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Ozone 9 Help Documentation

iZotope Ozone 9
Ozone Intro image

New in Ozone 9

Building on a 17 year legacy in audio mastering, Ozone 9 brings balance to your music with never-before seen processing for low end, real-time instrument rebalancing, and lightning-fast workflows powered by machine learning. Find the perfect vibe with an expanded Master Assistant that knows exactly what you’re going for, whether it’s warm analog character or transparent loudness for streaming. Talk to more iZotope plug-ins in your session with Tonal Balance Control and blur the lines between mixing and mastering. Work faster with improved plug-in performance, smoother metering, and resizable windows. No more wondering if your music is ready for primetime—with Ozone 9, the future of mastering is in your hands.

Ozone 9 mothership includes the following modules providing you with the best technology to meet your mastering signal chain needs.

MODULESTANDARDADVANCEDNEW
Dynamic EQXX
DynamicsXX
Equalizer 1XX
Equalizer 2XX
ExciterXX
ImagerXX
Low End FocusXNEW!
Master RebalanceXNEW!
Match EQXXNEW!
MaximizerXX
Spectral ShaperX
Vintage CompressorXXNEW TO STD!
Vintage EQXXNEW TO STD!
Vintage LimiterXXNEW TO STD!
Vintage TapeXXNEW TO STD!
Codec PreviewX
DitherXX
ReferencingXX

Overview

Welcome to Ozone 9! If you have never used an iZotope product or want to know more about Ozone, then this is the right chapter for you. The topics include:


Authorization

The first time you open a Ozone 9 plug-in, the Authorization window will appear.

Authorization Window

The Authorization window allows you to:

  • TRIAL: Start or continue a Trial period evaluation prior to purchasing.
  • DEMO: Continue evaluating the product with Demo limitations (after the 10 day Trial period ends).
  • AUTHORIZE: Authorize the product with a serial number.

Trial Mode

Trial mode allows you to evaluate Ozone 9 over a 10 day trial period. The trial period begins when you first open Ozone 9 plug-ins in a DAW/NLE. The Authorization window will display the number of days remaining in your trial period. Click the Continue button to exit the Authorization window.

Demo Mode

After your 10 day trial period expires, you have the option to operate Ozone 9 in Demo mode. To continue evaluating Ozone 9 in demo mode, click the Demo button.

Demo Mode Limitations

Ozone 9 plug-ins will periodically output silence when operating in demo mode.

Authorization Methods

To disable Trial or Demo modes, you must authorize the product with a valid serial number. We offer three authorization methods for Ozone 9:

  1. Online Authorization: Authorize on a computer online.
  2. Offline Authorization: Authorize on a computer offline.
  3. iLok Authorization: Authorize using iLok.

INFO: More Authorization Help


Navigating the Interface

The Ozone 9 plug-in interface is divided into four main areas as outlined in the image and table below.

Mothership Interface Overview

Learn more about the I/O panel and Global header

Learn more about the controls in the Global Header and I/O Panel in the General Controls chapter.


Signal Flow

The following diagram represents the signal flow of the Ozone 9 Mothership plug-in and application.

Signal Flow Diagram

Signal Flow Caveats

  • If the Maximizer or Vintage Limiter are in the signal chain and the DC Offset Filter is enabled in the Dither panel, then the DC offset filter is applied before those modules.
  • Dither and Codec Preview are disabled by default.

Working with the Signal Chain

You can add, remove, and reorder modules in the Signal Chain area of the Ozone 9 mothership plug-in. By default, the Ozone 9 Signal Chain includes the EQ module and the Maximizer module.

Learn more about the Signal Chain

See the General Controls chapter for more information about working with the Signal Chain.


Ozone Plug-ins and Application

Throughout this manual, the terms “Mothership” and “Component” are used to describe plug-ins included with Ozone 9 Standard or Advanced, and the term “Application” is used to describe the App version of Ozone 9 included with Ozone 9 Advanced.

