Assistant to begin listening.

Listening Stage

When you reach the end of your session, click Go To Results to proceed to the results. If you don’t, the Assistant will never stop listening.

The Assistant listens to the overall level of each audio source and categorizes each instrument into groups.

Audition And Adjust Stage

Now that the Assistant has listened and has categorized your audio, you can now:

• Audition the Assistant’s suggestions.
• Adjust the Group Sliders to what sounds best to you.
• Compare the Assistant’s results with your original session by clicking on the Bypass Assistant button.
• Edit the classifications of the Group Sliders and the Focus.

Group Sliders

Adjust the Group Sliders to your preference and audition the differences.

The group sliders are created as a result of the Assistant listening to your audio. The Assistant gathers up all the information it has learned about your music and it sub-mixes these into the groups.

The Assistant determines a target level for the following groups:

• Focus: What you choose as the focus of your mix.
• Voice: Tracks selected with vocals.
• Bass: Tracks selected with bass.
• Percussion: Tracks selected with drums/percussion instruments.
• Musical: Other tracks that may not relate to the groups above.

Each group has an associated, adjustable level slider. The slider itself represents the overall gain differences of the groups relative to each other. When you adjust these sliders, you are making gain changes relative to the Assistant’s initial target level suggestion. The Assistant will try to apply gain adjustment to each track within that group so that their combined levels achieve the target mix level set by the Group Slider. The range of adjustment is +/- 12 dB for the Group Sliders.

Bypass Assistant

This button will disable the sliders and allow you to listen to your session pre-Assistant suggestions.

When auditioning the Assistant’s results, the unprocessed mix will be gain-matched to the processed mix. By gain matching, you can better discern the differences in balance.

Edit

Edit which tracks are categorized for each Group by clicking on the Edit Classifications button in the lower right-hand corner. You can adjust the tracks in focus or reclassify the tracks. The Assistant adjusts the Groups to reflect your categorization decisions.

Accept Stage

When you’re happy with the level balance of your mix, click Accept and your level settings will be applied to each source plugin using iZotope’s Inter-plugin Communication Technology (IPC).

• If you didn’t like results, close out of the Assistant window to revert the changes.
• If you auditioned the results, you can’t click Accept unless you disable Bypass Assistant.

Gate

Overview

You can use the Gate module to eliminate or attenuate unwanted signal content when the input signal falls below a given threshold level.

Module Interface

The Gate module includes the following sections:

1. Module Header
2. Meters and Displays
3. Controls

Module Header

The controls in the module header affect the entire Gate module.

1. Multiband Crossover View
2. Detection Filter View
3. Learn
4. Reset
5. LFE: (Not pictured, surround instances only.)

Multiband Crossover Spectrum View

Access the Multiband Crossover view and controls. See the Multiband Crossover View section in the General Controls chapter.

Detection Filter View

Access the Detection Filter view and controls. For more information, see the Detection Filter View below for information on each view.

Learn

Enable to allow Neutron to search for natural crossover cutoff points for multiband processing using a few criteria, including identifying minima in the frequency spectrum of the incoming audio. When it has determined and set the ideal values for the crossover cutoffs, it will turn itself off automatically. You can also manually disable learning when it is active by clicking the Learn button again.

Reset

Returns all controls in the Gate module to their factory default values. If you wish to return to settings you were using before clicking the Reset button, you can use the Undo History window to revert to the settings before the Reset event.

LFE

This option appears when Neutron is inserted on a 5.1 or 7.1 surround track. When enabled, the LFE channel will be processed along with all other channels. When disabled, the LFE channel will not be processed by the associated module. If necessary, latency compensation is applied to the LFE channel when it is disabled, to ensure timing is maintained between all channels.

Meters and Displays

The meters illustrate how the Gate is responding to and processing the input signal. The meters included are outlined in the image below.

1. Waveform Displays
2. Gain Reduction Trace

Waveform Displays

• Scrolling waveform: displays the amplitude of the input and output signals over time. The meter scrolls from right to left, with the most recent information on the right.
  • Input signal waveform: dark gray waveform displayed behind the output signal waveform.
  • Output signal waveform: light gray waveform displayed in front of the input signal waveform. When the signal is gated, you can monitor the difference in the gain reduction applied to the output signal versus the input signal.

Gain Reduction Trace

Draws a line that represents the gain reduction applied to the selected band over time. Use the Gain Reduction Trace to monitor and to set the response times (attack and release) and gain reduction envelope applied over time.

Controls

Threshold Controls

You can control gating by setting the Open Threshold and Close Threshold. Click and drag the Threshold handles and place them where you want to apply gating.

• Open Threshold: Sets the level above which the gate will open, allowing the signal to pass through. When the input signal falls ABOVE the Open threshold level, attenuation will stop.
• Close Threshold: Set below the Open threshold level at which the gate will close. This is also called hysteresis. When the input signal falls BELOW the Close threshold, it will be attenuated. Moving the Close threshold either UP or DOWN will affect your gating. By setting Close threshold lower than Open threshold, more of the decay will pass without affecting the trigger threshold.

HUD Controls

The HUD in the Gate Module includes:

• Ratio: Determines the amount of gain reduction applied to signals that fall below the Threshold.
• Attack: Determines the amount of time (in milliseconds) it takes for the gate to transition from closed to open when a signal exceeds the Open threshold.
• Hold: Sets the amount of time (in seconds) the gate will stay fully open after a signal falls below the threshold. The hold length will vary when the release period begins.
• Release: Determines the amount of time (in milliseconds) it takes to transition from open to closed when a signal falls below the Close threshold.
• Gain Reduction Meter: Displays the current average amount of gain reduction in decibels (dB) applied to the signal.

Advanced Controls

The Sidechain controls for the currently selected band are located in the Advanced panel of the HUD. To access the Advanced Panel, click the arrow button on the right hand side of the band HUD.

Sidechain

Allows you to trigger the amount of gain reduction in the Gate from a signal other than the input to the Gate. The signal is routed into the detection circuit of the Gate. You can choose either an internal or external input signal to trigger the Gate band’s dynamic behavior. By sidechaining, you can dynamically link elements of a mix to provide an adaptive balance between tracks.

Enabled Sidechain

When you enable Sidechain, you have the option to sidechain with an internal band or an external band. The sidechain dropdown menu will display active internal bands and active external instances categorized under internal or external as described in the list below.

• INTERNAL (INT.):
  • Choose from any band currently placed in the Gate module.
  • Using an internal sidechain input allows you to trigger gain reduction in the selected band from the amount of energy in a different band. For example, you can accentuate perceived low end energy by reducing high end any time the lowest band exceeds a defined threshold.
  • Internal Full allows you to trigger gain reduction taking the sonic information from all active bands.
• EXTERNAL (EXT.):
  • Choose from any audio from another track or bus.
  • Using an external sidechain input will help balance a signal with other tracks.
  • The external audio source can also be filtered through any of the bands in the Gate module by choosing any of the External bands (for example, Ext. Band 1).

Equalizer

Overview

An equalizer can be used to give you control over different parts of the frequency spectrum, independently allowing you to make character or corrective alterations by applying additive EQ or subtractive EQ.

Module Interface

The Neutron Equalizer module controls and features are outlined in the image below.

1. Meters and Displays
2. Module Header
3. Controls

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Meters and Displays

The following meters and displays included in the EQ are outlined in the image below.

1. Spectrum Analyzers
2. Composite Curve
3. Filter Response Curve
4. Meter Scales

Spectrum Analyzers

Displays the magnitude (amplitude, in decibels) of the input signal across the frequency spectrum in real-time. Two spectrum analyzers are displayed in the EQ module to compare the effect of processing.

• Input signal: The input signal to the EQ module is shown as a dark grey spectrum with no border.
• Output signal: The processed output spectrum is drawn in the foreground with a white border.

Composite Curve

Displays the combined filter response of all enabled bands. Represented by a thick white line drawn across the display. Adjusting EQ nodes will contribute to the overall shape of the composite curve.

Filter Response Curve

Displays the filter response of the currently selected node. Represented by a highlighted line and filled area under the band which appears when you select a node. If there are no nodes selected, the filter response curve is hidden and you will only see the composite curve.

Meter Scales

The Meter Scales are located on the left, right, and bottom of the spectrum window display. You can use these meter scales as a reference while making adjustments.

• Gain Scale (dB): displayed on the right side of the spectrum window.
• Spectrum Magnitude Scale (dB): displayed on the left side of the spectrum window.
• Spectrum Frequency Scale (Hz): displayed along the top of the spectrum window.

You can change the Frequency Scale measurements using the Scale menu, located in the Module Header or in Options under the EQ tab. Choose one of the Frequency Scale options to help you see different frequency distributions when placing your EQ nodes. The default scale is Extended Log.

SCALE TYPE	DESCRIPTION
LINEAR	Displays an even view across all frequencies. This scale emphasizes the higher frequencies which can be useful for dialing in ‘air’ bands or EQ brightness.
MEL	Displays a frequency scale based on human perception of sound that visually corresponds to how we hear differences in pitch.
LOGARITHMIC, (FLAT, EXTENDED) LOGARITHMIC	Displays non-linear scales that offer detail on the low end and midrange, useful for the vast majority of EQ tasks.
PIANO ROLL	Uses default Extended Logarithmic scale while displaying a Piano Roll at the bottom of the EQ display to show the frequency and musical note relation.

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Module Header

The controls in the module header affect the overall resulting EQ module signal processing, but does not affect an individual band. The image outlines the controls in the Module Header.

1. Scale
2. Soft Saturation
3. Masking Meter
4. Learn
5. Reset

Scale

Select a spectrum frequency scale option from the Scale Menu. See Meter Scales section for more information.

Soft Saturation

Enable Soft Saturation mode to excite the input signal generating subtle harmonics resulting in a fuller sound and subtle coloration by your EQ shaping.

Masking Meter

Enable to enter EQ into Masking Meter mode. Visit the Masking Meter chapter for more detailed information about the Masking Meter.

Learn

Enable Learn to quickly have EQ node placement suggestions based on intelligently identified areas of sonic importance in your audio signal such as sibilance, resonance, and rumble.

Reset

Returns all controls in the Equalizer module to their factory default values. If you wish to return to settings you were using before clicking the Reset button, you can use the Undo History window to revert to the settings before the reset event.

LFE

This option appears when Neutron is inserted on a 5.1 or 7.1 surround track. When enabled, the LFE channel will be processed along with all other channels. When disabled, the LFE channel will not be processed by the associated module. If necessary, latency compensation is applied to the LFE channel when it is disabled, to ensure timing is maintained between all channels.

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Controls

Node Interactions

You can adjust bands by adding or removing nodes.

Add Bands

You can add bands in three different ways:

• Add on the Composite Curve: Hover over the white composite curve for a + button to appear. Click on the + button to add a node at the specific frequency on the composite curve.
• Add with Keyboard Shortcut: Hit command + return (Mac) or ctrl + return (Windows) to add a new node to the center of the EQ spectrum.
• Add anywhere on the Spectrum: Double-click anywhere in the EQ spectrum to add a new node at the location of the mouse.

