iZ Technology Corporation

Magazine: resolution
Issue: V6.3 Apr. 2007
Article: Interview with Richard Rainey (p.40-43)
Author: George Shilling
Synopsis: From assisting to engineering for U2 in not very long at all, Richard Rainey remains dedicated to his craft.  He talks to George Shilling about producing, RADAR, loudness and why music can get shoved into the background.
Richard Rainey on multitracking to RADAR: “It was a good half-way for [U2] who had been analogue die-hards; it was a good step-up to that without going to Pro Tools, which just wouldn’t have been possible, the way they work, because RADAR is like a tape machine.  While going along, you can arm track and drop in, do stuff on the fly which you could never do.  If somebody wanted to do a vocal, in Pro Tools it was, just wait a minute, I’ll make a new track, I’ll name it, assign an output – forget it!”

E-Magazine: Studio Daily
Issue: Jan. 11, 2007
Article: Why Audio Production for Letterman Is All About Music
Author: Dan Daley
Synopsis: There's a reason why David Letterman is the only network talk-show host with a best-selling music-compilation CD out: artists seem to want to go on that show more than any of the other late-night talkfests. Harvey Goldberg, who started working with the show 12 years ago and has mixed the music for the show exclusively for the last five years, thinks he knows why.
Harvey Goldberg on RADAR’s sound and reliability: “It's the closest thing there is digitally to the warmth of an analog tape deck. I don't need all the editing and other features that would come with Pro Tools, and as a result I also have a much more stable recording platform, which I like for broadcast. Plus they sound good, they're easy to use and they go up to 192 kHz, which is good for archiving.”

Magazine: Mix
Issue: Nov. 2006
Article: Field Test: iZ Technology RADAR V Hard Disk Recorder
Author: Tony Nunes
On RADAR’s sound: “Another session was dedicated to comparing my Classic RADAR II and the new S-Nyquist: recording a drum kit to both RADARs simultaneously, locked to SMPTE.  The first test included both RADARs running at 48 kHz. The results were close, but the V had a smoother high end and a tighter-sounding snare. The overall fidelity was better leading me to believe that iZ has improved the converters from its Otari predecessor. Because RADAR II tops out at 48 kHz, I wanted to hear the difference in the leap to 192 kHz. The results were dramatic. The entire drum kit came to life. The kick was deep and rich, the snare transients were excellent and the cymbals had a very smooth decay. Only on the studio's Studer 827A have I heard that drummer and his kit sound that good.”

Magazine: Tape Op
Issue: #56, Nov/Dec 2006
Article: Gear Reviews – iZ Technology RADAR 24 & RADAR V (p.66)
Author: Tony SanFilippo
On RADAR’s DAW-compatibility and sound: “Recently, the nice folks at iZ sent a RADAR V S-Nyquist for me to try.  On top of its ability to handle 24 channels at 192 kHz, this model also records to Broadcast Wave file natively; along with RADAR’s File Flattening feature, this makes import/export to DAW pretty much a no-brainer…I recorded local artist Backseat Radio at 192 kHz.  We multitracked “Throat”, a guitar-driven pop tune with Wurlitzers, Syndrums, additional guitars, and vocals overdubbed on top of drums, bas, and rhythm guitar.  Like in previous mix sessions, I was amazed by how close the S-Nyquist converters sounded to the source.”

Magazine: resolution
Issue: Sept. 2006
Article: Fleetwood Mobiles opens post facility (pg. 12)
Synopsis: Fleetwood Mobiles has opened a new postproduction facility at its headquarters in Denham, Middlesex.
On RADAR’s DAW compatibility: “Fleetwood Mobiles recently bough two iZ RADAR V records through UK distributor Stirling Trading.  With 48-tracks, Fleetwood engineers can record concerts while creating a duplicate back-up at the same time.  ‘One of the main reasons why we chose RADAR V is its compatibility with Pro Tools and Pyramix,’ added [Fleetwood’s MD, Ian] Dyckhoff.  ‘Having said that, we’re at the sharp end of the recording business where the reliability of any recording system we use is absolutely imperative.’”

Magazine: Audio Technology
Issue: #49, Aug. 2006
Article: A Surfing Safari – The story behind the recording of Delightful Rain (p.35-42)
Authors: Mark O’Connor & Christopher Holder
Synopsis: Delightful Rain is a ‘celebration of Australian surf music’ recorded on RADAR over a two-week period on location at the Freshwater Surf Life Saving Club on Sydney’s Northern Beaches. 
On RADAR’s reliability: “We recorded to 24 tracks of RADAR with Nyquist converters, in my view the best sounding and most solid recording engine going.”