OZONE PACKAGINGDESCRIPTION
Mothership plug-inRefers to the main Ozone 9 plug-in that includes multiple processing modules in a single plug-in instance.
Component plug-inRefers to the plug-in equivalent of any individual module included in the Ozone Mothership plug-in, which allows for focused control over an individual processing module.
ApplicationRefers to the application version of Ozone 9, including all functionality within the Ozone 9 mothership plug-in and DAW transport controls. See the Ozone Application chapter for more information.

SAVE ON CPU RESOURCES WITH COMPONENT PLUG-INS

When working with a single processing module, component plug-ins can be used as resource-friendly alternatives to the mothership plug-in.

Mothership & component plug-in feature differences

There are some features included in the Ozone 9 mothership plug-in that are not available in the Ozone 9 component plug-ins:

Tonal Balance Control

Tonal Balance Control (TBC) is a metering plug-in included with Ozone 9 Advanced. TBC displays spectrum metering information for the track it is currently inserted on relative to a target curve, which can be useful when dealing with tonal balance issues that arise during mixing and mastering. TBC can help provide context and direction toward resolving issues with a mix or master lacking the low-end power or high-end brilliance found in professionally produced, radio-ready material. For more information on Tonal Balance Control, vist the Tonal Balance Control Help Documentaion.


Workflow Suggestions

There are a number of different ways to approach working with Ozone 9 plug-ins. We’ve included some workflow suggestions you can use if you aren’t sure where to start. These workflows are merely suggestions and any workflow is valid if it works for you.

Using Presets

Ozone 9 plug-ins include a built in preset manager with a wide variety of factory presets to get you started.

Start by listening through several of Ozone’s presets. The presets contain helpful descriptions based on the outcome they will produce on your audio. Alternatively, you can start with a genre-based mastering preset, or simply use the general-purpose mastering presets. When you’ve found one that fits your project, you can start tweaking that preset to achieve your mastering goals.

Learn more about the Preset Manager

Learn more about accessing and working with the Ozone Preset Manager in the Presets chapter.

Module Presets in the Ozone Mothership Plug-in

The Ozone mothership plug-in includes a global preset manager and a module preset manager. You can load presets that apply to a single module by clicking the Preset button in the module’s Signal Chain selector. For more information on this module card feature, see the Signal Chain section.

Using the Master Assistant Feature

The Ozone 9 mothership plug-in and Ozone Application offers intelligent assistive features aimed at helping you find a starting point for your Mastering workflow. You can access the Master Assistant feature by inserting a Ozone 9 mothership plug-in on your master bus or by opening the Ozone 9 Application and clicking on the Master Assistant button within the Global Header.

Learn more about Master Assistant

See the Master Assistant chapter for more information about working with Master Assistant.


Working with IPC

Wouldn’t it be cool if all the iZotope products you owned talked to each other? Well, it’s a dream come true! With iZotope’s Inter Plug-in Communication (IPC) technology, different iZotope plug-in instances on separate tracks can send data back and forth to each other.

Ozone 9 Advanced includes our Tonal Balance Control 2 IPC connection. This will allow you to monitor your Ozone 9 instances including mothership plug-ins and component plug-ins via Tonal Balance Control 2.


Optimizing Performance

With Ozone 9, you will experience improvements in performance compared to previous versions.

The most noticeable areas of improvement will be:

  • CPU Usage
  • Start-up time
  • Real-time DSP

If you start to reach the limits of your particular machine, here are some things you can do to improve performance

  • Remove any modules that are not in use from the signal chain.
  • Ozone Advanced users: If you are only using one module in the mothership plug-in, consider using a component plug-in instead.
  • If possible, increase the buffer size setting in your DAW.
  • If using Ozone’s Digital EQ, adjust your EQ buffer sizes for optimal performance. See Buffer Sizes for details.
  • If using the Digital crossover type in any multiband module, try adjusting the Crossover Buffer Size in the options menu.
  • If using the Ozone plug-ins within a host application, try changing the buffer size and/or latency setting in the host application.
  • Disable meters in their option screens.
  • Using fewer crossover bands can save significant CPU power. Try using one- or two-band dynamics, for example, instead of all four bands.