Remove Bands

You can remove bands in three different ways:

• Remove Single band: Select a node and click the X button in the HUD to remove it.
• Remove Multiple bands: Click and drag to select multiple nodes. Use the delete or backspace key to remove all selected nodes.
• Remove with modifier keys: Shift+click to select multiple nodes. Use the delete or backspace key to remove all selected nodes.

HUD Controls

You can access a band’s HUD by selecting the band’s node. The HUD includes:

• General Band Controls
• Filter Shapes
• Readouts
• Advanced Panel

General Band Controls

The left side of the HUD includes parameters for enabling/disabling, soloing, and removing the currently selected band.

Icon	Control
	Power Button: Enables or disables processing of the currently selected band.
	Solo: Enables the selected filter to be listened to in isolation.
	Remove: Removes the band.

Band Filters

Use the table below to refer to the types of filters and associated filter shapes in the Filter Shape menu.

Filter Types

The EQ module features 13 different filter shapes, each one belonging to one of the following filter type categories: Pass Filter, Peak Filter, Shelf Filter.

Filter Type	Description
Pass Filter	Used to attenuate frequency content that is below (for highpass) or above (for lowpass) a specified cutoff frequency. In the Lowpass and Highpass menu: Flat, Resonant.
Peak Filter	Used to boost or cut a specific center frequency level. In the Bell menu: Bell, Proportional Q, Band shelf.
Shelf Filter	Used to boost or cut the frequency content above or below a specified frequency. In the Low Shelf menu and High Shelf menu: Analog, Vintage, Baxandall.

Filter Shapes

Choose from the Filter Shape menu to assign the filter shape of the selected band. The filter shape dropdown menu organizes the filter shapes into the following sub-menus: Bell, Low Shelf & High Shelf, and Lowpass & Highpass.

Bell

The Bell sub-menu includes the following Peak type filters:

Shape	Description
Proportional Q	Unique filter that varies shape in proportion to the amount of boost or cut applied. As you increase or decrease the gain, the change is proportional to bandwidth where you will see the shape of the curve tightens with more extreme values of gain. Tight, precise corrective cuts-the bigger gain adjustment, the tighter the cut will become.
Bell	Smoothly boosts or cuts an adjustable region around a specific frequency. Looks like a bell, come on what do you want from me. At larger gain adjustments (boost or cut), will change the overall color or texture of the sound. This will be a more noticeable change than Proportional Q.
Band shelf	Bell filter with wide, flat top. To change the relation between the harmonics in your audio. Useful for boosting or attenuating a block of frequencies.

Low Shelf and High Shelf

The Low Shelf sub-menu and High Shelf sub-menu includes the following Shelf type filters:

Shape	Description
Analog	Efficient shelf filter for simple boosts and cuts. Similar to standard shelf in an analog EQ. To make noticeable boosts for making large changes in how bright or how bassy the content is.
Baxandall	Inspired by the Baxandall EQ, with the addition of freely adjustable frequency. Low shelf: Gentle low frequency shelf High Shelf: Gentle high frequency shelf. Transparent way of addressing extreme lows and extreme highs for a more natural, gentle sounding effect.
Vintage	Inspired by the renowned Pultec analog equalizer. Exhibits a complementary frequency dip, creating a complex slope with one node. To fatten up low end without introducing muddiness.

Lowpass and Highpass

The Lowpass sub-menu and Highpass sub-menu includes the following Pass type filters:

Shape	Description
Flat	Butterworth filter; optimized for maximum flatness without ripple or resonance in the passband or stopband (stability). To transparently remove low end or high end frequency information without disturbing the character of the signal. Provides a clean, even, and natural sound.
Resonant	Filter equipped with a resonance control to emphasize the cutoff frequency with positive gain. Boosting content at the cutoff frequency to add character and emphasize the lowest or highest part of the signal.

Readouts

Use the HUD Readouts to see and adjust where the node is located within the EQ. The table below describes the readouts available with each readout’s respective units.

Readout	Units	Description
Frequency	Hz	Shows the center frequency (or cutoff frequency) of the currently selected node. The EQ supports frequency values ranging from 20 Hz to 20 kHz.
Gain	dB	Shows the amount of gain applied by the selected filter. The EQ supports gain adjustments ranging from -30 dB to +15 dB.
Q	(cF/Bandwidth)	(Parametric/Bell Filters) Shows the width or slope of the selected filter.
Slope	(dB/octave)	(Highpass/Lowpass Filters) Shows the cutoff slope of the filter.
Musical Note	Note	Shows where the node is on the frequency spectrum in relation to the musical note.

Adjust Frequency, Gain, and Q

There are 3 ways to adjust the Frequency, Gain, and Q:

1. Click and drag EQ node or handles (for Q only).
2. Manually enter the value.
3. Use arrow keys.

Below outlines the three types of adjustments you can apply for altering the Frequency, Gain, and Q values.

Value	Types of Adjustments
Frequency	Click and drag EQ node left to decrease the frequency or right to increase the frequency. Manually enter the value as described below. Use LEFT and RIGHT arrow keys.
Gain	Click and drag EQ node down to decrease the gain or up to increase the gain. Manually enter the value as described below. Use UP and DOWN arrow keys.
Q	Click and drag EQ node handles toward node to narrow the bandwidth or away from the node to widen the bandwidth. Manually enter the value as described below. Use alt/option + arrow keys.

To manually enter the value for Frequency, Gain, or Q:

1. Double click on the value readout of the metric you wish to change.
2. Type in the value desired in the text edit field.
3. Hit enter or return to save the value adjustment.

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Advanced Panel

To access the Advanced Panel, select a node and click the Advanced Panel arrow on the right hand side of the band HUD. The Advanced Panel includes the following Advanced controls for the EQ module:

• Dynamic Mode
• Sidechain

Dynamic Mode

Enable to apply dynamic variable gain to the selected node in relation to the threshold setting. Enables you to either to boost or to attenuate the signal once the signal crosses the threshold. The threshold defines the point at which attenuation or boosting can occur.

Threshold

Sets the signal level at which dynamic gain adjustments will be triggered for the selected EQ node. You can set the Dynamic threshold in three ways:

1. Click and drag the slider to the desired value.
2. Click on the slider and use the UP or Down arrow keys to increase or decrease the value.
3. Double-click on the Threshold readout and type the value into the inline edit field.

Threshold Meters

There are two meters associated with the Threshold control:

• Input Level Meter: Displays the input signal of the selected node.
• Band Reduction/Band Addition Meter: Displays the amount of dynamic level adjustment applied by the selected band.

Dynamic Mode Direction

When you enable Dynamic mode, you can control the Dynamic Mode Direction which determines the direction of gain change (UP or DOWN) using the Up/Down controls. The Up/Down controls will appear directly above and below the associated EQ node.

UP

Select the Up arrow to increase the gain of the filter when signals exceed the Threshold level.

• When the EQ node is placed above the zero line, the filter will be set to 0 dB of gain until it is triggered. When it is triggered by incoming signals exceeding the threshold, the gain of the filter will be increased in the direction of the node
• When the EQ node is placed below the zero line, the gain of the filter will be increased toward the zero line when it is triggered by incoming signals exceeding the threshold.

DOWN

Select the Down arrow to decrease the gain of the filter when signals exceed the Threshold level.

• When the EQ node is placed above the zero line, the gain of the filter will be reduced toward the zero line when triggered.
• When the EQ node is placed below the zero line, the filter will be set to 0 dB of gain until it is triggered. When it is triggered by incoming signals exceeding the threshold, the gain of the filter will be reduced in the direction of the node.

Sidechain

Controls the amount of compression or expansion by choosing either an internal or external input signal to trigger the EQ node’s dynamic behavior. By sidechaining, you can alter or improve the relationships between the elements of the mix so that they work together.

Enabled Sidechain

When you enable Sidechain, you have the option to sidechain with an internal band or an external band.

• INTERNAL (INT.): Choose from any band currently placed in the EQ module.
  • Using internal sidechain will help balance a signal within itself.
  • Internal Full will take the full bandwidth of the audio signal.
• EXTERNAL (EXT.): Choose from any audio from another track or bus.
  • Using external sidechain will help balance a signal with other tracks.
  • The external audio source can also be filtered through any of the bands in the EQ module by choosing any of the External bands (for example Ext. Band 1).

Masking Meter

Overview

Neutron’s Masking Meter can be used to quickly and easily see where there are tracks competing for space in your mix, potentially contributing to a lack of clarity, a muddy sound, or “masking”.

Problem with Masking

Masking can make it difficult to discern audio that needs sonic separation or space. In general, masking can be either encouraged or problematic (but not bad) depending on its context:

• Encouraged masking: when two sources blend there is likely some overlap in a frequency range, and therefore some amount of masking happens. This is similar to the use of distortion in mixing.
• Problematic masking: when two sources blend, but their frequencies tend to obscure rather than compliment each other. This can be frustrating because it is difficult to listen, analyze, and understand where tracks compete across an entire mix.

Using The Masking Meter

Dedicated iZotopians took the time to establish a proprietary psychoacoustic masking hypothesis of what problematic masking might be, and subsequently how to visualize potential problem areas for you to consider when equalizing (Please see (AES 141, Paper 53)¹ for more details.).

Neutron includes our Masking Meter technology which shows you in real time:

1. Areas of the frequency spectrum where masking is occurring (Masking Meter).
2. Frequency regions in which there are multiple instances of masking over time and that are worthy of attention (Masking Histogram).

These tools simply show where masking is occurring. It is up to you to determine when this masking is problematic and requires further action.

Measuring Problematic Masking

In simple terms, Neutron’s Masking Meter takes two audio inputs:

1. A source (the active plug-in instance).
2. An external input “masker” (the plug-in selected in the Masking Meter drop-down menu).

The Masking Meter uses a model of the outer/middle ear to calculate perceptual loudness of each signal, as well as their loudness relative to one another. The source’s loudness loss due to the masker is then calculated as:

Loudness Loss = Perceived loudness [phons] - Perceived partial loudness [phons]

This calculation is strictly based on the intricacies of human hearing and perception. For more information on this calculation, please see AES 141, Paper 53¹.

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Masking Meter Interface

The Masking Meter includes the following sections:

1. Meters and Displays
2. Masking Meter Controls
3. EQ Masking Controls

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Meters and Displays

The meters and displays show how the Masking Meter is responding to and processing the input signal:

• Spectrum Displays
• IPC Spectrum Displays
• Masking Meter
• Masking Histogram

Spectrum Displays

The spectrum displays of the Masking Meter are the same as those in the Equalizer module. See the Meters and Displays section in the Equalizer chapter for more information.

IPC Spectrum Displays

This display only appears when connected to another Neutron instance. Depending on the IPC instance you choose to compare with your current Neutron instance, you will see two different displays:

Neutron EQ IPC Source Selected

Any Neutron instance with an EQ in the signal chain. Displays Masking Meter, Masking Histogram, EQ Masking Controls, and EQ Composite Curve.

