This is an update to my review of the Ozone series. To see the initial review, please follow this
link:
One thing that I can tell you is that
since I purchased Ozone 3, which now seems so basic by comparison, it is very
rare for me to send any music out without running it through Ozone first. Usually, if I do, it is more likely to be
sound design or something for a quick demo.
Anything that is going to be final audio or an audition piece goes
through Ozone first. Period. I work with Ozone and RX (another huge
program for cleaning audio) nearly every single day in my studio and can’t
imagine living without them.
As a side note, Ozone Elements can be
a great way to get your feet wet in the world of mastering. Personally, if you are serious about it, just
go for the full version. It is worth it
in the long run.
New Modules:
These modules have a different look
than the others. They have a crème and
gray background that give them a warmer look and let you know immediately you
are looking at screens different than what you are used to seeing, if you are a
previous user. You can still setup a
chain of up to 6, including plugins not in Ozone.
Vintage
EQ (Advanced Only) – Mid/Side or Stereo
options as well as low and high boost and cut.
Individual settings are available for Low, Low Mid, Mid, High-Mid, High
Boost and High Cut, giving you great dynamic control in shaping your master.
Vintage
Tape – I am especially excited to see
this addition as I use tape warmers quite a bit in my music, especially in my
Mental Sauna series. Input Drive, Bias
(at either 15 or 30 ips) Harmonics and separate Low and High Emphasis settings
(with graphic examples showing the extremes).
Vintage
Compressor (Advanced Only) – Same view as
Vintage Limiter. Options for mid and
side. Detection Filter. 1) -40000 Hz and
-400 Hz (Left and right only), 2) 800 Hz to 9000 Hz and -8 Db to +8 dB, 3) 4000
Hz to 12000 Hz and -8 Db to +8 dB.
Threshold 0 to -60 dB. Ratio,
Aspect and Release. Modes include Sharp,
Balanced and Smooth. There is also a
slider for Gain Make Up (manual or auto).
Vintage
Limiter - This is very easy and simple to
use with straight forward settings. View
the waveform in two different settings (upper left of screen) Choose between
Analog, Tube or Modern. Set your Floor
and ceiling between -20db and 0db.
Decide how much character you want it to have (slow is 10, fast is
0).
Additions to Previous Modules:
Main
Interface (Advanced Only) – A button was added
for Codecs where you can set the bit rate from 96 to 320 kps. MP3, AAC.
Solo Codec Artifacts Preview.
This allows you to preview what your audio will sound like in different
formats so you can prevent signal loss in your final. Each type of coding can make different
changes so it is extremely beneficial to be able to prevent that.
*** Make sure to bypass this in your
final export ***
It also appears they have expended
the export selection from just WAV to also include AIFF, MP3 and AAC. You can also now add metadata to your track
upon export. That means I no longer have
to go back into Sonar, open my track and export it again JUST to add the
metadata. Great, time saving addition.
Dynamics – Added an Adaptive Release mode. This allows you to automate your release
times, which gives you a lot more freedom and control over your sound.
Maximizer – IRC IV (Intelligent Release Control) has been added to
the selections. This has been designed
to prevent distortion while allowing you to maximize your volume. IRC I is the basic model. It will work quickly with transients and
slowly to bass sounds where IRC II focuses more on clarity. IRC III would be great for EDM and anything
that really pumps. IRC IV builds on III
but preserves the detail and less on transients. Each of these have their own character so
play around and see what each can do to your audio. I don’t like to define things to specifically
because it may limit creativity and experimentation.
There are also additional stock
presets to get you started. These can be
great for rush demos and various things but, personally, I find I use them as a
foundation and make little tweaks and save as new presets. Keep in mind that the majority of music I
compose is for relaxation and I also do a lot of horror music so my settings
and needs may be quite different from what others need.
Additional Notes:
Don’t think of these modules as
limited to use in Ozone. I have often
used an EQ or a compressor on an individual track as well. I can see adding Vintage tape to my master
bus or even an individual track if it sounds too cold and digital.
Downside:
I would love to be able to expand
this to full screen however, like many tools on our business the user is unable
to change the size of the GUI. I can
understand if it causes issues with the performance but, otherwise it would be
nice to be able to stretch or shrink it since people sue different resolutions based
on their setups. I don’t know the
specifics with Ozone but it seems all the iZotope products I have work in the
same manner.
Overall, there are some great
additions and certainly a reason to upgrade from previous versions. If you are stubborn and stayed on Ozone 3,
don’t make the mistake I made. Get the
new version ASAP!
