Izotope Ozone Key Archives

What is Ozone 8?

Welcome to Ozone 8, the next installment of iZotope’s award-winning mastering software. Ozone 8 adopts unprecedented digital signal processing, machine learning, and assistive technology to bring you a robust set of mastering tools for starting, finishing, and delivering your music with superior quality.

The Design of Ozone 8

Ozone started by demystifying the “dark art” of mastering audio. More than fifteen years later, we are still pushing the boundaries of mastering and audio software to bring you the latest innovations.

In this version we’ve included new features that aim to enable your mastering by improving your workflow, suggesting custom settings, dealing with tonal balance and harshness, and communicating with other iZotope software. The technology in Ozone 8 shatters industry norms with the ambition of connecting you to your music in ways you’ve never experienced before.

Ozone 8 is the next generation of this acclaimed mastering suite. Our aim is that it will instill confidence in your audio production and inspire your creative endeavors.

Inter-plugin Communication with Neutron 2

With Ozone 8 we give you the ability to connect to Neutron 2 through the Tonal Balance Control plug-in because iZotope recognizes that the landscape of mixing and mastering in-the-box is starting to change. While concepting Ozone 8 and Neutron 2 we noticed that the entire process for most creatives takes place in a single workflow. Mixing, mastering, and most audio production all occur at the same time with the same hands. It begs the question, “Do these two worlds collide?” Our answer is yes, most definitely.

Overview

Ozone 8’s standalone application allows you to use its mastering tools outside of your digital audio workstation.

Ozone App Interface

• Transport Bar: Includes playback controls and transport counter information.
• Track Tabs: Each tab represents an audio file and its associated settings within the current Ozone project.
• Waveform Display: A graphical representation of the currently selected track.
• Module Chain: A fully customizable signal chain for Ozone modules.
• Module Control Panel: Contains the controls and metering for the selected module.
• Presets: Opens the Preset Manager.
• Master Assistant: Opens the Master Assistant panel.
• Input/Output Section: Contains Input/Output Gain controls & metering.
• Audition Section: Contains Global Bypass, Gain Match, Sum to Mono, Swap Channels, Reference, Codec Preview [ADV], and Dither.

File Menu

Ozone’s file menu contains the different commands you use to perform functions such as:

• Importing audio files into an Ozone project for processing.
• Saving the project.
• Exporting the processed audio files.

Importing Audio

You can import up to 16 audio files into an Ozone project using the following methods:

• Click on the File menu at the top of the screen, then “Import Audio Files.”
• Click on the “plus” icon at the top-left area of the interface.
• Use keyboard shortcut Cmd+I or Ctrl+I; A standard dialog box will appear where you can navigate to the desired file, then click “Open” to import it into the project.
• Drag and drop audio files into the Ozone interface.

Supported Import File Types

Exporting Audio

You can export processed audio files from the Ozone application using the following methods:

• Click on the File menu, and then select “Export Audio Files.”
• Use the keyboard shortcut Command+E (Mac) or Ctrl+E (Windows).

A dialog box will appear, offering various options for the files you are about to export.

Current Track vs. All Tracks

• Click on “Current Track” to only export the audio file in the currently highlighted tab.
• Click on “All Tracks” to export separate audio files for each audio file loaded into the current project.

Current Track

Filename (Available on Current Track Only)

Type the desired name into this field; the exported file will be labeled with the name you have typed.

All Tracks

Append Text (Available on All Tracks Only)

Type in the desired text into the field; it will be automatically added to each of the exported tracks. You can also select whether to add the text before or after the file name. This function is useful for “tagging” the titles of a group of audio files with a common label; for example, you could append a group of files with a label such as “January 18th 2014 session.”

Add Track Numbers (Available on All Tracks Only)

You can add track numbers to your exports in the “All Tracks” section of the Export dialog. Select the “Add Track Numbers” checkbox and your exported files will be numbered in the order they appear in your Ozone project.

Format

Select the format of the exported file(s): WAV, AIFF, MP3, or AAC.

Bit Rate (Available on MP3 and AAC Only)

Set the bit rate for compressed file formats. Audio quality improves with increasing bit rate.

Save Path

Click on the Set Path button to select, through the resulting dialog box, where your exported audio file(s) will be saved.

• If the project is unsaved, the default save path is your Documents folder.
• If the project has already been saved, the default save path is an Exported Audio Files folder in the same location as the project.

Sample Rate

Select a sample rate to export your audio file. If you select a sample rate that differs from the original sample rate of the imported file, Ozone will apply high-quality sample rate conversion to the file.

Bit Depth

Select a Bit Depth value for your audio file.

Enable Dither

Ozone processes files at 32-bit so dither is desirable for files being exported to values lower than 32-bit. When exporting to a bit depth lower than 32-bit, checking this box will apply high-quality dithering to the exported file.

This allows you to preserve the sound quality and dynamic range of a higher bit depth, when exporting the audio file to a lower bit depth.

For example, a common workflow is to record audio at 24-bit resolution, then import and process the audio in an application such as Ozone, which will process at a higher resolution of 32-bits.

However, if you are releasing the audio material on a commercial CD, it must be converted to 16-bit audio, the required bit depth of the “Red Book” CD audio format.

Help

Click this button to launch the help documentation for Ozone 8.

Cancel

Click this button to cancel the export process and return to the main interface.

Export

Click this button to begin the export process (or launch the Track Info screen for MP3 and AAC). A dialog box will appear that shows the progress of the export operation, which occurs faster than real time.

Track Info (Available for MP3 and AAC Only)

When MP3 or AAC is selected, the Track Info screen will appear after clicking Export. Here you can enter metadata for the encoded audio file that will used by MP3 & AAC players to display information about the file. MP3 will be tagged using ID3v2.3. AAC uses iTunes style tags.

Transport

Ozone provides Transport controls at the top of the interface, which allow you to easily navigate the playback functions of an imported audio file.

The transport bar includes the following functions:

Play

Start playback by clicking the Play button or pressing spacebar.

Stop

Click the Stop button to stop playback.

Return to Zero/Skip Back

The behavior of this button depends on the current position of the playhead:

• If the playhead is located more than two seconds into the audio file, clicking the button invokes a “return to Zero” function, moving the playhead back to the beginning of the current file.
• If the playhead is near the very beginning of the file, clicking the button acts as a “skip back” button, skipping back to the previous audio file.

Skip Forward

Click this button to skip to the next track tab in the project.

Playhead Follows Playback

Click this button to change the playhead behavior when playback is stopped.

When enabled, the playhead will stop at its current location on the timeline.

Loop

To loop playback of a specific section of audio, click and drag on the mouse and highlight a portion of the audio file; the section will highlight in blue and the “loop” icon in the transport bar will also highlight.

When you next press Play, the transport will loop playback repeatedly for the highlighted section only.