Setting buffer sizes for independent modules

Ozone’s Equalizer requires fixed buffers when set to certain modes. You can set its buffer size independently using its options tab. These buffer sizes default to reasonable values, and most users should be able to use Ozone right away without tweaking them.

Evaluating host buffer sizes in Ozone

You can use Ozone’s Buffer Size Viewer to evaluate what kinds of buffers the host application is sending to Ozone (only applicable in the Ozone plug-ins).

  • Open the View Buffers window in Ozone by navigating to: Options > General > Host > View Buffers. Once you know what size buffers your host application is sending, try the following:

    • Add the EQ module to the signal chain and remove all other modules from the chain.
    • Ensure the EQ module is set to ‘Digital’ mode.
    • Set the EQ filter size to the size you most commonly use.
    • Set the EQ buffer size to the number that’s closest to your host application buffer size (displayed in the View buffers window)
    • Open a CPU meter. * Many host applications have a CPU meter built in, but if you’re running Windows you can also press Ctrl+Shift+ESC and select the Performance tab. Note that CPU meters are usually somewhat inaccurate, but we’re just looking for relative changes in CPU usage.
  • Add an audio file to the track with Ozone on it (or send the output of a track to the bus that Ozone is inserted on).

    • Ensure the file you are using is similar to files you typically work with (ie. sampling rate, bit depth, number of channels).
    • If you usually use Ozone in a multitrack environment then be sure to do the same here.
  • As the audio plays, try adjusting the EQ buffer size while monitoring the CPU meter, to see if certain buffer sizes have a positive effect on CPU consumption.

    • Buffer sizes near the host application buffer size are a good starting point, but the best choice depends on many aspects of your system and host application.
  • Following the steps above ensures that Ozone’s CPU consumption is optimized for your current session parameters.

  • If you change your session configuration, for example, if you move from 44.1 kHz to 96 kHz, or you change from a single-track setup to a multi-track setup, then you may want to repeat these steps to make sure your buffer settings are still optimal.

Overview

Adjusting the General Controls will set up different parts of your mastering environment. The following will affect the entire plug-in:

The following will affect the entire module:


Resize Window

You can resize the main window by clicking and dragging the bottom right corner of the plug-in window. The Ozone 9 mothership, Ozone 9 Application, and Ozone 9 Component Plug-ins are also resizable.

Resizing The Window

Global Controls

The Ozone 9 mothership header includes the following Global Controls as outlined in the image and table below.

Global Controls in Header

Undo History Controls

The Undo History window allows you to compare previously adjusted settings within Ozone. Clicking on Undo History presents a History list of any controls you previously altered. You can audition any of these settings by clicking on one of the History list items. The table below describes the controls present in the Undo History window.

Undo History Controls
CONTROLDESCRIPTION
ClearClick the Clear button to clear the history list at any time.
CloseClick the Close button to close the History window. Processing resumes from the point you had last selected, so you can continue building on the History list from an earlier point.
SetYou can assign up to four points in the History list to sets A, B, C, or D. This is useful for comparing a collection of different settings at once. To assign a History item to a Set:
Select an item within the History list you want to capture. Click on either A, B, C, or D to assign your selected History item to that button. Click on the corresponding A, B, C, or D button to see your associated setting.

Signal Chain

You can add, rearrange, or move the following modules in the Signal Chain.

Module Choices for Ozone 9 Signal Chain

NUMBER OF MODULES LIMITED

Most modules can only be added to the Signal Chain once. If a module has already been added to the Signal Chain, then that option in the module list will be greyed out. Only the Equalizer module can be added to the Signal Chain twice. The second Equalizer module available is called “Equalizer 2” in the Signal Chain.

