Select your frequency range, choosing between light, medium and heavy, and then lower the threshold. While you can certainly use this on the entire mix, I found it be more of an asset on individual tracks. For example, if an acoustic guitar is a bit too plucky, Spectral Shaper can assist you in taming the harsh frequencies. The Spectral Shaper module allows you to smooth out problematic frequencies by using frequency-specific dynamics. What this means is that you can reference different sections of different mixes, and get a spectral comparison of your mix against the reference. Track Segmentation analyzes your imported tracks (target mixes) and allows you to play different sections from the reference mix, or even loop them, if necessary. Simply click on the reference button below the meters and it will turn blue. Track Referencing allows for an extremely quick comparison of your mix against your target mix while working in any of the Ozone modules. Don’t confuse the two, as they serve different purposes. This type of functionality takes the concept of A/Bing mixes to a new level!Īnd finally, there is Track Referencing, which offers another way of A/Bing your mix against a target mix, but it offers some different visuals and parameters from Tonal Balance Control.
Now here’s where it gets really good: you can create a custom target curve by importing an audio file, like a reference mix, or you can create a custom target curve from a folder of audio files.
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Broad separates the frequency spectrum into four discreet bands, while Fine offers a full frequency spectrum view. The frequency ranges are displayed in either Broad or Fine. There is a drop-down menu that offers three different types of mixes: bass heavy, modern and orchestral. Also, Ozone’s EQ and Post EQ can be remote controlled directly from Tonal Balance Control. Place it on the master bus (after your instance of Ozone) and play your mix. Tonal Balance Control is another new analysis tool that will help you come closer to matching reference mixes and sonic targets. I liked where it led me, in terms of module choices and settings, and I’ll definitely use it on future mixes. It begins by asking you what your finished mix target is: Streaming? CD? Or reference? Then, you play the loudest part of your mix and it begins its analysis. Then it suggests signal chains and processor settings that make the most sense for your end goal.
Master Assistant analyzes your mix and, through its algorithms, creates a sonic profile. Version 8 contains an exciting new feature called Master Assistant, which can provide you with a great starting point for mastering. I happen to think that once you get the hang of how it works, it’s a fantastic mastering tool, which is why it has been at the center of my master bus chain for the last six years. That being said, most of my time with Ozone has been spent using it as a mastering plug-in.
The different modules can all be used on individual tracks in “a la carte” fashion (in Advanced version only). Something to keep in mind with Ozone (that I feel is often overlooked) is that it is not just for mastering. The manufacturer has a nice comparison chart on its website (that will give you an idea of each version’s features. Ozone 8 comes in three different versions: Elements, Standard and Advanced. But that’s often the case with iZotope, a Cambridge, Mass.-based audio-technology company that’s brought several unique products to the studio – like the Stutter Edit effect, RX audio-restoration suite, and Neutron mixing plug-in suite.Īs I have reviewed iZotope’s Ozone 5, 6 and 7 versions, I am not going to focus on Ozone’s overall layout and basic functionality in this review, but rather highlight new features. With the release of Ozone 8 mastering suite, iZotope has introduced some new features that to raise the bar for mastering and tonal shaping plug-ins.
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