To stop looping audio, click on the Loop button again. The button will de-illuminate and looping will no longer be active, even though the area of the waveform will remain highlighted. The Loop button can be manually clicked again if you wish to again loop the audio.

Transport Readouts

Track Number

This number displays the track number of the currently selected track.

Time Counter

Displays the current time position within the audio file, displaying in minutes/seconds/milliseconds.

Total Time

This smaller display shows you the total length of all tracks in the project.

Multiple File Workflow

You can load up to 16 files into the same project and navigate to each file by clicking on the corresponding track tab.

Re-ordering Tracks

Click and drag track tabs to change the order of tracks in the project.

Removing Tracks

You can remove tracks from a project using the following methods:

• Right-click on a track tab and select “Remove Track.”
• Click on a tab to highlight it, then click on the “X” button.

When removing a file, a dialog box will appear offering you three different options:

• Delete Removes the original file from the Imported Audio Files folder of the Ozone project directory.
• Keep Removes the track from the session, but retains the file in the Imported Audio Files folder of the Ozone project directory.

Saving Ozone Projects

An Ozone project contains the following components:

• An Ozone session file (.OZN).
• An Imported Audio Files folder.
• An Exported Audio Files folder.

Save Project As…

Creates a copy of the current project directory with a new name.

Ozone Session Files (.OZN)

An Ozone session file contains all of the session data including:

• Imported audio tracks
• Ozone module settings
• Track Trim & Fade settings
• Global I/O settings

Save (.OZN) As…

Saves a new copy of the session file within the current Ozone project directory. Useful for versioning your Ozone projects over time. Using this method will not create copies of the imported audio files, but instead will reference the files included in the Imported Audio Files folder of the current project directory.

Close Project

When closing a project, a dialog will appear with the following options:

• Cancel: Cancels out of the close operation; the current project will stay loaded.
• Don’t Save: All changes made since last save will be discarded.
• Save: All changes will be saved.

Create New Project

Creates a new Ozone project directory.

Open Project

Opens a previously saved Ozone project.

Edit Menu

Allows you to adjust Audio Device settings or open the Ozone Options window.

Audio Devices

Buffer Size

Adjusts the Buffer Size of the current Ozone session.

Output Devices

Selects the hardware device used by the Ozone session to play back audio.

Overview

Ozone features a preset manager that allows you to quickly and easily work with presets.

Factory Content

Ozone 8 Global Factory presets are organized into the following folders:

• ALL PURPOSE MASTERING
• GENRE-SPECIFIC MASTERING
• INSTRUMENTS AND BUSSES
• SIGNATURE PRESETS

General Functions

Loading Presets

You can select and audition any preset by clicking on the name in the list. This will activate the relevant selected Ozone modules, and you will hear the effect of the preset when you play back your audio. You can easily compare several different presets just by picking a different name on the list.

Renaming Presets

In the Preset Manager you can double click on a preset to edit its name.

Show at Startup

By default the preset manager will open automatically at startup. If you do not wish for this to occur, uncheck the “show at startup” box at the bottom of the presets window.

Working Settings

Working Settings allow you to recall a preset that hss been modified but not saved.

Default

Loads the Factory default state or your custom default preset.

Controls

Add

Click the Add button to create a new preset. The Preset Manager has a comments section for additional detail.

Delete

To permanently delete a preset, select the preset from the list and click the Delete button.

New

Click the folder button to create a new preset folder.

Change Folder

Click the Change button to select the preset folder path.

Save

Click Save to store changes made to the current preset.

Close

Click the Close button to hide the Preset Manager window.

Custom Default

Right-click on any preset in the Preset Manager and select “Set [Preset Name] As

To undo this action, you can right-click on any preset and select “Reset

Right-click on the

Module Preset System

Module presets allow you to easily save and load settings in individual modules without affecting other modules in the signal chain. Ozone 8 module and component plug-in presets are interchangeable, so Ozone 8 Advanced users can make use of their module presets within the component plug-ins and vice versa.

Opening the Module Preset System

The Module Preset system is accessible from the Ozone signal chain. Clicking on the button directly above a module’s Solo button will open the Module Preset window.

Loading Module Presets

Selecting a preset in the Module Preset window will load the settings and related comments.

Saving Module Presets

Click the Add button in the Module Preset window to a new module preset.

Deleting Module Presets

Select a module preset and click the Delete button to remove the preset file from the preset folder on your computer. This will move the module preset file to the Trash/Recycle Bin.

Changing the Module Presets Folder

Click the Change button to change the module preset folder path.

The default file paths for the module presets are in the following locations:

Undo History

All modifications to parameters in Ozone are captured in this list. Click any entry in this list to revert to a previous state of Ozone.

Module Chain

Ozone’s active modules are loaded into the horizontal signal chain along the top of the interface.

Click, hold, and drag modules horizontally to change their order in the signal chain. More information about the Module Chain can be found in the Common Module Controls chapter.

Module/Plug-in Browser

You can view and add Ozone modules or VST & AU plug-ins by opening the module browser screen. The module browser can be opened by clicking on the ‘+’ space in the module chain.

Ozone Modules

The module browser displays all available Ozone modules. If a module has already been added to the module chain, the icon for the module will be greyed out.

Plug-ins (Ozone App Only)

You can view and add plug-ins to the module chain in the Ozone application by clicking on the “Plug-ins” tab in the Module browser view.

You can manage plug-in related options by clicking on the gear icon that appears when the “Plug-ins” tab is selected. The Plug-in options tab allows you to enable or disable plug-in formats, configure custom VST plug-in paths and manually start plug-in scanning. When plug-in formats are enabled, the Ozone application will scan for new plug-ins in the background every time it is opened.

Global I/O Meters & Gain

Ozone’s input/output level meters display the input and output level for the left and right channels. Several metering options are available; you can select which metering method you wish to use by opening the I/O options tab in the Options menu, or clicking on the I/O button above the I/O meters (this contains limited options, refer to the I/O tab of the Options menu for more options.)

Unlinked Gain Adjustments

By default, the left and right gain levels are linked; moving one moves the other. You can adjust left and right gain independently by clicking on the Link icon below the meters. You can also offset the two channels and then relink them, so that later adjustments move both channels by the same amount. The faders will remember their offset, even if they are temporarily turned up or down all the way, so that when you bring the faders back to the middle the offset will be preserved.

Double-Click to Reset Faders

If the left and right faders are locked, double-clicking on either fader will reset both of them to 0 dB. If the left and right faders are unlocked and set at different levels, double-clicking a specific fader will reset it to 0 dB.

If the left and right faders are locked but had been previously been set to different levels, double-clicking on a fader will reset it to match the level of the other fader. Another double-click will reset both faders to 0 dB.

Setting the Scale of the Meters

You can further customize your metering by adjusting the scale of the input and output meters.