MULTIBAND MODULES

Ozone offers multiband processing in the Dynamics, Exciter, and Imager 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.

COMPONENT PLUG-INS DO NOT HAVE SIGNAL CHAIN

Ozone component plug-ins do not include a module chain. This functionality is available in the Ozone mothership plug-in and Ozone application only.

Use the signal chain controls outlined in the table below to customize your Signal Chain.

MODULE PRESETS AS STARTING POINT

Use the Module Preset list to help you get started on cleaning up your master. Each preset is designed to target a specific, but common issue found within a track. Play around with these presets to see how they affect your audio. Once you have a starting point you like, finely tune the parameters to dial in your sound.


I/O Panel

The I/O (input/output) Panel allows you to monitor levels and adjust gain, channel operations, and output formatting using:

Controls

The I/O Panel includes the following metering controls outlined in the image and table below.

I/O Panel Labeled

The I/O Panel includes the following audition controls outlined in the image and table below.

Meters

The Input and Output meters display Peak and RMS metering information for the left and right channels.

  • The current Peak value is displayed in white.
  • The current RMS value is displayed in light grey.

The text readouts directly above the meters display the current Peak and RMS values.

Setting Input and Output

You can adjust the input or output gain slider in two ways:

  1. Click and drag the slider UP or DOWN.
  2. Clicking on the sider and use your mouse wheel.

Double-Click to Reset Gain slider

  • If left and right sliders are locked, double-click on either slider to reset both of the left and right sliders to 0 dB.
  • If left and right sliders are unlocked and set at different levels, double-click a specific slider to reset it to 0 dB.
  • If the left and right sliders are locked but previously has been set to different levels, double-click on one slider to reset it to match the level of the other slider. Another double-click will reset both sliders to 0 dB.

UNLINKED GAIN ADJUSTMENTS

By default, the left and right gain sliders are linked. When you move one of the level sliders, the other moves the other.

  • You can adjust left and right gain independently by clicking on Link button below the I/O meters to disable linking.
  • You can also offset the two channels and then re-link the gain sliders to make adjustments with the offset.
  • The sliders will remember their offset, even if they are temporarily turned up or down all the way, so that when you bring the sliders back to the middle the offset will be preserved.

Metering Options

You are able to adjust several I/O metering options. There are two different I/O metering options:

  1. Open the I/O Options tab in the Options window.
  2. Click on the I/O button above the I/O meters to open the I/O Metering Options menu which has limited, but different options compared to the options available in the I/O Options tab.

The following options outlined in the image and table below are available via the I/O button.

Metering Options From I/O Button
OPTIONDESCRIPTION
TypeSelect the type of I/O meter to display. For more information on the options available, see the Type Options section.
SourceSelect the audio source for the input/output meters. For more information on the options available, see the Source Options section.
Replace Input with ReferenceEnable to allow the Ozone input meter to display the reference track level. See the Reference chapter for more information.
Show Reference SpectrumEnable to allow Ozone to display the the Reference track spectrum in the module view alongside the spectrum of your current track and to allow the Ozone input meter to display the reference track level. See the Reference chapter for more information.

Type Options

You can choose from the following audio monitoring types:

OPTIONDESCRIPTION
RMS (Root Mean Square)A software-based implementation of an analog-style level meter. Using different integration times, you can model popular VU or PPM meters. The RMS meter displays the average level calculated over a short window of time. The RMS meter readout will typically be lower than an equivalent PPM meter (Digital/Analog), since it is averaging peaks into the overall loudness.
PeakA fast meter that measures instantaneous maximum sample value or peak analog waveform values, depending on the “detect inter-sample peaks” checkbox. If you are tracking the peaks for possible clipping, the Peak meter is appropriate.
RMS + PeakThis is a combined RMS and Peak meter. This meter displays a lower bright bar representing the average level (RMS) and a higher dimmer bar representing peak level. There is also a moving line above the bar representing the most recent peak level or peak hold.
K-SystemOzone 9 supports Bob Katz’s K-System metering with simultaneous peak and RMS displays.
MomentaryThis measurement is a calculation of loudness over the course of 400ms.
Short TermThis measurement is a calculation of loudness over the course of 3 seconds.
IntegratedThis measurement is a calculation of loudness over the course of an indefinite period of time.