Non-Neutron EQ IPC Source Selected

Any compatible iZotope IPC plug-in. Displays Masking Meter and Masking Histogram with no EQ controls.

Masking Meter

Displays the highlighted areas of the spectrum to indicate where there is momentary masking (loudness loss) in the frequency domain.

The brighter the highlights, the more masking is occurring in that area.

Masking Histogram

Displays a cumulative representation of frequency collisions—points of extreme masking—occurring in each critical band over time by filling in the histogram meter with a red color.

The more collisions, the more the histogram meter is filled. This provides a zoomed out view of where masking occurs most over a longer period of time.

How the Masking Histogram Works

Masking Histogram counts the number of frequency collisions in each critical band. When the loudness loss in a particular frequency band is over a pre-determined threshold, we consider it extreme masking and tag it as a “collision.” These collisions are represented as a bar extending from the top of the module view. The further they extend down, the more collisions are occurring in those bands.

Clearing collisions and events

Click once anywhere in the Histogram Area to clear all events in the Masking Histogram.

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Masking Meter Controls

The main masking meter controls in both non-Neutron EQ as a Masker and Neutron EQ as a Masker are outlined in the image below.

1. Masking Meter Dropdown Menu
2. Masking Sensitivity

Masking Meter Dropdown Menu

Displays all compatible iZotope plug-ins in your session. When you select one of these instances, the Masking Meter and Masking Histogram will compare the amount of masking (loudness loss) between the selected instance and your current track.

Masking Sensitivity

Scales the threshold used to determine whether loudness loss is extreme enough to count as a collision (and therefore show up in the Masking Histogram).

• At high sensitivity, smaller amounts of loudness loss count as collisions and it will appear that more masking is occurring since the Masking Histogram will fill up more quickly. If you’re seeing no masking but hearing muddiness, it could help to turn the sensitivity up until you see some activity in these meters.
• At low sensitivity, fewer collisions will appear on the Masking Histogram since the loudness loss thresholds will be much higher. Turning down the sensitivity will help show you the most extreme amounts of masking between your tracks.

The range of loudness loss displayed in the Masking Meter is similarly affected by the Masking Sensitivity control.

• At higher sensitivity, a lower amount of loudness loss appears on the meter.
• At lower sensitivity, a larger loudness loss is required to show high amounts of masking (brighter colored lines).

EQ Masking Controls

The EQ masking mode controls are outlined in the image below.

1. EQ Toggle: Switch between your active Neutron instance and the other IPC EQ instance to view and alter the EQ settings in the selected view.
2. Inverse Link: Links a node’s Gain and Frequency to another node that is relatively close in frequency from the comparing EQ instance. If Inverse Link chooses a node with a different filter shape, Inverse Link will set the shape of that node to match.
3. Bypass EQs: Enable to bypass both the source and the target EQ modules. This is particularly useful to check as you make changes across more than one track, to ensure the EQ adjustments are helping, not hurting, your mix.

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1. AES 141, Paper 53 (09/2016) ↩︎

Compressor

Overview

A compressor can be used to reduce dynamic range, maintain consistent levels, and shape the tone and character of your audio.

Module Interface

The Neutron Compressor module includes the following sections:

1. Module Header
2. Controls
3. Meters and Displays

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Module Header

The controls in the module header affect all enabled bands in the Compressor module.

1. Views
2. Level Detection mode
3. Learn
4. Reset
5. LFE: (Not pictured, surround instances only.)

Views

You can switch between the following views in the Compressor:

• Multiband Crossover Spectrum
• Detection Filter
• Oscilloscope

Multiband Crossover Spectrum

Access the Multiband Crossover Spectrum View and controls. For more information, see the Multiband Crossover Spectrum View.

Detection Filter

Access the Detection Filter view and controls. For more information, see the Detection Filter View section.

Oscilloscope

Displays the waveform of the compressed output signal over time. This can be used to visualize how compression affects the shape of the audio in real time.

The oscilloscope is synced to the host tempo and the time axis represents one bar (four beats).

When the sidechain is activated, the oscilloscope will display the channel signal along with the sum of the sidechain signal with the channel signal in purple. This can be useful when dialing in the interaction between kick drum and bass, for example.

Level Detection Mode

Determines how input levels are calculated by the compressor. Adjusting the level detection mode will alter the level that is considered by the threshold, which will affect when or how often the input level will trigger compression. The Compressor includes three level detection modes:

• RMS (Root Mean Square): Determines input level to the compressor by averaging levels of the incoming signal. RMS detection is useful when you are trying to increase the overall volume level without changing the character of the sound.
• PEAK Determines the input level to the compressor using instantaneous peak levels of the incoming signal. In general, this setting is useful when you are trying to even out sudden transients in your music.
• TRUE Similar to RMS mode, True peak mode determines input level to the compressor by averaging levels of the incoming signal, but produces even levels across all frequencies. True mode will not produce aliasing or artifacts- a common side-effect of RMS detection.

Learn

Enables the Compressor to search for natural crossover cutoff points for multiband processing. The Learn button will be disabled if only one band exists in a multi-band capable module.

Reset

Returns all controls in the Compressor module to their factory default values. If you wish to return to settings you were using before clicking the Reset button, you can use the Undo History window to revert to the settings before the reset event.

LFE

This option appears when Neutron is inserted on a 5.1 or 7.1 surround track. When enabled, the LFE channel will be processed along with all other channels. When disabled, the LFE channel will not be processed by the associated module. If necessary, latency compensation is applied to the LFE channel when it is disabled, to ensure timing is maintained between all channels.

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Meters and Displays

The following meters and displays are available in the Compressor module:

1. Waveform Displays:
   • Scrolling waveform: displays the amplitude of the input (uncompressed) and output (compressed) signals over time. The meter scrolls from right to left, with the most recent information on the right.
   • Input waveform: the dark grey waveform displayed behind the output (wet) signal waveform.
   • Output waveform: the light grey waveform displayed in front of the input (dry) signal waveform. When the signal is compressed, you can monitor the applied gain reduction compared to the input.
   • Sidechain waveform: When Sidechain is enabled, the purple waveform is displayed in addition to the input (dry) signal waveform and output (wet) signal waveform. This waveform is necessary to set the threshold control when compressing via a sidechain signal.
     
2. Gain Reduction Trace: Draws a line that represents the gain reduction applied to the selected band over time. Use the Gain Reduction Trace to monitor and to set the response times (attack and release) and gain reduction envelope applied over time.

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Controls

• Threshold
• Knee
• Auto Gain
• Output Gain
• Processing Modes
• Sidechain

Threshold

Determines the signal level at which the compressor begins processing. Threshold is only available when Modern or Vintage processing mode is enabled.

Knee

Adjusts a range around the threshold to control how abruptly processing is applied to the input as it approaches the threshold. Knee is only available when Modern processing mode is enabled.

• Higher values create a “soft knee” effect, which gradually introduces processing as the signal approaches the Threshold level. This provides subtler, more natural sounding compression.
• Lower values create a “hard knee” effect, which abruptly begins processing when the signal crosses the Threshold level. This offers more aggressive sounding compression and is often used on individual tracks, such as kick or snare drum.

Auto Gain

Enables the Compressor to calculate the level difference between the input (uncompressed signal) and output (compressed signal) and automatically apply the calculated gain adjustment.

Output Gain

Allows you to adjust the amount of gain applied to the signal after compression, to make up for any loss or increase in level caused by dynamics processing.

Processing Modes

The Processing Mode affects the sound of dynamics processing for all bands in the Compressor. You can switch between the following processing modes:

1. Punch: Punch mode is an intent-based processor that provides direct control over dynamics with fewer knobs than a typical compressor. The term punch refers to the word musicians, producers, and engineers use to describe the sound of a musical element that has a fairly sharp transient shape like a Kick or Snare drum. Punch is designed to provide specific control over this sound in audio material.
2. Modern: Modern mode offers a transparent and clear dynamic processing sound. Much like the name describes, this mode reflects the sound of a modern digital compressor.
3. Vintage: Vintage mode offers less transparent, more lively and colorful sound.

Punch

The Punch panel controls work together to directly increase or decrease the dynamic range of the input signal.

This mode streamlines settings to a single amount control and attack and release ballistics without the need of a threshold. The following controls are available:

• Amount:The Amount control is a single control for dynamics processing. Adjust this control to increase or decrease the dynamic range of musical hits. Settings below 100% decrease dynamic range, creating a consistent compression effect. Settings above 100% increase dynamics range, creating a punchy effect.
• Attack: Adjusts the rise time of the punch processing.
• Sustain: Adjusts the fall time of the punch processing.
• Makeup Gain: Determines the amount of static gain applied to the output signal after compression.

Modern and Vintage

Modern and Vintage processing modes share many of the same controls.

• Attack: Determines the amount of time it takes (in milliseconds) for the signal to become fully compressed after exceeding the threshold level.
• Release: Adjust the amount of time (milliseconds) it takes for the Compressor to return to unity gain (recovers gain) when the input signal falls below the threshold, according to the rules set by the Level Detection Mode.
• Auto Release (A): Modern mode only. Enables the Compressor to analyze the input signal in order to automatically scale the Release time to values that will help to avoid pumping and maintain desired loudness in the processed signal.
• Ratio: Determines how much gain reduction will be applied to the entire signal or entire band when the threshold is crossed, according to the rules set by the Level Detection Mode.
  • A ratio setting of 1:1 will cause no attenuation to signals that exceed the threshold.
  • Ratio settings of 10:1 or greater will cause the compressor to function as a limiter.
  • A ratio above 1.0 will cause compression. But, if you have a ratio below 1.0, it will cause the module to function as an Expander. When performing expansion in this way, the Gain Reduction Meter will show an inverted meter display.

    TIP: VINTAGE MODE AND HIGH RATIOS

    By applying high ratios, you can achieve a pumping effect. Although not always desired, this can be used to add character to your audio. This effect is particularly useful on room mics.

• Gain Reduction Meter: Displays the current instantaneous amount of gain reduction in decibels (dB) applied to the signal.
• Makeup Gain: Determines the amount of static gain applied to the output signal after compression.
• Mix: Adjust this slider to control the dry/wet mix of the direct, unprocessed signal with the processed signal for the associated band.

Sidechain

Allows you to trigger processing based on a signal other than the input to the compressor. You can choose either an internal or external sidechain input.

• When sidechain is enabled, Neutron will automatically adjust attack, release, ratio, and threshold controls; set the input to external full, disable auto-gain, and set the level detection mode to peak.
• You can select the type of sidechain input signal using the sidechain dropdown menu. Options include:
  • Internal (INT.): Choose from any band currently placed in the Compressor module. Using an internal sidechain input allows you to trigger gain reduction in the selected band from the amount of energy in a different band. For example, you can accentuate perceived low end energy by reducing high end any time the lowest band exceeds a defined threshold. Internal Full allows you to trigger gain reduction using the sonic information from all active bands.
  • External (EXT.): Choose from any audio from another track or bus. Using an external sidechain input will help balance a signal with other tracks. The external audio source can also be filtered through any of the bands in the Compressor module by choosing any of the External bands (for example, Ext. Band 1).