• Clicking the “(+)” sign below the meters will increase the zoom or resolution of the metering scale.
• Clicking the “(-)” sign will decrease or zoom out the resolution of the metering scale.

Auditioning Tools

Ozone’s audition section is located underneath the input and output meters on the right-hand side of the screen.

The following controls are available in the auditioning section:

Bypass

Toggles all Ozone processing on or off. When enabled, the module controls will be dimmed by an overlay to indicate that Ozone is bypassed.

Gain Match

You can change the behavior of Gain Matching in the Ozone options menu.

Sum to Mono

Collapses the stereo signal to mono, allowing you to check your song for mono compatibility. It is always important to check any stereo material for mono compatibility, and make sure that any processing you have done does not cause any elements of your mix to “cancel out” and disappear when listening in mono.

Swap Button

Swaps the left and right sides of the stereo signal.

Codec Preview [ADV]

Opens the Codec Preview panel. See the Codec Preview chapter for more information about this panel.

Dither

Opens the Dither panel. See the Dither chapter for more information about this panel.

Reference

Open the Reference panel. See the Track Referencing chapter for more information about this panel.

Overview

There are a number of features shared across Ozone modules. This chapter defines these features and their respective workflows.

Module Chain

The signal chain in Ozone allows up to 6 modules at at time. The module chain is not available in the component plug-ins.

The following table outlines module chain options:

Multiband Modules

Ozone offers multiband processing in the following modules:

Multiband Modules allow you to apply frequency dependent processing to your music. You can use up to 4 separate bands and adjust the crossovers by interacting with the handles in the minispectrum view.

Crossovers

Multiband modules offer controls for adjusting and auditioning the crossover frequency bands in the crossover mini-spectrum metering view.

Adjusting Crossover Cutoffs

The multiband crossover points can be manually adjusted in the crossover mini-spectrum view. Crossover cutoff points can be manually adjusted using the following methods:

• CLICK & DRAG CUTOFF HANDLES Crossover cutoffs can be adjusted by hovering over the white crossover handle, left-clicking and dragging the handle to the desired position. The cursor will change to display a left/right arrow icon when hovering over the adjustable crossover cutoff handle.
• TEXT INPUT Double-clicking on a crossover cutoffs value readout (white text directly above the cutoff handle) will open an inline edit field. Type the desired frequency value for the crossover cutoff into this field and hit the Enter or Return key to update the value.

Crossover View Controls

The following table outlines the common controls available in the multiband crossover view.

Crossover Learn

Ozone multiband modules include an innovative Learn function for determining crossover points. When enabled, the Crossover Learn function will search for natural crossover cutoff points for frequency bands using a few criteria, including identifying minima in the frequency spectrum of the incoming audio.

When the Learn function is active the button will turn blue. When it has determined the ideal values for the crossover cutoffs, it will turn itself off automatically. You can also manually disable learning when it is active by clicking the Learn button again.

Crossover Context Menu Options

Right-clicking (or Option+Left-clicking) on the crossover spectrum view in multiband modules will expose the following options in a context menu:

• INSERT BAND: Adds a band to the current multiband module. You can add up to 4 bands in each multiband module.
  • When adding bands using the context menu ‘Insert Band’ option, the crossover point will be placed at the point in the spectrum you right-clicked on.
  • Note: If a crossover exists at the point you right-clicked on, the new crossover cutoff will be placed to the right of the existing cutoff.
• REMOVE BAND: Removes a band from the current multiband module.
  • When removing bands using the ‘Remove Band’ context menu option, the first crossover point to the right of where you right-clicked will be removed.
• COPY: Copies the settings of the band that was right-clicked on to the clipboard.
• PASTE: Pastes relevant band settings from the clipboard to the band that was right-clicked on.
  • Note: You can only paste band settings that were copied from the same multiband module.
• SPECTRUM OPTIONS: Navigates to the Ozone Spectrum Options tab.
• CROSSOVER OPTIONS: Navigates to the Crossover Options tab for the current module. For more information on the different Crossover Types, see the following section.

Crossover Types

Each multiband module has independently configurable crossover types. You can change the crossover type used by a given module in the Options menu.

Each multiband module offers the following crossover types:

• ANALOG: The analog crossover option provides a natural character reminiscent of filter slopes in analog equipment.
• HYBRID: This perfect reconstruction IIR (Infinite Impulse Response) analog crossover is designed to reduce phase distortion and frequency distortion found in other analog crossovers while maintaining precise crossover points and the warm characteristics of analog crossovers.
• DIGITAL: Ozone 3 first introduced the option of digital linear-phase crossovers. These provide a more accurate and transparent sound.

Digital Crossover Options

When the Digital Crossover Type is selected, the following options also become available:

• CROSSOVER BUFFER SIZE: Sets the buffer size for the digital crossover. See Buffer Sizes for more info.
• CROSSOVER Q: You can adjust the bandwidth, or Q, of the crossover filters with this control. A higher Q results in tighter crossovers, while a lower Q provides a more gradual transition from one band to the next. This is only available for the digital crossover.

Module Channel Processing Modes

Ozone offers different processing modes that determine how processing is applied in a given module. When a module supports more than one processing mode, processing mode options will appear on the left hand side of the module control area.

The following Ozone modules offer different module channel processing options:

Stereo Mode

Stereo mode is the default processing mode for all modules. This also applies to modules that do not offer explicit Mid/Side or Left/Right processing options.

When Stereo mode is selected, one set of controls will be available for processing in the selected module.

Mid/Side (M/S) Mode

Mid/Side processing is enabled by selecting the M-S processing mode button on the left side of the module control area.

Mid/Side Encoding & Decoding

When Mid/Side mode is enabled, the input signal to the module is encoded into a Mid/Side configuration. After processing in Mid/Side mode, the signal is decoded from Mid/Side to Stereo at the output of the module.

• Mid Channel Encoding: The encoded Mid channel signal represents the phantom image between left & right speakers, or the center channel of the input audio.
• Side Channel Encoding: The encoded Side channel signal represents the sides (or edges) of the input audio.

Independent Mid & Side Control Adjustments

Selecting Mid/Side mode will expose two unique sets of parameters for processing. One set of parameters applies processing to the encoded Mid channel and the second set of parameters applies processing to the encoded Side channel.

Mid Channel Controls

• View & Adjust Mid Channel Controls Select the “Mid” button to independently view and adjust the parameters that affect the Mid channel processing of the active module.
• Bypass Mid Channel Processing Deselect the power button above the Mid channel selector to Bypass the Mid channel processing.
• Solo Mid Channel Processing Select the ’S’ button above the Mid channel selector to solo the module’s Mid channel processing.

Side Channel Controls

• View & Adjust Side Channel Controls Select the “Side” button to independently view and adjust the parameters that affect the Side channel processing in the active module.
• Bypass Side Channel Processing Deselect the power button below the Side channel selector to Bypass the Side channel processing.
• Solo Side Channel Processing Select the ’S’ button below the Side channel selector to solo the module’s Side channel processing.