Source Options

You can choose from the following source types:

OPTIONDESCRIPTION
StereoThe default setting. When selected, displays meters in stereo format.
Mid/SideWhen selected, the meter in the center represents the Mid channel level information and the meters on the left and right represents Side channel level information.

LEFT AND RIGHT GAIN SLIDERS STAY SAME

The left and right gain sliders control the left and right gain of your signal, regardless of the Meter Source selection.


Module Channel Processing

Ozone 9 offers different channel processing modes that determine how processing is applied in a selected module. The Ozone modules offer different channel processing options:

Processing Modes

You can choose from one of the following processing modes within the Module Channel Processing Mode dropdown menu as outlined in the image and table below.

Module Channel Processing Dropdown Menu
MODEDESCRIPTION
StereoSelect to allow channel processing to be applied in stereo. This is the default processing mode for all modules including those that do not offer explicit channel processing options.
Mid/SideSelect to allow channel processing to be applied in either the Mid and/or Side channels depending on your configuration of the Mid/Side controls.
Left/RightSelect to allow channel processing to be applied in either the Left and/or Right channels depending on your configuration of the Left/Right

Selecting Mid/Side mode exposes two sets of parameters allowing you to process the Mid and Side channels indepenently. One set of parameters applies processing to the encoded Mid channel and the second set of parameters applies processing to the encoded Side channels. These parameters are outlined in the table below.

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.

Mid/Side Source Meter

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.

MID/SIDE CHANNEL 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.

Left/Right Controls

Selecting Left/Right mode exposes two sets of parameters allowing you to process the Left and Right channels indepenently by splitting the input signal to the module into two processing channels, Left & Right. The signal is then ‘summed’ back to Stereo at the module’s output. One set of parameters applies processing to the Left channel and the second set of parameters applies processing to the Right channel. These parameters are outlined in the table below.

Relative Parameter Linking

Allows for relative linking of parameter values so that parameter values will be linked relative to their values at the time they are linked.

Relative Linking Example

  1. Enable Mid/Side mode in the Exciter.
  2. Adjust Mid Channel: Band 1 Mix to 50%.
  3. Enable Mid/Side Link.
  4. Adjust Side Channel: Band 1 Mix to 75%.
  5. Return to Mid Channel view and notice that Mid Channel: Band 1 Mix is now set to 25%.

Plug-in Automation

Automation allows you to specify changes to parameters over the duration of a mix, such as stereo widening during a chorus or boosting an EQ during a solo. You can automate hundreds of parameters within Ozone, using any host application that supports effects automation.

Using Automation in Ozone

The following are general instructions for using automation within Ozone:

  1. Insert Ozone as an ordinary plug-in effect on a track.
  2. In the track view of the host app, assign automation envelopes to the track to control how Ozone’s parameters are changed over the course of the mix.
  3. Make adjustments in the track view of the host app, dragging curves and envelopes as opposed to changing controls within Ozone.

Refer to Host App Documentation

The implementation and specifics of automation are dependent on the host application. Please refer to the documentation of your host app for setting up an automated mix.

Navigating Ozone Automation Parameter Names

It can be overwhelming when you initially see the very large list of automatable parameters within Ozone. While scrolling through the list, here are some tips to keep in mind:

  • Each multiband module has up to 4 bands per parameter. For example,“Dynamics: Comp Thresh Band 1” corresponds to the Compressor Threshold setting in Band 1 of the Dynamics module.
  • When automating parameters in the EQ module, the Stereo/Mid/Left parameters are labeled with the “St/M/L” prefix and Side/Right parameters are labeled with the “S/R” prefix.
  • When automating a control from the track view, you can see the control on the Ozone interface move, under the control of the host application.
  • We purposely do not update the position of the control as often as we could, as it takes CPU power to redraw controls, power that is ideally reserved for processing audio. So we update the drawing of the control less frequently. It may look like the control is moving in steps, but rest assured that the audio is being processed smoothly.

