Robotic is so because pitch with stretch. This only can be done in digital domain, can't say if it is possible in analog hardware, but not with tape/vinyl etc. How can you stretch analog signal? Only maths.
As i know Melodyne and autotune work with pitch, not speed, so there is stretch.

 

Last edited: Oct 3, 2019

LMFAO...
You know as much about math and DSP as pigs - about flying.
Without continuous mathematics we would still be stuck in 16th century level of technology.

 

In short, my point is that there are no robots (meaning: mathematical machines) in nature. And robots can not re-create nature, but just another robots (each new generation possibly just 'more advanced' than previous).
All of this was just about quality of sound representation, necessarily including the quality of processing, since it happens in the same domain.
Price, availability, simplicity, speed, juggling possibilities, etc. are on the digital side.

 

I wouldn't say it improved your manners.

 

If i make sine in digital and analog, I don't hear any harshness, smoothness, warmth...
It is not about digital, it is how we work with sound...

 

noone of you getting it...at least that ones which comparing it all the time..

analog synth,digi synth,analog mixing,digital mixing,hybrid mixing etc,digital editing

deseve each their own topic but you mix it all up and talk on..

 

Last edited: Oct 3, 2019

Voxengo released v2.0 of the great FIR linear-phase CurveEQ with matching EQ in 2004. I've been using it in my mastering chain since then. Now it's at version 3.7, just 15 years later.

iZotope is mostly about huge marketing, but to say something in their defence - their products do sound very good and bring good sounding results when you know how to use them, and have a well equipped studio, and good ears.

What I hate about iZotope is the bullshit marketing [and so obvious endorsements] that makes people believe they sell magical tools that can polish a turd to sound like well produced radio ready mix within minutes, overblown pricing, and the protection scheme.

 

Last edited: Oct 3, 2019

All i'll say is Thank God for the sister site

 

Loyalty prices

Ozone 9 Advanced Upgrade - $299

Music Production Suite 3 - $299

I skip this step. Thanks.

 

+100

This update looks nice, but in true Izotope form, it sure looks a lot like Ozone 8, and not just visually.

I think their products are great. My only problem is how there’s a new version every year or two, with relatively minor changes but a big price tag like they rebuilt a big portion of the code.

I don’t use tonal balance control because adding neutron and meter tap and whatever else to every single track feels cumbersome, and there are other plugs I like better for that sort of workflow (specifically fabfilter. Plus I get curve eq with Cubase and proQ3 does matching too). The feature that lets you isolate a mix element with basically no effort looks nice but if I bought the update I’d be buying it just for that. $150 is too much for me, just for that. Ozone 8 is still great

 

We are talking about mixing and mastering and you talk about auto-tune. Am I drunk or you?
The analog stuff that you believe are "real thing" are themselves emulation of mathematical operations. For example "gain" tries to multiply the amplitude of the signal. However, because the emulation of mathematical operations using analog gear is not accurate and creates noise, we can't do proper processing.

See this simple example for gain circuit: http://www.circuitbasics.com/build-a-great-sounding-audio-amplifier-with-bass-boost-from-the-lm386/

 

That's pretty much why I skipped Neutron 3. They update with a few changes very often. Then, you upgrade one product shortly before another is announced. I bought the Suite for Neutron 2 (already had VocalSynth 2). Then, N3 comes along in like 2 months. I'll just wait for VocalSynth 3 before upgrading my Music Producer Suite to get Neutron 3 and Ozone 9.

 

Analog will always sound better. Right up until the signal gets into your computer.
A to D.
Then D to A.
What happens in between is entirely up to you.
What happens in between is what separates the norm from the art.
What happens in between is what separates the lovers from the haters.
What happens in between is far too often a stock Stutter Edit preset.

Compared to yesterday, I have SO many powerful tools. The sadness is, unless I stop and allow myself to simply be here, in the now, it takes years to realize their potential.

All that being said, iZotope RX is my default audio editor in Live, Reaper and Maschine. That shit is rad, yo. Ozone 9 is pretty. I'll use and see just how useful it ends up being. Conundrum: Branch a little to something somewhat new, or stick to it and level up what I already have.

+XP

 

Nobody's drunk. Autotune was only an example to illustrate the reach of mathematical exactness in digital audio. If we get literal, it will lead us nowhere.
Besides,there is also analog mixing and mastering. And plethora of the most appreciated digital audio software is based on emulation of analog circuits. ("shadow of a shadow").

 

Your example is flawed and not applicable to mix and mastering context.

Shadow of a shadow sounds better to me.