Linked Mid/Side Control Adjustments

You can easily link Mid & Side controls by enabling the ‘Link’ button between the Mid & Side selection buttons. When Link is enabled, parameter adjustments in the Mid channel will adjust the corresponding Side channel parameter and vice versa.

Mid/Side Metering

Ozone’s I/O meters display Stereo information by default. To change the Input/Output meters to display Mid/Side metering information, click on the I/O button above the I/O meters and change “Source” selection to Mid/Side.

When the I/O meters are in Mid/Side mode, the meter in the center represents the Mid channel level information and the meters on the left and right represents Side channel level information. The left and right gain sliders control the left and right gain of your signal, regardless of the Meter Source selection.

Left/Right (L/R) Mode

Left/Right processing is enabled by selecting the L-R processing mode button on the left side of the module control area.

When enabled, the input signal to the module is split into two processing channels, Left & Right. The signal is ‘summed’ back to Stereo at the module’s output.

Independent Left & Right Control Adjustments

Selecting Left/Right mode will expose two unique sets of parameters for processing. One set of parameters applies processing to the Left channel and the second set of parameters applies processing to the Right channel.

Left Channel Controls

• View & Adjust Left Channel Controls Select the “Left” button to independently view and adjust the parameters that affect the Left channel processing of the active module.
• Bypass Left Channel Processing Deselect the power button above the Left channel selector to Bypass the Left channel processing.
• Solo Left Channel Processing Select the ’S’ button above the Left channel selector to solo the module’s Left channel processing.

Right Channel Controls

• View & Adjust Right Channel Controls Select the “Right” button to independently view and adjust the parameters that affect the Right channel processing of the active module.
• Bypass Right Channel Processing Deselect the power button below the Right channel selector to Bypass the Right channel processing.
• Solo Right Channel Processing Select the ’S’ button above the Right channel selector to solo the module’s Right channel processing.

Linked Left/Right Control Adjustments

You can easily link Left & Right controls by enabling the ‘Link’ button between the Left & Right selection buttons.

When Link is enabled, parameter adjustments in the Left channel will adjust the corresponding Right channel parameter and vice versa.

Overview

One of the most powerful modules in Ozone is the Dynamics module. You can use this module to shape the dynamics of your mix, with up to four bands of analog-modeled compression, limiting, and expansion. Dynamics is also available as a component plug-in of Ozone 8 Advanced.

Global Controls

Single Band/All Bands Display

Toggles between All Bands view and Single Band view. When Single Band view is selected, you can use the arrows to the left or right of the band icon to cycle through the enabled bands.

Link Bands

When enabled, adjustments made to a control in one band will adjust the corresponding control in all other bands of the Dynamics module by the same amount.

Adaptive Release

When Adaptive Release is On in the Dynamics module, it will automatically adjust the Release time of the Compressor based on the Peak factor of a signal. If a transient signal is detected, the Release time is scaled to be shorter for less pumping. If a sustained note is detected, the Release time is scaled to be longer for lower distortion.

The Release time is scaled in relation to the Release value set by the user. For example: if you are using the Compressor with the Release time set to 100 ms, the Release time will be automatically adjusted to a value within a range of 20 ms to 200 ms, depending on the type of signal that is being processed.

Gain

• IN ALL BANDS VIEW: The Gain slider affects the gain of the entire Dynamics module after processing. This is useful for applying make-up to compensate for any loss in level after compression has been applied.
• IN SINGLE BAND VIEW: The Gain slider will affect the output gain of the currently selected band after processing.

Auto

When enabled, make-up gain will automatically be calculated and applied to the output signal to compensate for level differences introduced by dynamics processing.

The automatic gain control calculates the RMS levels of the input and output signals independently for each Dynamics crossover band. Gain is automatically applied to the output signal based on the RMS level difference between the input and output signals.

This control acts as a smart “make-up gain” control that will adapt the post-processing level to match the pre-processing input level over time. This can be a useful tool for A/B’ing various settings in the multiband Dynamics module without having gain changes affect your perception.

Level Detection Mode

The 3 buttons below the threshold input meters control the global level detection mode for the Dynamics module.

• PEAK: When this option is enabled Ozone’s detection circuit looks at peak levels of the incoming signal. In general, this setting is useful when you are trying to even out sudden peaks in your music.
• RMS: When this option is enabled, Ozone looks at the average level of the incoming signal. RMS detection is useful when you are trying to increase the overall volume level without changing the character of the sound.
• ENVELOPE: Envelope mode behaves much like RMS mode, but with some key advantages. Unlike RMS, Envelope mode produces even levels across all frequencies. Additionally, Envelope mode will not produce the aliasing or artifacts that RMS detection can cause.

Parallel

Adjust this slider to control the dry/wet mix of direct, unprocessed signal to the processed signal for the current band. This slider is very useful for applying the technique called “parallel compression” where you can mix in a desired amount of unprocessed signal.

Per Band Controls

Threshold

Adjust the threshold of the limiter and compressor to set the level at which the dynamics processing is triggered.

Ratio

Both the Limiter and Compressor have their own ratio control. Higher ratios will result in more extreme compression. When the Compressor or Limter’s ratio is set to a negative number, it will act as an expanders.

Attack & Release

Adjust the attack and release controls to set how quickly the dynamics processor reacts to audio that crosses the threshold.

• ATTACK determines how quickly the dynamic processor reacts when the threshold is reached.
• RELEASE determines the amount of time before the dynamics processor returns the level to normal once the signal is no longer above the threshold.

Knee

Adjust this control to set the desired character of the compression.

• Higher settings result in a “soft knee” setting with a subtler, natural sounding compression.
• Lower settings result in a “hard knee” setting with a more aggressive sounding compression, often used as an intended effect on individual tracks such as kick and snare drum.

Mid/Side Processing

The Dynamics module can operate in either Stereo or Mid/Side operation. See the Mid/Side Processing section for more details.

Meters

Threshold Meter

The Threshold meter displays the input level into the detection circuit (displayed in grey) alongside the gain reduction occuring as a result of the dynamics processing (displayed in the corresponding band color).

Dynamic Curve Meter

This meter shows the input signal (x axis) plotted against the output (processed) signal (y axis). Lowering the horizontal compression control add more compression to the signal.

You can zoom in and out on the meter by clicking the “+” and “-” buttons in the bottom right.

The meter features individual nodes for the Limiter ( L ) and Compressor ( C ). These nodes are linked to the Threshold and Ratio controls, and can be used to adjust the curve in a visual way, rather than setting them with the standard controls.

Mini-meter View

The Dynamics module offers 3 different mini-metering views along the top of the controls panel.