Transient Shaper

Overview

Transient Shaper can be used to transparently alter and shape your sound’s attack and sustain characteristics while enhancing the sound’s presence without affecting the overall level.

Module Interface

The Transient Shaper module includes the following sections:

1. Meters and Displays
2. Module Header
3. HUD Controls

Meters and Displays

Meters and diplays illustrate how the Transient Shaper is responding to and processing the input signal.

1. Multiband Crossover Spectrum View
2. Waveform Displays
3. Gain Envelope Trace

Multiband Crossover Spectrum View

Access the Multiband Crossover Spectrum View and controls. For more information, see the Multiband Crossover Spectrum View chapter.

Waveform Displays

• Input signal waveform is displayed in dark gray, behind the output signal waveform.
• Output signal waveform is displayed in light gray, in front of the input signal waveform.

Gain Envelope Trace

Displays the incoming signal with a superimposed colored curve that indicates the amount of gain adjustment applied in real time when you’re shaping an envelope.

Module Header

1. Envelope Modes
2. Learn
3. Reset
4. LFE (not pictured, surround instances only.)

Envelope Modes

Determines the type of ADSR envelope settings to apply. Choose from three different Envelope modes:

• PRECISE: Fastest recovery time to next transient. Most accurate and responsive when adding or removing attack to a signal.
• BALANCED: Middle of all three modes. Quick attack and a medium release time when recovering from one transient to the next.
• LOOSE: Slowest transient recovery time and adds large amounts of sustain.

Learn

Enable Learn in the multiband mode to quickly have natural crossover cutoff points using a few criteria and minima in the spectrum. Placement suggestions are based on intelligently identified areas of sonic importance in your audio signal such as sibilance, resonance, and rumble.

Reset

Enable Reset to revert the entire Transient Shaper module back to factory default. If you wish to return to settings you were using before clicking the Reset button, you can use the Undo History window to revert to the settings before the Reset event.

LFE

This option appears when Neutron is inserted on a 5.1 or 7.1 surround track. When enabled, the LFE channel will be processed along with all other channels. When disabled, the LFE channel will not be processed by the associated module. If necessary, latency compensation is applied to the LFE channel when it is disabled, to ensure timing is maintained between all channels.

HUD Controls

The controls in the Transient Shaper module work together to customize your sound’s shape. The following controls are available in the Transient Shaper HUD:

• Attack
• Gain Difference Meter
• Sustain
• Contour

Attack

Adjusts the amount of level (decibels) applied to the initial transient.

• Increasing Attack results in an exaggerated and punchy sound.
• Decreasing Attack results in a softer, warmer sound.

Gain Difference Meter

Displays the current average amount of gain in decibels (dB) applied to the signal.

Sustain

Adjusts the amount of level (decibels) applied to the sustain of the transient.

• Increasing Sustain results in a dense, airy sound.
• Decreasing Sustain results in tighter, more aggressive sound.

Contour

Control the per-band response across a multiband spectrum of Transient Shaper:

Shape	Icon	Description
	SHARP	Fast and tight release time. Useful for short and staccato audio.
	MEDIUM	Transparent and linear release envelope. Useful on most audio.
	SMOOTH	The slowest envelope of all modes and allows more of the initial transient through to affect Sustain in a gentle way. Useful for sustained audio.

Exciter

Overview

The Exciter can be used to add subtle or dramatic harmonic distortion to enhance and accentuate elements in your audio.

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Module Interface

The Exciter module includes the following sections:

1. Module Header
2. Meters and Displays
3. Controls

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Module Header

1. Tame
2. Pre-Emphasis Modes
3. Learn
4. Reset
5. LFE: (Not pictured, surround instances only.)

Tame

When Tame is enabled, the input signal’s original dynamics are restored and distortion is applied evenly to performances with varying dynamics. When Tame is disabled the Exciter acts as a typical stompbox effect, where distortion is applied based on the level of the original signal, amount of applied gain, and the distortion profile.

Pre-Emphasis Modes

Used to apply subtle harmonic emphasis to saturation in different areas of the frequency spectrum. These differences allow mild changes to the low-mids (vocal thickness or body) or high-mids (vocal presence). The types of Pre-Emphasis Modes available to you are:

• FULL: low-mid frequency bump.
• DEFINED: high-mid frequency bump.
• CLEAR: gentle, low-mid frequency attenuation.

Learn

Enable Learn to allow the Exciter to quickly identify natural crossover cutoff points and provide cutoff placement suggestions based on intelligently identified minima in the spectrum.

Reset

Enable Reset to revert the entire Exciter module back to factory default. If you wish to return to settings you were using before clicking the Reset button, you can use the Undo History window to revert to the settings before the Reset event.

LFE

This option appears when Neutron is inserted on a 5.1 or 7.1 surround track. When enabled, the LFE channel will be processed along with all other channels. When disabled, the LFE channel will not be processed by the associated module. If necessary, latency compensation is applied to the LFE channel when it is disabled, to ensure timing is maintained between all channels.

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Meters and Displays

Meters and displays illustrate how the Exciter is responding to and processing the input signal.

1. Multiband Crossover Spectrum View: Access the Multiband Crossover Spectrum View and controls. For more information, see the Multiband Crossover Spectrum View in the General Controls chapter.
2. Spectrum Analyzer: displays the magnitude (amplitude in dB) of the input and output signals across the frequency spectrum in real-time.

• Input signal spectrum: displayed as a dark gray spectrum, behind the output spectrum.
• Output signal spectrum: displayed as a light gray spectrum, in front of the input spectrum.
• Northern Lights: highlighted areas of the spectrum to indicate where saturation is applied.

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Controls

Tone

Adjusts the balance of distortion applied to low or high frequency content. Settings between -100 and 0 emphasize low frequency content and settings between 0 and 100 emphasize high frequency content.

Post Filter

Applies gentle shelving for attenuation. Displayed as a high shelf icon as high shelf icon overlaid on the multiband spectrum view. Drag the Post Filter node to adjust the frequency and the gain of the filter.

Post Filter Adjustments	Ranges
Maximum Attenuation	-12dB
Frequency Range	1kHz to 20kHz

HUD Controls

The following controls are available in the Exciter module HUD:

• Drive
• Processing Mode
• X/Y Pad
• Mix

Drive

Adjust to control the amount of excitation applied to the signal.

Processing Mode

The processing mode in the Exciter switches the style of distortion between subtle and dramatic harmonic profiles per band. Classic processing mode provides four modes for subtle excitation use cases. Trash processing mode provides four modes for dramatic distortion use cases. The Trash name refers to the Trash 2 distortion product made by iZotope. You can choose between Classic or Trash modes.

• Classic:
  • Retro: Edgy, biting, transistor-based fuzz with a slow decay of odd harmonics.
  • Tape: Bright, emphasis on odd harmonics without adding damaging artifacts.
  • Tube: Clear tonal excitation with emphasis on dynamics and transient attacks with a less harsh result than Tape or Retro.
  • Warm: Similar to Tube, but with quickly decaying even harmonics that add color and character.
• Trash:
  • Overdrive
  • Scream
  • Clipper
  • Scratch

X/Y Pad

Blends different harmonic profiles to achieve the sound you want to hear.

Mix

Adjusts how much of the wet (processed) signal is applied to the dry (unprocessed) signal. The processing on the signal is dictated by the X/Y pad settings. Using the mix slider for a different blend of signals can have varying results:

• For a more extreme effect: set the blend to the maximum amount.
• For a less distinct and more integrated effect: set the blend to the middle of the slider or lower.

Sculptor

Overview

Sculptor is a spectral-shaping tool that brings clarity and polish to your tracks. This means removing muddiness, reducing harshness, and helping shape your tracks into better versions of themselves. Spectral shaping is multiband compression taken to the extreme. Instead of compressing four frequency bands, spectral shaping compresses the signal in up to 32 frequency bands, allowing for a control that is more tailored for the signal. Compression thresholds can be set toward a desired spectral shape or remain adaptively adjustable to compress the signal “toward itself”, i.e. its own time-averaged spectral shape.

Sculptor will apply dynamics processing to areas within the frequency spectrum based on a threshold aimed at hitting the selected target curve. The target curves are the idealized spectral version of the selected instrument. When using this with multiple instrument tracks, this results in greater instrumental separation.

Module Interface

Upon opening Sculptor, or after pressing the Reset button, you will be prompted to select a target curve. Choose a target curve that best reflects the instrument you are working on to load it.

After selecting a target curve, you will be able to interact with the Sculptor module controls.

The Sculptor module includes the following sections:

1. Meters and Displays
2. Module Header
3. Controls

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Meters and Displays

The following meters and displays are included in the Sculptor module:

1. Spectrum Displays:
   • Spectrum Analyzer: displays the magnitude (amplitude vs dB) of the input and output signals across the frequency spectrum in real-time
   • Input signal spectrum: displays the dry (unprocessed) signal as a dark gray spectrum behind the output signal.
   • Output signal spectrum: displays the wet (processed) signal as a light gray spectrum, in front of the input signal.
2. Difference Meter: Displays the amount of gain that is being added or removed by dynamics processing in order to match the selected frequency range to the target curve.

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Module Header

The following controls are included in the module header area of the Sculptor module:

1. LFE: When enabled, the LFE channel will be processed along with all other channels. When disabled, the LFE channel will not be processed by the associated module. If necessary, latency compensation is applied to the LFE channel when it is disabled, to ensure timing is maintained between all channels. Only appears in surround instances with LFE channels (i.e. 5.1 or 7.1).
2. Assistant Pre-EQ: Adjusts the amount of static EQ used to match the input audio to the target EQ curve. Only appears in the Sculptor module in the Neutron mothership plug-in after running the Assistant.
3. Reset: Returns all controls in the Sculptor module to their factory default values. If you wish to return to settings you were using before clicking the Reset button, you can use the Undo History window to revert to the settings before the Reset event.

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Controls

The Sculptor module includes the following controls:

• Range Selectors
• HUD Controls

Range Selectors

You can adjust the area of applied processing by moving the Range Selector handles.

Move the Range Selectors left or right across the display.

• With a narrow range, you can surgically apply spectral shaping to areas with too much or too little energy by limiting processing to meet target curve on a specific range.
• With a wide range, you can address coloration similar to an EQ by applying processing on the whole spectrum to adjust overall balance.

HUD Controls

The controls in the Sculptor module work together to influence the shape, speed, and target of the spectral shaping applied to the input signal. The following controls are available in the Sculptor HUD:

• Amount: Adjusts the amount of processing applied to meet your selected target.
• Target Curve Menu: Determines the baseline target curve for Sculptor to apply to your track. We designed a variety of targets curves to specifically address different instrument types. Each target curve represents an idealized version of that instrument’s spectral characteristics.
• Tone: Adjusts the timbral characteristics of the signal.
• Speed: Adjusts the ballistics of the applied compression.
• Solo: Enable to hear processing on only the range selected.

