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iZotope Trash

Multiband Distortion Plug-in By John Walden
Published June 2024

iZotope Trash

A much‑loved creative distortion plug‑in is back from its sabbatical, and it looks like the break has done it good!

If you have a long‑standing love for creative distortion, it’s very likely that at some stage over the last 10‑plus years you’ll have tried iZotope’s Trash 2. That fan‑favourite was discontinued quite some time ago, but iZotope have now resurrected the Trash concept. The new version is not Trash 3, though. It’s called, simply, Trash. But it’s very much a new product, with a much more contemporary feel than previous versions. As well as the full desktop version of the Mk3, there’s a free Trash Lite version and, for those who make music on an iPad, there are separate AUv3 Trash and Trash Lite plug‑ins available in the App Store. So, whether you are a veteran Trash aficionado, or just looking to add some further creative sound‑mangling options to your sound design, is the new Trash worth a bash?

Brand New Trash

While distortion might be Trash’s headline, don’t underestimate the sound design potential offered by the multitude of options within the Convolve module.While distortion might be Trash’s headline, don’t underestimate the sound design potential offered by the multitude of options within the Convolve module.As can be seen in the main screenshot, the Trash has a modern GUI that’s consistent with other products in iZotope’s catalogue, and with all the controls contained in a single‑page display, it promises to be quick and easy to use. To some extent, that’s been made possible by some careful focusing of the feature set. Two main modules, Trash and Convolve, now dominate the central part of the display, and as well as the ability to turn these on/off individually you can also switch their order in the signal chain.

At the top are the usual preset access (including a random preset selector), bypass and global wet/dry mix controls. There’s also a spectrum display, through which the user can configure Trash to operate over one, two or three frequency bands, and it’s worth noting that if you opt for a multiband setup, each band can have independent Trash and Convolve configurations, and that means you can process your lows, mids and highs in entirely different ways should you wish to. In the bottom third of the display, you can access compact control sets for the Envelope, Filter and In/Out panels, and the last of those include useful auto‑gain and limiter options to avoid signal overload.

At this point, some users of Trash 2 (those who went beyond just loading and tweaking presets) may well be wondering whether this modern take on Trash is, if anything, a little too streamlined. For example, the multiple EQ stages, multiband compression, waveshaper, delay and multi‑module signal‑chain editing options of Trash 2 are not included here. It’s definitely a very different design philosophy – a more focused feature set and streamlined workflow – which is probably why iZotope are not positioning this new release as Trash 3 but rather as ‘Trash reimagined’. It might leave some hardcore Trash 2 users a little disappointed, but I suspect that the new Trash will appeal to a new and wider audience.

Appetite For Destruction

With over 60 distortion algorithms distributed over seven categories, Trash lets you go from subtle to insane with relative ease.With over 60 distortion algorithms distributed over seven categories, Trash lets you go from subtle to insane with relative ease.In the new Distortion module there are over 60 different distortion types to choose from, and the user can load up to four different distortion algorithms simultaneously, one into each ‘corner’ of the X/Y pad. The distortion types are organised into multiple categories (Distort, Drive, Faulty, Fuzz, Heavy, Retro and Saturate) so the vast choice never threatens to overwhelm, and they range from the subtle to the outright insane. Using the red node on the X/Y display, you can adjust the blend between the four distortion styles, either as a static setting or dynamically, using automation or a control surface. The large Drive knob controls the input gain (and, therefore, how hard you push the chosen distortion algorithms), while the Mix knob controls the blend of dry/processed signal in the Trash module.

A Tilt EQ (broadly speaking a high shelf cut/boost coupled with a low shelf in the opposite direction) lets you shape the sound before it hits the distortion processors, and you can set the tilt’s centre frequency as well as the amount. Further options tucked into the GUI include a dice icon at the top of each X/Y pad: a means of randomly selecting (in this module) the distortion algorithm selections. In addition, a small ‘slider’ icon (bottom centre of the X/Y pad) pops open Style controls for the four distortion algorithms, allowing you to adjust the intensity of the effect.