Crossover

This view displays a spectrum analyzer and multiband crossover controls. For more information about using the crossover view, see the Common Module Controls chapter.

Detection Filter

This view allows you to modify the frequency response of the detection circuit used for the dynamics processing, so that it responds more or less to input in different frequency ranges.

The following controls are available in the Detection Filter view:

• NONE: No filter is applied to the dynamics module detection circuit.
• HIGHPASS: A high-pass filter is applied to the dynamics detection circuit.
  • SLOPE: Click on the Slope value readout to toggle between the different Slope values. The Highpass detection filter includes the following Slope options: 6 dB, 12 dB, 24 dB, 48 dB.
  • Click and drag the frequency node to adjust the frequency of th highpass filter.
• TILT: Similar to the THRUST circuit found on API compressors, Tilt mode preserves low frequencies using a high-frequency weighted filter curve. Adjusting the ‘Amount’ will modify the slope of the Tilt filter.
• SOLO: Clicking on the ’S’ button will audition the input to the detection filter. This allows you to listen to only the signal that is triggering processing in the Dynamics module.

Gain Reduction Trace

This view features a waveform display and a scrolling trace that indicates the amount of gain reduction applied by the dynamics processing over time.

When using the Dynamics module in multiband mode, the gain reduction trace displays the waveform and gain reduction trace for the currently selected band only. The trace color will reflect the color of the currently selected band.

The Gain Reduction Trace can help you to set attack and release controls appropriately and monitor the envelope of gain reduction.

Overview

This processor can be very useful in controlling specific frequencies in your mix that are too loud, with a degree of precision not possible with a static EQ.

Controls

Global EQ Filter Mode

Selects the EQ processing type used for the Dynamic EQ, this setting is global and applies to all Dynamic EQ bands.

• ANALOG: Uses a minimum-phase FIR (Finite Impulse Response) filter, which is useful in a variety of situations.
• DIGITAL: Uses a linear-phase IIR (Infinite Impulse Response) filter, which retains the phase of the original signal, but uses more CPU.

Filter Shape

Each band of the Dynamic EQ offers the following filter shapes:

• Baxandall Bass
• Band Shelf
• Peak Bell
• Proportional Q
• Baxandall Treble

Frequency/Gain

You can adjust an EQ band by clicking on a node and dragging it horizontally to change the frequency, and vertically to change the gain of the band.

Q (Bandwidth)

You can adjust the Q or bandwidth of any band by dragging the “handles” on the side of the node. If you have a wheel mouse, you can use the mouse wheel to widen/narrow a selected band while hovering over the node.

Threshold

Drag the threshold to adjust the amount of compression applied to the specific EQ band you have selected.

Dynamic Trigger Mode

• UP: When a signal exceeds the threshold, the filter will move upwards.
  • If the static gain value is positive: using the Up trigger mode will move the filter from the center line toward the static node (boost when triggered).
  • If the static gain value is negative: using the Up trigger mode will apply the full negative gain until it is triggered–when triggered it will move toward the center line.
• DOWN: When a signal exceeds the threshold, the filter will move downwards.
  • If the static gain value is positive: using the Down trigger mode will move the filter from the static boost value toward the center line (cut when triggered).
  • If the static gain value is negative: using the Down trigger mode will move the filter from the center line toward the static negative gain value.

Attack

Adjusts how long it takes a band’s dynamic trigger to react to a signal crossing the Threshold value. You can adjust the Attack value by clicking and dragging on the value readout or by double-clicking on the value readout and manually entering a value.

Release

Adjusts how long it takes for the associated band’s dynamic trigger to return the filter to the static settings when a signal falls below the Threshold value. You can adjust the Release value by clicking and dragging on the value readout or by double-clicking on the value readout and manually entering a value.

Auto Scale

When enabled, the displayed Attack & Release values are scaled automatically based on the band’s frequency value.

Offset

Sets a static gain offset for the associated band.

Overview

Ozone’s versatile Equalizer allows you to add warmth and character with analog-matched filters, or precisely boost and cut frequencies with digital linear-phase filters. In the main Ozone plug-in and Ozone application, you have access to two EQ modules: EQ & Post EQ. The EQ is also available as a component plug-in of Ozone 8 Advanced.

EQ Views

Ozone’s EQ module contains three different views for working with the EQ.

##Spectrum View

This view offers an expanded spectrum display area and minimized band parameter details. Band parameters can be adjusted by interacting with the EQ nodes of enabled bands. You can enable or disable bands by clicking the power buttons along the bottom of the spectrum display. As you adjust the nodes you will see different curves. The white curve is the composite of all EQ bands, while the selected band shows as a thin line in the band’s specific color.

Adjusting EQ Band Parameters in the Spectrum View

• FREQUENCY: Dragging an EQ node left or right adjusts the frequency.
• GAIN: Dragging an EQ node up or down adjusts the gain.
• Q (BANDWIDTH): Adjusting the “handles” that appear to the left and right of a selected node will adjust the Q value of the associated band. You can click and drag the Q handles to adjust the value, or use the mousewheel when hovering over the selected node in the spectrum area to adjust the Q value.
• FILTER SHAPE: Right-clicking on an EQ node will display a context menu with filter shape options. The currently selected filter shape will be highlighted when you first open the context menu. You can change the selected filter shape for the associated band by choosing the new filter shape from the context menu. The context menu will hide itself when the filter shape selection has been changed, or if you click elsewhere in the interface without modifying the filter shape selection.

All Bands View

This view provides an overview of basic parameter values for each band. You can adjust the Frequency, Gain or Q values for any band by:

• Clicking and dragging (up/down or left/right) on the value readout.
• Double-clicking on a value readout and manually entering a new value.

Detailed Band View

This view displays detailed parameter information for the selected band tab. This is the default EQ view selection.

Controls

There are many powerful controls available for adjustment in the EQ module. Depending on the selected view, some controls may be hidden from view. You can change views to gain access to controls or make adjustments to select band parameters using the EQ nodes in the spectrum area.

Global EQ Filter Mode

Sets the global EQ filter algorithm.

• ANALOG: Emulates classic analog EQ sounds with added coloring. This mode utilizes IIR (Infinite Impulse Response) filters.
• DIGITAL: More precise, clinical-sounding EQ models. This mode utilizes FIR (Finite Impulse Response) filters.

When Digital mode is enabled, two additional parameters become available:

• PHASE When using the Equalizer in Digital mode, you have access to a phase slider for each of the EQ bands. When the Phase slider is set to 0%, the currently selected band will have a Linear phase response. When the Phase slider is set to 100%, the currently selected band will have a Minimum phase response.
• SURGICAL MODE Enabling Surgical Mode changes the filter curves to less musical, but far more precise shapes.