Unmask

Overview

Unmask is a dynamic sidechain tool that provides a fast and high-quality method for creating space between two tracks. For example, this tool gives you the ability to promote a kick drum over a bass or a vocal over a guitar in a mix. Unmask leverages spectral shaping technology and masking meter technology to identify areas between two tracks that occupy the same (or similar) frequency range and resolve conflicts for you. When a conflict is detected, Unmask applies dynamic spectral attenuation to the input signal to reduce the amount of psychoacoustic masking that the input signal imparts in the sidechain signal. Unmask divides the frequency spectrum into 32 bands, allowing for a more transparent sound when processing audio, unlike a compressor which could be limited to 1–3 bands. The Unmask module is a dynamic processing tool, meaning that its processing is applied only during the times when masking occurs, as opposed to a fixed EQ.

Several controls are available to tailor the Unmask processing to your specific use case. They adjust the ballistics of the sound and limit the frequency range of processing.

Upon opening Unmask, you will be prompted to set a sidechain input to start processing two signals. You can set the sidechain input in both the Neutron mothership and the Unmask component plugin.

Module Interface

The Unmask module includes the following sections:

1. Module Header
2. Meters and Displays
3. Controls

Module Header

The following controls are included in the module header area of the Unmask module:

1. LFE: This option appears when Neutron is inserted on a 5.1 or 7.1 surround track. When enabled, the LFE channel will be processed along with all other channels. When disabled, the LFE channel will not be processed by the associated module. If necessary, latency compensation is applied to the LFE channel when it is disabled, to ensure timing is maintained between all channels.
2. Reset: Enable Reset to revert the entire Transient Shaper module back to factory default. If you wish to return to settings you were using before clicking the Reset button, you can use the Undo History window to revert to the settings before the Reset event.

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Meters and Displays

The following meters and displays are included in the Unmask module:

• Input signal spectrum: displays the dry (unprocessed) signal as a dark gray spectrum behind the output signal.
• Sidechain Input spectrum: displays as purple spectrum overlaid on the input signal spectrum.
• Difference Meter: Displays the amount of gain that is being removed by dynamics processing in order to minimize frequency masking on your input signal from the sidechain signal.

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Controls

The Unmask module includes the following controls:

• Range Selectors
• HUD Controls

Range Selectors

You can adjust the frequency area of applied processing by moving the Range Selector handles.

Move the Range Selectors left or right across the display.

• With a narrow range, you can tailor Unmask processing to specific areas in the frequency spectrum, like the low end or midrange. This will exclude Unmask processing of the spectrum outside of the Range Selectors.
• With a wide range, you can apply Unmask processing to the whole spectrum to minimize frequency masking for the entire input signal.

HUD Controls

The controls in the Unmask module work together to influence the shape and speed of Unmask processing applied to the input signal. The following controls are available in the Unmask HUD:

Amount and Sensitivity should be adjusted together to determine the magnitude of masking detected and level of processing needed to minimize masking effects.

• Amount: Determines the amount of Unmask processing applied to the input signal from the sidechain signal when masking is detected. This scales the depth of applied spectral attenuation.
• Sensitivity: Scales the threshold used to determine whether masking is significant enough to begin processing. This affects how much masking is being detected.
  

  Unmask Requires Sidechain Input To Process Audio

  If you are unable to process audio, make sure that you have a signal routed to the sidechain input of Neutron or the Unmask Module.

• Attack: Determines how quickly unmasking is applied once the level of masking between the two signals reaches the threshold of action.
• Release: Determines how quickly unmasking is stopped once the level of masking between the two signals goes below the masking threshold.

Visual Mixer

Overview

The Visual Mixer is a controller that uses node-based mixing that connects you to compatible iZotope plug-ins in your session. In Visual Mixer, you can visually place your music in a virtual space. Using iZotope’s IPC technology, you can adjust the pan, volume, and stereo width of any Neutron 4 instance in your session. You can also access Assistant from Visual Mixer.

Plug-in Interface

1. Plug-in Controls
2. Plug-in List
3. Mix Snapshots
4. Activity Metering

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Plug-in Controls

X/Y Pad

Move nodes within the X/Y pad interface to control different elements of your mix remotely.

Panning

Adjust the stereo pan control of any Neutron plug-in by dragging nodes left or right in the X/Y pad.

Volume

Adjust the output gain of any Neutron plug-in in your session by dragging nodes up and down in the X/Y pad.

Width

Adjust the Width amount of any stereo Neutron plug-in in your session by clicking on a node and adjusting the handles that appear on the left and right edges of the node.

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Plug-in List

The list on the right side of the Visual Mixer interface displays the names of all Neutron plug-ins in your session. Clicking on the eye button to the left of the instance name will hide or show that instance in the X/Y pad.

You can double-click on an instance name to rename it from the Visual Mixer.

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Mix Snapshots

Save Mix Snapshots to compare different configurations or hide/show states for the nodes in the Visual Mixer.

Set

Save a snapshot by clicking on the “Set” button above the A/B/C buttons.

A/B/C

Toggles the view to display the Mix Snapshot you set for a given button. These are greyed out until a snapshot is set.

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Activity Metering

Nodes display activity metering to indicate if audio is passing through the associated plug-in. When red is displayed in the activity meter for a given node, it is indicating the associated Neutron plug-in output is clipping.

Glossary

Band

Short for “frequency band” which is a range or interval in the frequency spectrum often divided into low, mid or high-frequency bands.

Band shelf

Hybrid filter shape combining attributes of a shelving filter and a peaking filter.

Bandpass

A type of filter that passes frequencies between two cutoff frequencies and attenuates frequencies outside of the pass range. A band-reject filter operates inversely, attenuating frequencies within the cutoff range and passing frequencies outside of the range.

Bandwidth

Describes the range of frequencies being affected by a signal processor. Inversely proportional to Q.

Baxandall

A type of first order shelving equalizer typically found in the tone control of high fidelity home audio components.

Butterworth filter

A filter shape designed to have a flat frequency response in the passband.

Component Plug-in

The plug-in equivalent of a processing module included in the Neutron 3 mothership plug-in.

Crossover

A series of filters that separate the frequency spectrum into ranges.

Detection circuit

The component that evaluates signal amplitude to trigger a processor.

Envelope

The varying amplitude of sound over time. This can be broken into four stages: attack, decay, sustain, and release.

FFT (Fast Fourier Transform)

A procedure for the calculation of a signal frequency spectrum. The greater the FFT size, the greater the frequency resolution, i.e., notes and tonal events will be clearer at larger sizes.

Filter

Audio filters are frequency dependent amplifier circuits that boost (amplify), cut (attenuate), or pass ranges of the audible frequency spectrum.

Inter Plug-in Communication (IPC)

Inter Plug-in Communication is a feature which enables compatible iZotope plug-ins to send and receive metering data or control adjustments from other compatible iZotope plug-in within a session.

HUD (Heads-Up Display)

A panel through which you can access module controls.

Hysteresis

Describes a system or process whose response depends on its current state as well as its history.

LFE (Low-Frequency Effects)

A band-limited audio channel dedicated to low frequency content (< 120Hz). The LFE channel is sent to a speaker called a subwoofer that is designed to reproduce low frequency content.

Limiter

A high ratio dynamic range controller used to prevent overmodulation.

Masking

In the case of two or more signals that share overlapping frequency content, the higher amplitude signal causes the lower amplitude signal to appear quieter.

Mothership

A term used to describe the main Neutron plug-in. The mothership includes all of the Neutron processing modules in a single plug-in.

Multiband

More than one band across a spectrum.

Pre-Emphasis

An emphasis in a frequency band before the saturation is applied to emphasize the effect in that band.

Q

In an equalizer, it is the center frequency divided by bandwidth.

Resonant Filter

Has a complex nature of adjustment such that at the cut off point you can increase or attenuate the resonance. Typically is accompanied by significant phase shift or ringing.

Saturation

A harmonic type of non-linear distortion.

Sidechain

The signal that feeds the detection circuit in a processor.

Short Term Loudness

Loudness measurement calculated over the course of 3 seconds. Short-term measurements are useful for monitoring immediate trends in loudness.

Spectral Shaping

Spectral Shaping can be described as real-time, dynamic adjustment of the frequency spectrum, falling somewhere between dynamic equalization and multiband compression.

Spectrum Analyzer

A Spectrum Analyzer is a meter that measures amplitude across the frequencies which encompass the spectrum of human hearing. The vertical axis represents amplitude while the horizontal axis represents frequency.

Waveform

A visual representation of the envelope of the soundwave. (amplitude representation).

Presets

Overview

You can choose from a wide variety of factory presets or save your own custom settings in the Neutron preset manager.

Global Presets

You can open the global preset manager by clicking the presets in the header area of any Neutron 4 plug-in.

Module Presets

You can save and load settings in an individual Neutron 4 module using the module preset manager. You can click on the presets button in each module tile to open the corresponding module preset manager window.

Factory and Custom Presets

The preset manager windows are divided into two tabs:

• iZotope: lists all factory presets installed with Neutron 4.
• Custom: lists all custom presets you have saved or modified in Neutron 4.

Default and Working Settings

There are two common options that are always available at the top of the preset list in the iZotope and Custom tabs:

• Working Settings: Loads your most recent changes that are not otherwise associated with a preset.
• Default: Loads the factory default settings.

Custom Preset Names and Comments

You can modify preset file/folder names and preset comments when the Custom tab is selected.

• Edit custom preset name: Double-click on a preset name to open an inline edit field. Press return to dismiss the inline edit field and save your changes.
• Edit custom preset comment: The area below the preset list displays descriptive text about the currently selected preset. Single-click the comment text box to open an inline edit field, press return to save changes to the comment.

Presets Window Footer

The following buttons are located in the footer of the Presets window:

1. Deletes the currently selected custom preset or preset folder.
2. Update: Saves changes to a modified custom preset. Note: Update is only available in the global preset manager, you cannot update module presets.
3. Folder: Adds a new custom preset folder.
4. New: Creates a new preset based on the current settings.
5. Close: Dismiss the Presets window.

Preset Locations

Factory presets are installed to the following locations:

• Windows: C:\Program Files\iZotope\Neutron Pro\Presets\
• Mac: /Library/Application Support/iZotope/Neutron Pro/Presets/

Custom presets are saved to the following default locations:

• Windows: C:\Users\Username\Documents\iZotope\Neutron Pro\Presets\
• Mac: /Users/Username/Documents/iZotope/Neutron Pro/Presets/

Options

Overview

The Options window allows you to manage your authorization, check for updates, and adjust global and module processing controls. Click on the gear button in the upper right corner of the Neutron interface to open the Options window.

There are three sections to the Options window.

