Interesting. You're using a decidedly different definition of proprietary, of which I've previously been unaware. I'd argue it's still quite proprietary (Izotope products are as proprietary as they come), though it is modular, but there's no point in quibbling.
I don't think proprietary is the important word. My intention was to highlight the importance of the architecture over the products, and that it didn't use an expensive, ready-made, end-to-end solution, like Trinnov, Genelec, Merging, Neumann, StormAudio or Avid.
Yes, it's a modular or layered solution, and each layer can be substituted or upgraded without affecting the function of the architecture. I put the Nuprime H16A in as the decoder, and the Motu 16A as the converter, as they broadly meet the requirements for that layer, but they could be substituted by an Arvus H2-4D or an Antelope Orion Studio or two Okto DAC8.
The system isn't constrained to the number of channels - you could start off with 8, and extend to 12 or 16 later on. You could easily go to 32 if you wanted the DSP PC to handle speaker cross-overs. If audio interfaces continue to improve in performance, there's an easy upgrade path. If Antelope, AVID, DAD, Merging, Lynx etc start to use more sophisticated room correction than simple PEQ (Dirac is the obvious possibility, though I believe Sonarworks have something in the pipeline) then the architecture will accommodate that.
I think one of the key benefits is that each function is broken down to one layer, or one unit, and each one is as efficient and effective as possible. I put the MOTU 16A there as it seems to share technology with the M6 and has an uncommon combination of high performance and low cost.
I don't understand the reference to Izotope.
EDIT: I was referring to
Juice HiFi Audiolense, which is a SW room correction tool, and not
Izotope Audiolens.