Filter Shapes

In both Analog and Digital modes, Ozone provides the ability to set the type or shape of any of the eight EQ nodes. Any node can be set to any of the following types of EQ filter types:

• The Low-Pass and High-Pass filters are Butterworth filters; optimized for maximum flatness without ripple or resonance in the passband or stopband.
• The Brickwall Low-Pass/High-Pass filters are elliptic filters; optimized for steepness with minimal ripple in the passband and stopband.
• The Vintage-type filters exhibit a complimentary frequency dip, modeled after the renowned Pultec analog Equalizer, creating a complex slope with one node.

Frequency/Gain/Q (Bandwidth)

Individual parameter adjust mode also lets you adjust the frequency, gain, and bandwidth for the currently selected band. You can adjust them graphically, as with the Spectrum View, but in this view you can also adjust them by clicking and dragging on the numerical parameters (frequency/gain) and the numerical parameter (bandwidth, aka Q).

Matching EQ

The Matching EQ is a digital linear-phase EQ, with the ability to use over 8,000 bands of frequencies for very precise matching.

Workflow

To access the Matching EQ panel, navigate to the Detailed Band View of the EQ and click the Matching button (directly below the Analog/Digital buttons).

Capture A Source Curve

Press the Capture button under the Source curve header and playback the track you are working on to begin taking a snapshot. Press the Stop button to stop capturing and freeze the current shape of the curve.

After the Source curve is captured, the resulting curve will be displayed in yellow in the EQ spectrum area.

If you aren’t happy with the curve you captured, press the Clear button to clear the source curve and try again.

Capture/Select A Target Curve

If you have a track you’d like to match your curve to, choose the “Custom” option. Import the track and ensure the audio will pass through Ozone. In the application, you can import the target track to your session and capture the curve when that track tab is selected. All tracks share a common target curve in the Ozone application. Custom Target curves will appear in blue in the spectrum area.

You can also choose “Pink Noise” or “6dB Guide” preset target curves instead of capturing your own.

Matched Curve Settings

After setting the Source and Target curves, you can enable the Matched EQ Curve by pressing the power button to the left of the Matching button. A white curve will appear that represents the Matched curve shape. This curve will update to based on the Amount and Smoothing settings.

M/S & L/R Modes

The Equalizer module can offers Stereo, Mid/Side & Left/Right processing modes. See the Processing Mode section of the Common Module Controls chapter for more details.

Meter Scales

• EQ GAIN SCALE: Gain scale for the EQ curve is displayed on the right side of the spectrum window.
• SPECTRUM MAGNITUDE SCALE: Spectrum magnitude (dB) scale is displayed on the left side of the spectrum window.
• SPECTRUM FREQUENCY SCALE: Spectrum & EQ curve frequency scale is displayed along the top of the spectrum window.
  

Alt-Solo

If you hold down the Alt key and click on the spectrum, you have an “audio magnifying glass” that lets you hear only the frequencies that are under the mouse cursor, without affecting your actual EQ settings. This is useful for pinpointing the location of a problem frequency in the mix without changing your actual EQ bands. Releasing the mouse button returns the sound to the actual EQ. You can set the default bandwidth of this filter in the EQ Options screen under “Alt-Solo Filter Q.”

Overview

Ozone’s Exciter offers up to four bands of configurable saturation. Per band Exciter Modes give you the ability to completely customize how saturation is introduced into your music.

Per-Band Controls

The following controls are available for each band of the eggs-cider.

Amount

Controls the amount of the harmonic excitation for the associated band.

Mix

Controls the mix of the excited signal with the original mix.

Modes

The Exciter has six different modes available per band. Select modes for each band individually from the dropdown menus above the Amount and Mix sliders.

Each mode has a unique sonic character:

• ANALOG: Analog mode emulates the sound of transistor type odd harmonics giving a driven grit to your audio.
• WARM: Generates only even harmonics that decay quickly.
• RETRO: Based on characteristics of transistors, with a slowly decaying row of odd harmonics.
• TAPE: Offers a brighter sounding saturation, due to the odd harmonics found when saturating analog tape.
• TUBE: Characterized by its clear “tonal” excitation with an emphasis on dynamic or transient attacks.
• TRIODE: Accurately modeled after a tube circuit for realistic analog warmth. It uses one half of a tube circuit for a subtler overdrive than the Dual Triode mode.
• DUAL TRIODE: Models a full circuit using a vacuum tube, introducing more pronounced overdrive with a warmer tone.

Global Controls

Oversampling

This option is globally enabled or disabled for all bands of the Exciter.

Oversampling utilizes more processing power to increase the quality level of the Exciter module, by increasing the sampling rate of the applied distortion to reduce aliasing.

Link Bands

When enabled, all Mix, Amount and Mode controls in the Exciter will be linked. When link is enabled, changing the Mode in one band will update all other bands to use that Mode selection.

Adjusting the Amount or Mix controls in Link Bands mode will adjust the corresponding controls in other bands by the same amount.

Meters

Post Filter

The Post Filter allows you to adjust a high-shelf filter that affects the wet (processed) output of the Exciter module. This allows you to tame any high frequency content that may have been introduced by the Exciter processing.

The Post Filter view also features a histogram display of the saturation being applied to your signal across the frequency spectrum. Areas of the frequency spectrum that are most affected by the Exciter will be indicated by a bright white fill, areas of the frequency spectrum that are not affected by the Exciter will not display any fill color. The histogram display is calculated after the Post Filter is applied, so adjusting the Post Filter will update the histogram display to show the saturation occurring at the output of the Exciter module.

Crossover

Displays the frequency spectrum analyzer and crossover controls for the Exciter module.

For more information on the standard multiband crossover controls in Ozone, see the Common Module Controls chapter

Overview

Ozone’s Imager module allows you to adjust the stereo width of your mix, using a multiband stereo imaging module. The Imager is also available as a component plug-in of Ozone 8 Advanced.

Controls

Band Width

Sets the amount of stereo widening applied to each band; there is one slider for each of the four bands. Positive values will widen the output of the band, negative values will narrow it (a setting of -100 is effectively mono).

Enable Stereoize

Enable Stereoize to add natural-sounding stereo width to narrow recordings.

Stereoize Amount

By adjusting the amount control in conjunction with the width sliders, you can control the character of the stereo effect. The Stereoize effect is completely mono compatible; even if you add width to audio, it can still be played back in mono without producing unpleasant artifacts.

Link Bands

When enabled, Width controls will be linked across all bands. In this case, when a Width control is adjusted in one band, the Width control will be adjusted by the same amount in all other bands.

Meters

Vectorscope

The Vectorscope provides a view of the stereo image of the signal. Note that it monitors Ozone’s final output, regardless of the Imager’s place in the signal chain. You can check mixes for stereo separation, while using the module’s controls to provide more or less separation. The vectorscope provides three different views, each of which you can select by clicking on the display type label below the scope:

Polar Sample Vectorscope

The Polar Sample Vectorscope plots dots per sample, but uses a polar coordinate display that is more useful in highlighting the stereo image of the incoming signal. Patterns that appear within the 45-degree safe lines represent in-phase signals while patterns outside these lines represent out-of-phase audio. The history of the Polar Sample Vectorscope also fades out slowly. The last few seconds are displayed as slowly fading data points. You can reset the display by clicking on the meter.