Magazine: Electronic Musician
Issue: Apr. 2006
Article: House of Soul – Interview with Daniel Lanois (p.65-74)
Author: Paul Tingen
Synopsis: Daniel Lanois is an enigma with a long and interesting history. The 54-year-old Canadian has produced a staggering list of classic recordings from artists such as Bob Dylan, Emmylou Harris, Peter Gabriel, Willie Nelson, and U2.  These productions are high on grit and atmospherics, short on bombast and high-tech gloss, and have earned Lanois much critical praise. Rolling Stone called him “the most important record producer to emerge in the '80s.”
Daniel Lanois on recording and the source of personality in music: “My main recording tool now is the iZ Technology RADAR, a Canadian computer-based machine.  It’s in a similar league as Pro Tools.  Its sound is so transparent that it’s not a vital link in terms of personality.  I don’t know what the sampling rate is, and it’s not a great concern for me.  The personality of the work comes from the source of the sounds, the players in the room, and the microphones used.”

Magazine: Mix
Issue: Jan. 2006
Article: Interview – Death Cab for Cutie: Growing in the Studio, Making Plans (p.130 -135)
Author: Rick Clark
Synopsis: Plans, the last album by Seattle-based quartet Death Cab for Cutie, exudes the kind of thematic sweep and dynamic emotional flow found on those seamlessly sequenced classic albums that sneak up and get better with each listening.  The band talks about their approach to record-making and the sequential improvements in recording sonics and production smarts.
Chris Walla on RADAR’s sound and iZ Support: “People I respected were saying, ‘This is what you need to do.  This is a great system.  It sounds great and is totally rock-solid…’  The company itself is great and if I have a question or a problem, you call them and you actually get somebody on the phone.”

Magazine: Pro Audio Review
Issue: Dec. 2005
Article: Review – iZ Technology RADAR V Recorder (p.10-12)
Author: Russ Long
On RADAR’s ease-of-use:  “If someone walks into my studio and they have never used Pro Tools, there is no way in hell tat I can have them up and running on that DAW or any other within a reasonable amount of time.  If the most computer-illiterate engineer in the world is working at my studio, I can have him rocking on RADAR in a matter of minutes.”

Magazine: Professional Sound
Issue: Dec. 2005
Article: Click Track Audio (p.34-37)
Author: Don Barber
Synopsis: Get an in-depth look at Ottawa-based Click Track Audio’s mobile recording truck.    
On RADAR as a standard:  “The iZ RADARs have become the standard as location devices, included in the CBC’s mobiles and currently on tour with The Rolling Stones and the White Stripes.  If you look at the iZ client list it literally runs the full gamut from AC/DC and Aerosmith to Yngwie Malmsteen and Zane, and every letter in between.  You’d be hard presed to name a band that’s not using RADAR.”

E-Magazine: Record Production
Article w. streamed video: Digital vs. Analog Recording Showdown - Music Producer’s Guild Event June 2005
ding Unit (p.26-29)
Synopsis: To help clear up the analog vs. digital debate, the Music Producer’s Guild held a very interesting comparison of four recording formats. The Pro Tools, Nuendo and RADAR digital systems slugged it out with their arch enemy, the analog Studer A800 running on the 16 track block that is legend in engineer circles. 
Pip Williams on RADAR in a blind listening test: “As regards the different [digital] formats, I was totally floored with the sound of RADAR…When I listen to RADAR I had the same sort of feeling of cohesion that I get with the best analog recordings. Of the digital formats we heard tonight, RADAR stood out head and shoulders above them.”

Magazine: Audio Media
Issue: Oct/Nov. 2004
Article: Review – iZ RADAR 24 (p.38-39)
Author: Andrew Graeme
On RADAR’s speed, reliability, and sound:  “RADAR is different.  Easier to use than a tape recorder, it can load a three-hour film score across 48 tracks in under 10 seconds.  Users speak of systems running for years without a single glitch or failure (the first system ever sold in the UK in 1994 was been used every day for the past 10 years and is still in use today), and those who do not praise RADAR for its speed praise it for the quality of its converters.”

Magazine: Mix
Issue: June 2003
Article: Daniel Lanois Shines Alone (p.119-125)
Author: Chris J. Walker
Synopsis: An interview with Daniel Lanois and engineer Adam Samuels on Lanois’ recently-released album, Shine – his first solo album in 10 years. RADAR was used extensively for recording, editing, and mixing tracks.
Adam Samuels on working with RADAR: “I think it’s fantastic because you don’t do data entry with it.  Instead, you’re listening to music and working with your sound, not waveform pictures and a keyboard.  I prefer the sound of the RADAR, too [to other hard disk systems].”

Magazine: EQ Magazine
Issue: Mar. 2003
Article: Studios of the Stars: The Cave – Billy Bob Thornton’s musical retreat (p.29-32)
Author: Lisa Roy
Synopsis: A look inside Billy Bob Thornton’s Beverly Hills studio.
On RADAR’s sound and ease-of-use:  “Billy wanted something that he could use and run himself that was more like a tape machine than a workstation.  He was looking for a hard disk recorder that sounded as close to analog as possible that’s why we chose RADAR.”