1. Options Tabs: Click on the tabs in the header of the options window to view access the different settings.
2. Per-Tab Options: Displays the options available for each Options tab.
3. Options Window Controls: You can save, cancel or reset all options to factory default states using the buttons in the footer area of the Options window.
   1. Question Mark: Access Help Documentation for Options.
   2. Ok: Saves any changes you have made to the options and closes the window.
   3. Cancel: Reverts changes to options and closes the window.
   4. Reset: Resets all Options to their factory default settings.

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General Options

The general options tab allows you to manage global processing modes, tooltips, licenses, and updates.

• Enable Tooltips: Select to enable tooltip displays when hovering your cursor over controls in Neutron.
• Auto Gain: Select to apply gain to the bypassed output signal in order to match the level of the processed output signal.
• True Bypass: Allows Neutron to disengage a module’s latency when that module is bypassed. This will result in a click when enabling or disabling module bypass but avoids unnecessary latency compensation and CPU usage.
  

  True Bypass & Auto Gain

  Auto Gain and True Bypass cannot be enabled at the same time. Enabling True Bypass will deselect and disable the Auto Gain option.

• Enable Analytics: Enables anonymous usage data to be sent to iZotope to help us improve our products.
• Channel Delay:
  • Left & Right: Adjusts the left or right channel delay amount (in milliseconds).
  • Link: Links left and right channel delay amount adjustments.

Updates

• Download Product Portal: To stay up to date with new versions, download the iZotope Product Portal application.
• Check for Updates: Manually check for available updates. Clicking this button will open the Product Portal application and check for updates.
• Download Update: If an update is available, a small yellow dot will appear. Clicking the Download Update button in the options window will launch the Product Portal application and display the Updates page.

Licenses

This section allows you to view your current license status, manage your license, and access more information about licensing the product.

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Metering Options

You can alter the following options in the Metering Tab.

I/O

• METER DISPLAY TYPE: Determines the meter type displayed in the I/O meters.
  • RMS + Peak: displays a lower bright bar representing the average level (RMS) and a higher dimmer bar representing peak level. There is also a moving line above the bar representing the most recent peak level or peak hold.
  • Short Term + Peak: uses short-term loudness calculation to display a more perceptually accurate measurement than RMS. This measurement is useful in monitoring immediate trends of loudness in your audio.
• DETECT TRUE PEAKS: Select to accurately measure the signal that will result from digital to analog conversion. By default, the Input/Output meters will only indicate clipping which occurs within the digital domain.

Spectrum

• Spectrum Type: Determines the display type used by the spectrum analyzer meters. Options include:
  • Linear: A continuous line connecting the calculated points of the spectrum.
  • 1/3 Octave: Splits the spectrum into bars with a width of 1⁄3 of an octave. Although the spectrum is split into discrete bands, this option can provide excellent resolution at lower frequencies.
  • Critical: Splits the spectrum into bands that correspond to how we hear, or more specifically how we differentiate between sounds of different frequencies. Each band represents sounds that are considered “similar” in frequency.
  • Full Octave: Splits the spectrum into bars with a width of one full octave.
• Peak Hold Time: Determines how long spectrum peaks are displayed after they occur. Options include: 5 ms, 250 ms, 500 ms, 1,000 ms, 5,000 ms, and Infinite.
• Average Time: Adjusts the averaging time of the spectrum calculation. Higher average times can be useful for viewing the overall tonal balance of a mix, while shorter average times provide a more real-time display. Options include: Real Time, 1 sec, 3 sec, 5 sec, 10 sec, and Infinite.
• Show Peak Hold: Select to show the peak hold display in the spectrum meters.

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Social Options

The Social tab contains links for you to explore iZotope’s social media platforms, such as Facebook, Twitter, and Instagram, and educational content platforms, such as our Youtube channel and our Tips & Tutorials for Neutron.

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EQ Options

• SHOW SPECTRUM: Select to display a real-time spectrum analyzer signal underneath the Equalizer curve. This can be useful in showing the frequency balance of your mix and the changes occurring as you apply equalization.
• SPECTRUM FREQUENCY SCALE: Allows you to adjust the scale of the EQ frequency spectrum.
• ALT-SOLO Q: Determines the bandwidth (Q) of the Alt-Solo feature in the Equalizer module.

Masking Meter

• GAIN OFFSET: Adjusts the offset of the input level for the Masking Meter to match the fader level of your current track.
• COLLISION HISTOGRAM PEAK HOLD TIME: Choose the calculation window of peaks displayed in the Masking Meter Histogram from the dropdown menu. The following options are available:
  • 400 ms: Calculates events across a very quickly moving window of 400 milliseconds.
  • 3,000 ms: Most useful setting. Calculates events across a moving window of three seconds.
  • Infinite: Useful if you want to see all masking that occurs over the entire duration of an audio segment from start to end.

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Module Options

The Module Options refer to the Option tabs for the Compressor, Transient Shaper, Exciter, and Gate. The options for each of these modules are the same, but affect the individual module of that Options tab.

Crossovers

The Compress, Transient, Exciter and Gate tabs contain crossover options for multiband processing. The crossover options include:

• ZERO LATENCY (ANALOG): provides a natural analog character at the expense of some phase distortion.
• TRANSPARENT (HYBRID): provides an IIR (Infinite Impulse Response) analog crossover designed to reduce the phase and frequency distortion commonly found in other analog crossovers without sacrificing efficiency and warmth.

---

License Information

---

Anti-Grain Geometry

Version 2.4

Copyright (c) 2002-2005 Maxim Shemanarev (McSeem).

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

1. Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

3. The name of the author may not be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE AUTHOR ‘‘AS IS’’ AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE AUTHOR BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

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base64

v0.4.0

Copyright (c) 2005-2007, Nick Galbreath Copyright (c) 2013-2019, Alfred Klomp Copyright (c) 2015-2017, Wojciech Mula Copyright (c) 2016-2017, Matthieu Darbois All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

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Better Enums

Version 0.11.1

Copyright (c) 2012-2016, Anton Bachin. All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

1. Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

---

Box2D

Copyright (c) 2006-2017 Erin Catto.

http://www.box2d.org

This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.

Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

1. The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required.

2. Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software.

3. This notice may not be removed or altered from any source distribution.

---

Bravura

Copyright © 2015, Steinberg Media Technologies GmbH http://www.steinberg.net/, with Reserved Font Name “Bravura”.

This Font Software is licensed under the SIL Open Font License, Version 1.1. This license is copied below, and is also available with a FAQ at: http://scripts.sil.org/OFL

SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007

PREAMBLE
The goals of the Open Font License (OFL) are to stimulate worldwide development of collaborative font projects, to support the font creation efforts of academic and linguistic communities, and to provide a free and open framework in which fonts may be shared and improved in partnership with others.

The OFL allows the licensed fonts to be used, studied, modified and redistributed freely as long as they are not sold by themselves. The fonts, including any derivative works, can be bundled, embedded, redistributed and/or sold with any software provided that any reserved names are not used by derivative works. The fonts and derivatives, however, cannot be released under any other type of license. The requirement for fonts to remain under this license does not apply to any document created using the fonts or their derivatives.

DEFINITIONS
“Font Software” refers to the set of files released by the Copyright Holder(s) under this license and clearly marked as such. This may include source files, build scripts and documentation.

“Reserved Font Name” refers to any names specified as such after the copyright statement(s).

“Original Version” refers to the collection of Font Software components as distributed by the Copyright Holder(s).

“Modified Version” refers to any derivative made by adding to, deleting, or substituting – in part or in whole – any of the components of the Original Version, by changing formats or by porting the Font Software to a new environment.

“Author” refers to any designer, engineer, programmer, technical writer or other person who contributed to the Font Software.

PERMISSION & CONDITIONS
Permission is hereby granted, free of charge, to any person obtaining a copy of the Font Software, to use, study, copy, merge, embed, modify, redistribute, and sell modified and unmodified copies of the Font Software, subject to the following conditions:

1. Neither the Font Software nor any of its individual components, in Original or Modified Versions, may be sold by itself.

2. Original or Modified Versions of the Font Software may be bundled, redistributed and/or sold with any software, provided that each copy contains the above copyright notice and this license. These can be included either as stand-alone text files, human-readable headers or in the appropriate machine-readable metadata fields within text or binary files as long as those fields can be easily viewed by the user.

3. No Modified Version of the Font Software may use the Reserved Font Name(s) unless explicit written permission is granted by the corresponding Copyright Holder. This restriction only applies to the primary font name as presented to the users.

4. The name(s) of the Copyright Holder(s) or the Author(s) of the Font Software shall not be used to promote, endorse or advertise any Modified Version, except to acknowledge the contribution(s) of the Copyright Holder(s) and the Author(s) or with their explicit written permission.

5. The Font Software, modified or unmodified, in part or in whole, must be distributed entirely under this license, and must not be distributed under any other license. The requirement for fonts to remain under this license does not apply to any document created using the Font Software.

TERMINATION
This license becomes null and void if any of the above conditions are not met.

DISCLAIMER
THE FONT SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM OTHER DEALINGS IN THE FONT SOFTWARE.

---

C++ Rest SDK

Version 2.10.15

Main Library:

Copyright (c) 2014, Peter Thorson. All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

• Neither the name of the WebSocket++ Project nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL PETER THORSON BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

Bundled Libraries:

****** Base 64 Library (base64/base64.hpp) ******
base64.hpp is a repackaging of the base64.cpp and base64.h files into a single header suitable for use as a header only library. This conversion was done by Peter Thorson (webmaster@zaphoyd.com) in 2012. All modifications to the code are redistributed under the same license as the original, which is listed below.

base64.cpp and base64.h

Copyright (C) 2004-2008 René Nyffenegger

This source code is provided ‘as-is’, without any express or implied warranty. In no event will the author be held liable for any damages arising from the use of this software.

Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

1. The origin of this source code must not be misrepresented; you must not claim that you wrote the original source code. If you use this source code in a product, an acknowledgment in the product documentation would be appreciated but is not required.

2. Altered source versions must be plainly marked as such, and must not be misrepresented as being the original source code.

3. This notice may not be removed or altered from any source distribution.

René Nyffenegger rene.nyffenegger@adp-gmbh.ch

****** SHA1 Library (sha1/sha1.hpp) ******

sha1.hpp is a repackaging of the sha1.cpp and sha1.h files from the shallsha1 library (http://code.google.com/p/smallsha1/) into a single header suitable for use as a header only library. This conversion was done by Peter Thorson (webmaster@zaphoyd.com) in 2013. All modifications to the code are redistributed under the same license as the original, which is listed below.

Copyright (c) 2011, Micael Hildenborg
All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
• Neither the name of Micael Hildenborg nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY Micael Hildenborg ‘‘AS IS’’ AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL Micael Hildenborg BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

****** MD5 Library (common/md5.hpp) ******
md5.hpp is a reformulation of the md5.h and md5.c code from http://www.opensource.apple.com/source/cups/cups-59/cups/md5.c to allow it to function as a component of a header only library. This conversion was done by Peter Thorson (webmaster@zaphoyd.com) in 2012 for the WebSocket++ project. The changes are released under the same license as the original (listed below)

Copyright (C) 1999, 2002 Aladdin Enterprises. All rights reserved.