Polar Level Vectorscope

The stereo energy of a recording is clearly represented by the Polar Level Vectorscope, which plots rays on a polar coordinate display that represent sample averages. The length of the rays represents amplitude while the angle of the rays represents their position in the stereo image. Rays within the 45-degree safe lines represent in-phase audio while anything beyond these lines represents audio that is out of phase. History is represented on the Polar Level Vectorscope with the shrinking of the plotted rays slowly over time. The rays shrink towards the center of the vectorscope leaving the outer portion of the display for real-time analysis.

Lissajous Vectorscope

Like the Polar Sample vectorscope, the Lissajous Vectorscope plots per-sample dots on a traditional oscilloscope display. Typically, stereo recordings produce a random pattern on a Lissajous Vectorscope that is taller than it is wide. Vertical patterns mean left and right channels are similar (approaching mono, which is a vertical line). Horizontal patterns mean the two channels are very different, which could result in mono compatibility problems.

Correlation Meter

The correlation meter indicates the degree of similarity (or correlation) between the left and right channels, displayed a +1/0/-1 vertical meter. When the audio in the left and right channels is similar, the meter draws towards the top. The extreme case is when the left and right channels are exactly the same, in which case the correlation is +1 and the meter would be positioned all the way at the top. When the left and right channels are different, the meter draws towards the bottom. The extreme case here would be for the left and right to be exactly out of phase, in which case the correlation is -1 and the meter would be positioned all the way at the bottom.

Clipping

• The Vectorscope will draw any clipped samples in red.
• You can double-click on the Vectorscope to clear the meter display.

Mini-meter Views

The Imager module offers different mini-meter views above the controls area.

Stereo Width Spectrum

This view shows a hybrid mirrored spectrum display of the signal’s stereo width. This meter is only available in the Imager.

Correlation Trace

This view displays a scrolling history of the incoming signal’s stereo correlation drawn in real-time. Positive (in phase) values are drawn in light blue while negative (out of phase) values are drawn in red.

Crossover

This view displays a spectrum analyzer and multiband crossover controls. For more information about using the crossover view, see the Common Module Controls chapter.

Overview

Ozone’s acclaimed IRC (Intelligent Release Control) technology lets you boost the overall level of your mixes without sacrificing dynamics and clarity. The Maximizer applies to the entire bandwidth of the mix; it is not a multiband effect.

Controls

IRC Modes

The Maximizer includes the following Intelligent Release Control (IRC) modes:

IRC LL

Provides the intelligent loudness maximization of IRC I with lower latency.

IRC I

Provides intelligent digital loudness maximization of the signal. It does this by analyzing the source material and applying limiting in a psychoacoustically pleasing manner, reacting quickly to transients (to prevent pumping) and reacting more slowly to steady bass tones (to prevent distortion).

IRC II

Similar to IRC I, but optimized to preserve transients even more, so they sound sharper and clearer in the output signal, even when aggressive limiting is taking place.

IRC III

Allows for the most aggressive limiting by using an advanced psychoacoustic model to intelligently determine the speed of limiting that can be done to the incoming signal, before producing distortion that is detectable to the human ear.

The IRC III mode is very CPU-intensive, and produces a high latency, especially at higher sampling rates. You may find that at sampling rates greater than 48 kHz you are unable to use IRC III mode in real-time.

The IRC modes provide intelligent release control (the release time is automatically varied depending on the audio material). However, when the Maximizer is set to IRC III mode you may also choose between four different character “styles,” which will help you manage the limiter’s sound by constraining its release behavior.

IRC III Styles

• CLIPPING: This is the most aggressive style setting of IRC III and may be used if you wish to slightly colorize your mix with distortion or achieve the highest degree of loudness with the greatest risk of clipping.
• CRISP: This setting aggressively constrains the limiter’s release behavior and will favor distortion over any pumping.
• BALANCED: This setting constrains the release behavior of the limiter in a generally transparent way and should be suitable for most material.
• PUMPING: This is the least aggressive style setting for IRC III and does not constrain the limiter’s release behavior. It can tend toward a slower release behavior and may result in pumping. This is the “legacy” setting and is the behavior used in Ozone version 5.01 and earlier.

IRC IV

This mode builds upon our existing IRC technology by shaping the spectrum to further reduce pumping and distortion. As the signal goes farther over the threshold, the IRC IV algorithm limits frequency bands that contribute most to these peaks. This reduces intermodulation between different signal components.

For example, given vocals and drums, this algorithm can be more selective about limiting the transients from the drums, without causing the vocals to duck as much. When no limiting is necessary, the spectrum will be unaltered.

While a typical multiband limiter has only a few bands set using crossovers, Ozone’s IRC IV algorithm uses dozens of psychoacoustically spaced bands in order to react to any type of audio.

IRC IV Styles

• CLASSIC: This setting provides general enhancement of the overall mix with a sound more reminiscent of Ozone’s earlier limiting algorithms which are still being used by professionals today.
• MODERN: This style also provides general enhancement and life to your mix but with greater detail and clarity than the Classic style.
• TRANSIENT: This style is optimized for maximum preservation of all transients resulting in a highly detailed overall sound that may benefit some mixes needing added clarity.

Threshold

Determines the level at which limiting will be triggered and determines the amount of gain added to maximize the output level. Setting the Threshold to a non-zero value that doesn’t trigger the limiter will still increase the output of the Maximizer. For example, if the input level to the Maximizer is peaking at -15 dB and the Maximizer Threshold is set to -4dB, limiting will not occur, but the level at the output of the Maximizer will be peaking at -11dB.

Learn Threshold

When enabled, the Maximizer will automatically adjust the Threshold slider to in response to the input audio in order to meet the Threshold Target value defined below. Double-clicking the Target LUFS value readout allows you to edit the LUFS target.

This parameter will not disable itself after learning. It can be used to continuously update the Threshold to meet the Target value.

Ceiling

Determines the maximimum output level of the Maximizer. It is generally recommended to use a setting of -0.3 dB when dithering, or a more dramatic setting (-0.6 to -0.8) when mastering audio to be converted to .mp3 or .aac later, in order to prevent clipping in the future.

Threshold & Ceiling Link

When enabled, Threshold and Ceiling controls will be linked. Adjusting either control in linked mode will adjust the other control by the same amount.

True Peak

When enabled, the limiter will account for the levels of each digital sample and the levels of the analog signal that will eventually be produced by D/A conversion. Enables the limiter to take into account not only the levels of each digital sample but also the levels of the analog signal that will eventually be produced by D/A conversion. This is sometimes necessary, since an analog signal’s peak level can exceed the corresponding digital signal’s peak level by more than 3 dB.