The Style panel provides ways to customise many of the distortion algorithms in the Trash module.The Style panel provides ways to customise many of the distortion algorithms in the Trash module.

You can manual automate the X‑Y pad node position, but there are also some modulation sources in the Trash module. First, the Envelope panel settings can be used to modulate the Drive knob. The Envelope panel is simple and intuitive, with modulation amount, attack and release controls, but a key to note is that it is based on an envelope follower, so the stronger the input signal, the greater the potential modulation. Also, the Drive knob’s modulation amount control offers both positive and negative modulation values. Second, you can engage the modulation node (using the button located to the top and right of the X/Y pad). This cyan node can then be positioned on the pad to create a modulation path to the red node, and movement along this path is also triggered by the envelope.

The envelope can also be used to modulate the filter frequency, of course. The filter itself is a fairly simple resonant low‑pass style, but with Scream letting you control the filter resonance (with self‑oscillation possible at higher settings) and Heat adjusting how hard the filter is driven, you can use it to inject plenty of sonic colour into a source.

Acting On Impulse

The Impulse Response module provides a similar X/Y pad experience but this time you can load up to four different impulse responses, again one placed in each corner and with a node that lets you morph between them all. There are over 600 impulse responses provided and these are organised into various categories, including Amps, FX, Textures, Tones, Vowels, Reverbs, Reverse and (yes, really!) Animals, with multiple microphone options for some of the IRs. In addition, each instance of Trash lets you load a single audio file up to one second long to use as your own ‘custom’ impulse response (drum hits can be fun...). The Mix, Width and Stereoize controls then let you adjust the dry/processed balance and stereo image created by the overall processing.

Trash lets you load a single audio file up to one second long to use as your own ‘custom’ impulse response.

As with Trash 2, the Impulse module makes Trash rather more than ‘just a distortion processor’ and, whether used with or without the Trash module, there’s plenty to explore. You can place your sound into a real or (using some of the more unusual IRs in the Reverse, Devices and Water categories) otherworldly type of space.

Trash Talk

This reimagined version of Trash is undoubtedly much more intuitive to use than its predecessor was and, whether the Trash 2 faithful agree with the direction of Trash travel or not, I suspect this new version will attract a lot of new users who would have found the original somewhat intimidating. In any case, as demonstrated so ably by the presets, this new release is very capable of serving up anything from super‑subtle saturation to insane and over‑the‑top sonic destruction. And, by the time you have all three frequency bands in operation, each with their own distortion, IR and modulation settings, things can still get pretty deep — it still has that amazing ability to transform even the blandest of sources into something totally new that could inspire your next track. Indeed, you can consider the box for Trash’s primary purpose — a creative tool for distorting and transforming your sounds — well and truly ticked. Whether it’s drums, bass, synths, vocals, or some other sonic element of your project that needs a touch of grit, or total destruction, the new Trash still delivers.

From a practical perspective, there are perhaps only two items on my own ‘would have been nice’ wishlist. First, you’re limited to one custom IR, and being able to load them in every ‘corner’ would have been nice. Second, I think a band‑level preset system would have been handy. But these aside, I think iZotope’s approach to the redesign of Trash is both astute and pragmatic. Packing so much power into such a simple GUI is no mean feat.

Trash is sensibly priced already, but existing iZotope customers also get the benefit of upgrade and loyalty discounts, and there’s also the free version too. While some may not wish to put out the old Trash, I suspect lots will be happy to bring in the new Trash. Hats off to iZotope: Trash 2024 is lots of fun and very accessible in use.

Summary

iZotope’s radical reimagining of the Trash concept has delivered us a very capable yet easy‑to‑use creative distortion plug‑in with a stylish GUI and plenty of sound design potential.

Information

Trash £95. Also included in some bundles. Upgrades and crossgrades from £29.40. Trash for iPad £19.99. Prices include VAT.

www.izotope.com

Trash $99. Also included in some bundles. Upgrades and crossgrades from £29.40. Trash Lite $free. Trash for iPad £19.99.

www.izotope.com