This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.

Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

1. The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required.
2. Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software.
3. This notice may not be removed or altered from any source distribution.

L. Peter Deutsch
ghost@aladdin.com

****** UTF8 Validation logic (utf8_validation.hpp) ******
utf8_validation.hpp is adapted from code originally written by Bjoern Hoehrmann bjoern@hoehrmann.de. See http://bjoern.hoehrmann.de/utf-8/decoder/dfa/ for details.

The original license:

Copyright (c) 2008-2009 Bjoern Hoehrmann bjoern@hoehrmann.de

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

---

Eigen

Version 3.4.99

Distributed under the Mozilla Public License v2.0 (MPLv2.0).

Full text of the license is available here: https://www.mozilla.org/en-US/MPL/2.0/

To receive a copy of the source code for the Eigen library distributed with this product under the under the terms of the MPLv2.0 please contact dev-support@izotope.com.

---

FLAC

libFLAC and libFLAC++

Version 1.3.2

Copyright (c) 2000-2009 Josh Coalson

Copyright (c) 2011-2016 Xiph.Org Foundation

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

• Neither the name of the Xiph.org Foundation nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE FOUNDATION OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

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FreeType

Version 2.4.6

Portions of this software are copyright © 2011 The FreeType Project (www.freetype.org). All rights reserved.

---

GLEW

The OpenGL Extension Wrangler Library
Copyright (C) 2002-2008, Milan Ikits <milan ikits[]ieee org>
Copyright (C) 2002-2008, Marcelo E. Magallon <mmagallo[]debian org>
Copyright (C) 2002, Lev Povalahev
All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

• The name of the author may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

Mesa 3-D graphics library Version: 7.0

Copyright (C) 1999-2007 Brian Paul All Rights Reserved.

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL BRIAN PAUL BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

Copyright (c) 2007 The Khronos Group Inc.

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and/or associated documentation files (the “Materials”), to deal in the Materials without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Materials, and to permit persons to whom the Materials are furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Materials.

THE MATERIALS ARE PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE MATERIALS OR THE USE OR OTHER DEALINGS IN THE MATERIALS.

---

gsl

Copyright (c) 2015 Microsoft Corporation. All rights reserved.

This code is licensed under the MIT License (MIT).

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

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IcoMoon

IcoMoon-Free licensed under: CC BY 4.0

---

Intel® Integrated Performance Primitives (Intel® IPP)

Version 2019.0.5

LIMITATION OF LIABILITY. IN NO EVENT WILL INTEL BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. YOU AGREE TO INDEMNIFY AND HOLD INTEL HARMLESS AGAINST ANY CLAIMS AND EXPENSES RESULTING FROM YOUR USE OR UNAUTHORIZED USE OF THE SOFTWARE.

No support. Intel may make changes to the Software, at any time without notice, and is not obligated to support, update or provide training for the Software.

Termination. Intel may terminate your right to use the Software in the event of your breach of this Agreement and you fail to cure the breach within a reasonable period of time.

Feedback. Should you provide Intel with comments, modifications, corrections, enhancements or other input (“Feedback”) related to the Software Intel will be free to use, disclose, reproduce, license or otherwise distribute or exploit the Feedback in its sole discretion without any obligations or restrictions of any kind, including without limitation, intellectual property rights or licensing obligations.

Compliance with laws. You agree to comply with all relevant laws and regulations governing your use, transfer, import or export (or prohibition thereof) of the Software.

Governing law. All disputes will be governed by the laws of the United States of America and the State of Delaware without reference to conflict of law principles and subject to the exclusive jurisdiction of the state or federal courts sitting in the State of Delaware, and each party agrees that it submits to the personal jurisdiction and venue of those courts and waives any objections. The United Nations Convention on Contracts for the International Sale of Goods (1980) is specifically excluded and will not apply to the Software.

Other names and brands may be claimed as the property of others.

---

JsonCpp

Version 1.2.1

Copyright (c) 2007-2010 Baptiste Lepilleur and The JsonCpp Authors

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

---

LAME

libmp3lame

Version 3.99.5

Copyright (c) 1999-2011 The L.A.M.E. Team

Distributed under the GNU Library General Public License v2 (LGPLv2).

Full text of the license is available here: https://www.gnu.org/licenses/old-licenses/lgpl-2.0.txt

To receive a copy of the source code for the LAME library distributed with this product under the under the terms of the LGPLv2 please contact dev-support@izotope.com.

---

LibXML2

Version 2.7.8

Except where otherwise noted in the source code (e.g. the files hash.c, list.c and the trio files, which are covered by a similar licence but with different Copyright notices) all the files are:

Copyright (C) 1998-2003 Daniel Veillard. All Rights Reserved.

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is fur- nished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FIT- NESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE DANIEL VEILLARD BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CON- NECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

Except as contained in this notice, the name of Daniel Veillard shall not be used in advertising or otherwise to promote the sale, use or other deal- ings in this Software without prior written authorization from him.

---

Material Docs Theme

Copyright (c) 2016 Digitalcraftsman digitalcraftsman@protonmail.com
Copyright (c) 2016 Martin Donath martin.donath@squidfunk.com

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NON-INFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

---

NLohmann JSON

v3.10.4

MIT License

Copyright (c) 2013-2021 Niels Lohmann

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

---

nanomsg

Version 0.5-beta

Copyright (c) 2012-2013 Martin Sustrik All rights reserved.
Copyright (c) 2013 GoPivotal, Inc. All rights reserved.

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

“nanomsg” is a trademark of Martin Sustrik.

---

Netlib numeralgo na10 Aberth’s method

All the software contained in this library is protected by copyright. Permission to use, copy, modify, and distribute this software for any purpose without fee is hereby granted, provided that this entire notice is included in all copies of any software which is or includes a copy or modification of this software and in all copies of the supporting documentation for such software.

THIS SOFTWARE IS BEING PROVIDED “AS IS”, WITHOUT ANY EXPRESS OR IMPLIED WARRANTY. IN NO EVENT, NEITHER THE AUTHORS, NOR THE PUBLISHER, NOR ANY MEMBER OF THE EDITORIAL BOARD OF THE JOURNAL “NUMERICAL ALGORITHMS”, NOR ITS EDITOR-IN-CHIEF, BE LIABLE FOR ANY ERROR IN THE SOFTWARE, ANY MISUSE OF IT OR ANY DAMAGE ARISING OUT OF ITS USE. THE ENTIRE RISK OF USING THE SOFTWARE LIES WITH THE PARTY DOING SO.

ANY USE OF THE SOFTWARE CONSTITUTES ACCEPTANCE OF THE TERMS OF THE ABOVE STATEMENT.

AUTHOR:

• DARIO ANDREA
  UNIVERSITY OF PISA, ITALY
  E-MAIL: bini@dm.unipi.it

REFERENCE:

• NUMERICAL COMPUTATION OF POLYNOMIAL ZEROS BY MEANS OF ABERTH’S METHOD NUMERICAL ALGORITHMS, 13 (1996), PP. 179-200

SOFTWARE REVISION DATE:

• JUNE, 1996

SOFTWARE LANGUAGE:

• FORTRAN

---

OGG / Vorbis

libogg and libvorbis

Version 1.3.2

Copyright (c) 2014, Xiph.org Foundation

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/ or other materials provided with the distribution.

• Neither the name of the Xiph.org Foundation nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE FOUNDATION OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

---

readerwriterqueue

Copyright (c) 2013-2015, Cameron Desrochers All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

---

Roboto font family

Font data Copyright Google 2012

Licensed under the Apache License, Version 2.0 (the “License”); you may not use this file except in compliance with the License. You may obtain a copy of the License at:

http://www.apache.org/licenses/LICENSE-2.0

Unless required by applicable law or agreed to in writing, software distributed under the License is distributed on an “AS IS” BASIS, WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. See the License for the specific language governing permissions and limitations under the License.

---

Skia

Copyright (c) 2011 Google Inc. All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution. Neither the name of Google Inc. nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

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TagLib

Version 1.9.1

Copyright (c) 1995-2015 Scott Wheeler, Lukas Lalinsky, Ismael Orenstein, Allan Sandfeld Jensen, Teemu Tervo, Mathias Panzenböck, and Tsuda Kageyu.

Distributed under the Mozilla Public License v1.1 (MPLv1.1).

Full text of the license is available here: https://www.mozilla.org/en-US/MPL/1.1/

To receive a copy of the source code for the TagLib library distributed with this product under the terms of the MPLv1.1 please contact dev-support@izotope.com.

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TinyXML

Copyright (c) 2000-2002 Lee Thomason (www.grinninglizard.com)

This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.

Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

1. The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required.

2. Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software.

3. This notice may not be removed or altered from any source distribution.

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Tipue Search

Copyright (c) 2017 Tipue

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

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vectorize

Copyright (c) 2012 Aaron Wishnick. All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

• Neither the name of the nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

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WebView2

Copyright (C) Microsoft Corporation. All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
• The name of Microsoft Corporation, or the names of its contributors may not be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

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xsimd

Copyright (c) 2016, Johan Mabille, Sylvain Corlay, Wolf Vollprecht and Martin Renou Copyright (c) 2016, QuantStack All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

• Neither the name of the copyright holder nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

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Yoga

Version 1.9.0

MIT License

Copyright (c) 2014-present, Facebook, Inc.

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

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ZeroMQ

Copyright (c) 2007-2015 iMatix Corporation
Copyright (c) 2009-2011 250bpm s.r.o.
Copyright (c) 2010-2011 Miru Limited
Copyright (c) 2011 VMware, Inc.
Copyright (c) 2012 Spotify AB
Copyright (c) 2013 Ericsson AB
Copyright (c) 2014 AppDynamics Inc.

Distributed under the GNU Lesser General Public License v3 (LGPLv3) with the following “Static linking exception”:

The copyright holders give you permission to link this library with independent modules to produce an executable, regardless of the license terms of these independent modules, and to copy and distribute the resulting executable under terms of your choice, provided that you also meet, for each linked independent module, the terms and conditions of the license of that module. An independent module is a module which is not derived from or based on this library. If you modify this library, you must extend this exception to your version of the library.

Full text of the license is available here: https://www.gnu.org/licenses/lgpl-3.0.txt

To receive a copy of the source code for the ZeroMQ library distributed with this product under the under the terms of the LGPLv3 please contact dev-support@izotope.com.

---

zlib

Copyright (c) 1995-2004 Jean-loup Gailly and Mark Adler.

This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.

Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

1. The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required.

2. Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software.