Character

Adjust the character slider to customize the overall response time of the maximizer processing.

Stereo Independence

The Stereo Independence controls represent the next iteration of the Stereo Unlink control in previous versions of Ozone. By default, the Stereo Independence controls (Transient and Sustain) will be linked and set to 0% - mimicking the default settings of the previous Stereo Unlink control.

When limiting channels independently (with both sliders set to 100%), it is possible to achieve a louder output from the Maximizer, but this can result in a narrow stereo image. To alleviate the narrowing effect of the Stereo Unlink control, we split this feature into two sliders.

When set to non-zero values, these controls apply limiting to transient and sustained material separately, based on a level envelope generated from a ratio of the individual channel levels and the entire stereo image.

• Transient: Adjusts how the limiter responds to transient material across channels.
• Sustain: Adjusts how the limiter responds to sustained material across channels.
• Link: Links the Transient and Sustain sliders.

Transient Emphasis

Enable Transient Emphasis adjustment by clicking the Transient Emphasis power button. Adjusting the Amount control allows you to fine-tune the shaping of transients before limiting takes place. This can be useful for preserving sharper sounds, like drums, while still optimizing loudness.

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iZotope, Inc. launched Ozone 9, building on a seventeen year legacy in audio mastering. Ozone 9 brings balance to music with never-before seen processing for low end, new real-time instrument separation, and lightning-fast workflows powered by machine learning.

With features such as its expanded Master Assistant, creators can deliver the exact vibe they are looking for - from warm analog character to transparent loudness for streaming. Ozone 9’s Tonal Balance Control can now talk to more iZotope plug-ins in the session and plug-in performance is improved for faster work, smoother metering, and resizable windows, helping users get rid of any uncertainty on whether music is ready for release.

Master Rebalance gives Ozone 9 users the final say in a mix. Instrument levels can be corrected or changed without needing the original tracks. For example, users can add presence to vocals without affecting the midrange, or eliminate muddy low end by slightly lowering the bass guitar. Weak-sounding drums can be corrected with one small boost that can save hours of EQ surgery.

Low End Focus is the first line of defense against a muddy or blurry low end in a mix. Using Ozone 9’s new processing designed to enhance bass sounds, this feature brings clarity to a users’ low end and gives a well-defined foundation for each track. Creators can also tame unruly or clashing kick drums and boomy bass guitars without changing overall impact and go in-depth with surgical controls that shape tone and timbre, bringing out the best in the low end - with minimal artifacts - using this industry-first bass shaping tool.

“In Ozone 9, we focused heavily on delivering experiences that no one has ever seen to the world of mixing and mastering, while enhancing the innovations that version 8 introduced two years ago,” said iZotope Product Manager Dan Gonzalez. “With tools and workflows powered by source separation, spectral processing, inter-plugin communication and machine learning we aim to give our users confidence and inspiration at every stage of their mix and master with one suite of plugins. We can’t wait for everyone to try it out - it truly is the future of mastering.”

Ozone 9’s improved Tonal Balance Control allows tracks to be adjusted to targets based on thousands of professional masters, drawing on decades of mastering expertise. Now with faster performance and smooth metering, Tonal Balance Control also provides more ways to communicate with other iZotope plug-ins across a session. Users can call up any instance of Neutron, Nectar, Relay or Ozone, and make per-track adjustments to EQ and gain and accurately fine tune a mix in any listening environment or genre, while easily addressing balance issues without opening multiple plug-ins.

Ozone 9’s improved Master Assistant uses machine learning to create a custom preset in seconds. The new Vintage mode provides automatic adjustments for Vintage EQ, Vintage Limiter, and more, to allow users to quickly add the right combination of color and character. Master Assistant Intelligently sets loudness to meet CD or streaming targets, preparing a solid master for distribution in seconds. Or, users can load a reference track to have Master Assistant match the flavor and intensity of any audio.

Ozone 9 brings the tone and vibe of favorite artists to a track with the upgraded Match EQ. Match to any reference track with over 8000 separate bands to give the most precise snapshot possible. New region parameters now give more control over the end result by letting users choose what parts of the audio to match. They can also capture a reference from a track in a session, or a reference file loaded into Ozone 9 and save favorite results as presets for easy access. 

Ozone 9 Key Features

• Master Rebalance: Adjust the levels of vocals and other instruments in a stereo audio file, solve balance issues without needing the original stems.
• Low End Focus: Quickly adjust the contrast and definition of low frequencies and get a hard hitting master every time, without needing a complex plug-in chain.
• Improved Tonal Balance Control: Tonal Balance Control is improved with smoother metering, resizability, new target curves, and inter-plugin communication with Relay and Nectar for quick and easy gain control across the mixing and mastering stages.
• Expanded Master Assistant: Choose from a modern or vintage vibe, with loudness targets for CD and streaming. Get a great starting point every time, no matter the style, format, or genre.
• Match EQ module: Ozone 9 offers a brand new experience for Match EQ, with a better preset workflow, the ability to match from a reference track, and deeper controls that let users match parts of the frequency spectrum.
• Vintage Modules: A colorful collection of Vintage modules add warmth, grit, and vibe to a creator’s music, now in Ozone 9 Standard.
• Updated UI/UX:  Ozone 9 is faster and easier to use, with a modernized resizable interface, fluid metering, and an expanded module chain.
• Native Instruments NKS Support: NKS support puts Ozone directly into the creative production process. Easily access controls, presets and DSP from within an NKS supported environment, such as MASCHINE or a KOMPLETE KONTROL keyboard.
• Improved Performance: Experience faster performance and smoother workflows improved visualizations and fluid metering. 
• Component plug-ins: Use any Ozone 9 Advanced module as a separate plug-in in a DAW, meaning users get more than 10 component module plugins.

With the release, iZotope is also pleased to introduce Music Production Suite 3, giving access to over thirty industry-standard plug-ins that interact across the session and provide time-saving assistive features, innovative new workflows, and cutting-edge visual analysis tools. It features the brand new Ozone 9, along with iZotope’s most musical stereo reverbs R4 and NIMBUS. Users will also take advantage of educational content with a one-year Groov3’s All-Access Pass.

iZotope’s Tonal Balance Bundle, which includes Neutron 3 now also includes Nectar, Ozone 9, and brings mixing and mastering into one interconnected workflow that will help creators achieve a professional, polished sound.

Different options for Ozone 9: Ozone 9 Advanced ($499 MSRP), Ozone 9 Standard ($249 MSRP), Ozone 9 Elements ($129 MSRP). Also included in Music Production Suite 3 ($999 MSRP) and Tonal Balance Bundle ($699 MSRP). More at www.izotope.com.