3. This notice may not be removed or altered from any source distribution.

Jean-loup Gailly jloup@gzip.org

Mark Adler madler@alumni.caltech.edu

---

EULA

End User License Agreement

READ CAREFULLY THE TERMS AND CONDITIONS OF THIS END USER LICENSE AGREEMENT (“AGREEMENT”) BEFORE YOU CLICK ON THE “ACCEPT” BUTTON OR OTHERWISE DOWNLOAD, INSTALL OR USE THE PRODUCT. DOING SO AND/OR USING THE LICENSED SOFTWARE OR ANY TECHNOLOGY, IDEA, DATA AND DATABASES, ALGORITHMS, PRESETS, INFORMATION OR DOCUMENTATION CONTAINED THEREIN OR PROVIDED THEREWITH (COLLECTIVELY, THE “SOFTWARE”) ESTABLISHES A BINDING AGREEMENT BETWEEN YOU AS THE PERSON LICENSING THE SOFTWARE, EITHER ON BEHALF OF YOURSELF AS AN INDIVIDUAL OR OF ANY THIRD-PARTY ENTITY (“YOU” OR “LICENSEE”) AND IZOTOPE, INC. (“IZOTOPE”). YOU (WHETHER AN INDIVIDUAL OR DULY AUTHORIZED REPRESENTATIVE OF A LEGAL ENTITY) WARRANT AND AGREE THAT YOU HAVE THE LEGAL CAPACITY AND AUTHORITY TO ENTER INTO A BINDING AGREEMENT, THAT YOU SHALL ADHERE TOTHE TERMS AND CONDITIONS SET FORTH IN THIS AGREEMENT, AND THAT YOU SHALL USE THE SOFTWARE ONLY IN ACCORDANCE WITH THIS AGREEMENT AND WITH ALL APPLICABLE LAWS.

1. General Terms. If You purchase the Software on a subscription basis, either monthly or yearly, your use of the Software is further governed by iZotope’s Subscription Terms and Conditions (“Subscription Terms” https://www.izotope.com/subscription-terms), which terms are incorporated herein by this reference. In the event of any conflict between this Agreement and the Subscription Terms, the Subscription Terms shall take precedence for subscribers; provided, however, that, with respect to the download, installation and use of the Software by any user, this Agreement, and the Subscription Terms as applicable, shall take precedence over any other agreement between You and iZotope, including but not limited to purchase order or procurement terms and conditions.

2. License Grant. Subject to the terms and conditions of this Agreement, iZotope hereby grants to You, the Licensee, a non-exclusive license to use the Software accompanying this Agreement whether in printed, “online” or electronic form, either on a stand-alone computer or on a network, on any one computer at any one time. If more than one user will be using the Software at any one time, You must obtain from iZotope an additional license (or licenses, as applicable) for each additional concurrent user of the Software. The Software is “in use” on a computer when loaded into memory (RAM). You may make one copy of the Software solely for backup or archival purposes if all copyright and other notices are reproduced on that copy, or You may copy the Software to a single hard disk provided that You keep the original solely for backup or archival purposes. If the Software is an upgrade, You must have a license for the Software from which it is upgraded. If You receive the Software in more than one media, that does not affect the number of licenses You are receiving or any other term of this Agreement.

3. Restrictions on Use. You may not modify, adapt, decompile, disassemble or otherwise reverse engineer the Software, except to the extent this restriction is expressly prohibited by applicable law, nor may You create derivative works based upon the Software, or permit third parties to do so. You may not loan, rent, lease or license the Software, or use the Software as a service bureau, as an application service provider, to perform consulting or training services for a third party or in any commercial time share arrangement, but You may permanently transfer your rights under this Agreement provided that You transfer this Agreement, the Software, and all accompanying printed materials and retain no copies, and the recipient agrees to the terms of this Agreement. Any such transfer must include the most recent update and all prior versions.

4. Intellectual Property Ownership. The copyrights, patents, trade secrets, trademarks, and all other intellectual property rights in the Software (including any images, photographs, animations, video, audio, music and text incorporated therein or provided therewith) are owned by iZotope or its licensors and are protected by the copyright, trademark, patent and other intellectual property laws of the United States and other countries, as well as by international treaty provisions. iZotope retains all rights not expressly granted in this Agreement. You shall not remove any product identification, trademark, copyright or other notices contained in or provided with the Software.

5. Feedback. iZotope shall have a royalty-free, worldwide, transferable, sublicenseable, irrevocable, perpetual license to use or incorporate into the Software any suggestions, ideas, enhancement requests, feedback, recommendations or other information provided by You relating to the features, functionality or operation of the Software (“Feedback”); provided, however, that iZotope shall have no obligation to use or incorporate into the Software any Feedback, and You shall have no obligation to provide Feedback.

6. Registration Information. When You activate the Software, iZotope may collect your name and email address and other contact information that You choose to provide (“Registration Information”). You agree that iZotope may use this Registration Information to contact You regarding your purchase and to deliver notifications relative to your use of the Software. iZotope does not collect or retain any financial information from or about You (such as payment card information).

7. Usage Information. When You activate and/or use the Software, iZotope may collect certain information about your computer or mobile device and your interaction with the Software via the internet (“Usage Information”). iZotope analyzes this Usage Information for purposes of improving the Software, as well as to provide You with a more relevant user experience. Usage Information is generally collected in the aggregate form, without identifying any user individually, although IP addresses, computer and session ids in relation to purchases and downloads/installations of the Software may be tracked as part of iZotope’s customer order review, statistical analysis, and fraud and piracy prevention efforts. iZotope may send this Usage Information to a web or third-party cloud server for storage or further processing by iZotope (and/or its partners, subsidiaries or affiliates), including, but not limited to, Google Analytics https://marketingplatform.google.com/about/analytics/terms/us/ and Mixpanel https://mixpanel.com/legal/terms-of-use/, in accordance with such third party’s terms of service. If You do not wish to share your Usage Information with iZotope, you may opt out of doing so at any time. For instructions on how to change your selection relative to the sharing of Usage Information, please visit: https://www.izotope.com/en/analytics-opt-in.html.

8. Privacy. iZotope’s collection and use of Registration and Usage Information is as provided in iZotope’s Privacy Policy, located at https://www.izotope.com/en/privacy-policy.html, which forms a part of this Agreement and to which you agree by means of your download, installation and use of the Software.

9. Support. Subject to the limited warranty stated herein, and further subject to your not being in violation of any term or condition of this Agreement, iZotope shall provide technical support and bug fixes, exclusive of any upgrades or new features, for the Software to the original purchaser for a period of twelve (12) months from the original purchase date and from the release date, respectively. Where your use of the Software is on a subscription basis, support shall be as provided for in the Subscription Terms. For support resources and assistance, please visit: https://www.support.izotope.com/hc/en-us.

10. Limited Warranty. iZotope warrants that, for a period of thirty (30) days from the date the Software is made available to You for download, the Software shall substantially conform to the applicable user documentation provided with the Software. Any implied warranties that may exist despite the disclaimer herein shall be limited to thirty (30) days (“Warranty Period”). This limited warranty is void if You buy from an unauthorized reseller, You violate any term or condition of this Agreement, or if the failure of the Software is due to accident, abuse or misapplication.

11. Your Remedies. iZotope’s sole obligation and your exclusive remedy for any breach of warranty shall be, at iZotope’s sole option, either the return of the purchase price that You paid for the Software or the repair or replacement of the Software, media and documentation; provided, however, that, in all instances, You return the Software, together with all media and documentation and a copy of your receipt, to the location where You obtained it during the Warranty Period. Outside the United States, neither these remedies nor any support services are available without proof of purchase from an authorized non-US source.

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13. Limitation Of Liability. TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW, IN NO EVENT SHALL IZOTOPE BE LIABLE FOR ANY AMOUNTS EXCEEDING THE AMOUNTS RECEIVED FROM YOU FOR YOUR LICENSE OF THE SOFTWARE, REGARDLESS OF THE FORM OF ACTION, AND WHETHER ARISING OUT OF THE USE OF OR INABILITY TO USE THE SOFTWARE (INCLUDING, WITHOUT LIMITATION, DAMAGES OR COSTS FOR LOSS OF PROFITS, BUSINESS, GOODWILL, DATA OR OTHER ASSETS, OR COMPUTER PROGRAMS), EVEN IF IZOTOPE HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. Some jurisdictions do not allow exclusion or limitation of liability for consequential or incidental damages, so this limitation may not apply to You.

14. License Termination. This Agreement, together with the license rights granted to You herein, shall terminate automatically if You fail to comply with any of its terms. Upon termination, You must immediately cease using and destroy all copies of the Software.

15. Licenses to U.S. Government. This paragraph applies to all acquisitions of the Software by or for the federal government, or by any prime contractor or subcontractor (at any tier) under any contract, grant, cooperative agreement or other activity with the United States Government (collectively, the “U.S. Government”). By clicking “I ACCEPT”, You are agreeing on behalf of the U.S. Government that the Software and any documentation related thereto are respectively “commercial computer software” and “commercial computer software documentation” within the meaning of the acquisition regulation(s) applicable to this procurement. This Agreement alone shall govern the U.S. Government’s use of the Software and shall supersede any conflicting contractual terms or conditions, except as may be set forth in the Subscription Terms, where the U.S. Government’s use of the Software is on a subscription basis. If the license granted by this Agreement fails to meet the U.S. Government’s needs or is inconsistent in any respect with federal law, the U.S. Government shall return the Software unused to iZotope. Contractor/Manufacturer is iZotope, Inc., 2 Avenue de Lafayette, Boston, MA 02111.

16. General. The export of the Software from the United States and re-export from any other country is governed by the US Department of Commerce under the export control laws and regulations of the United States and by any applicable law of such other country, and the Software may not be exported or re-exported in violation of any such laws or regulations. This Agreement is the complete and exclusive statement of the agreement between You and iZotope and supersedes any proposal or prior agreement, oral or written, and any other communications relating to the subject matter of this Agreement. This Agreement shall be governed by and interpreted in accordance with the laws of the Commonwealth of Massachusetts, United States of America, without regard to its conflict of laws provisions, and any claim arising out of this Agreement shall be brought in state or federal court therein. ANY SUCH LEGAL PROCEEDING SHALL NOT BE HEARD BEFORE A JURY. EACH PARTY HEREBY WAIVES ANY RIGHT TO A JURY TRIAL. To the extent permitted by applicable law, You agree that You will not bring any class action lawsuit against iZotope or be a representative plaintiff or plaintiff class member in any such lawsuit. The application of the United Nations Convention of Contracts for the International Sale of Goods is expressly excluded. This Agreement is in the English language only, which language shall be controlling in all respects, and all versions of this Agreement in any other language shall be for accommodation purposes only. Should You have any questions about this Agreement or iZotope’s software use policies, please contact legal@izotope.com. If You desire to contact iZotope for any other information, in the U.S., please email sales@izotope.com; outside the U.S., please contact the iZotope representative or affiliate serving your country or, if You are unsure whom to contact, you may contact iZotope at the above location. Please indicate that You understand and accept these terms by clicking the “Accept” option. If You do not accept these terms, installation will terminate.

1.5.0