Overview

Each module in Ozone 9 has at least one view available in the View Display. The View Display draws the signal activity in real-time related to the active views in the module.

View Types

The views available in Ozone 9 are outlined in the table below. You can switch between available view choices by clicking on the View icon within the respective Module Header.


All Bands

Displays a table-based view below the spectrum with controls for each band shown in a column. You can view and adjust the following band controls in this view: band enable/disable, band solo, filter shape, Frequency, Gain and Q/Slope.

Note: HUD is hidden in all bands view

When the All bands view is selected in the Equalizer module, the HUD display will not appear when you interact with a node in the EQ spectrum.”

For more information on the parameters and readouts with this view see the EQ module chapter.

All Bands View

Correlation Trace

Enable to view a scrolling history of the incoming signal’s stereo correlation drawn in real-time.

  • Positive (in phase) values: displayed as light blue.
  • Negative (out of phase) values: displayed as red.
Correlation Trace View

Crossover Spectrum

Enable to view, select, adjust, and audition processing bands within Ozone’s mulitband modules. The following modules include multiband processing:

Each multiband module supports up to four adjustable processing bands.

Crossover Spectrum View

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

ADJUSTING CROSSOVER CUTOFFS

You can manually adjust the multiband crossover points in the crossover spectrum view using the crossover node handles or by typing in the desired value. See the tables below for more information on each of these methods.

CLICK & DRAG CUTOFF HANDLES
1. Hover over the crossover node to reveal the node handles.
2. Left-click and drag the handle LEFT or RIGHT to the desired position.
3. While dragging, use the frequency readout at the bottom of the handle as the reference to where the crossover point is in relation to frequency.
ENTER TEXT INPUT
1. Double-click on a crossover handle to open the readout as a text edit field.
2. Type the desired frequency value for the crossover cutoff into this field.
3. Hit the or key to update the value.

Crossover Points Only Affect Active Module

Crossover cutoff points are not shared across multiband modules. Adjusting a crossover point in one module will not affect the crossover points in the other multiband modules.

Compressor Detection Filter

You can Solo the dry output (pre-processing) of a frequency band by bypassing and soloing the band at the same time. This can be useful for auditioning the affect of an individual band’s processing.

Adding Crossovers

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.


Detailed Band

Enable to view the basic parameter values for each band via the HUD display overlaid on the spectrum. This is the default view for the EQ module.

Detailed Band View

Parameter Adjustments

You can adjust the parameter values for any band by using the band node adjustments. For more information on the parameters and readouts with this view see the EQ module chapter.


Detection Filter

Enable this view to adjust the frequency response of the detection circuit. When the Detection Filter is active, you can access the controls outlined in the table and image below. Detection filter processing is included in the Dynamics module and Vintage Compressor module

Detection Filter View

The following controls are available in the Detection Filter view for the Dynamics module:

Dynamics Detection Filter Controls Labeled

Vintage Compressor Detection Filter Mode Controls

The Detection Filter controls available in the Vintage Compressor are limited to a Solo button and three Resonant Nodes each placed in the low, mid, and high region of your spectrum display.

Resonant Filter Node Adjustments

The Resonant Filter Nodes are displayed within the the Detection Filter view. You can use these to tailor your frequency response.

PARAMETERADJUSTMENT
Center FrequencyClick and drag the resonant filter nodes LEFT or RIGHT to adjust the center frequency.
SlopeClick and drag the resonant filter node handles towards or away from the node to adjust the center frequency.

Gain Reduction Trace

Draws a line on a waveform display and a scrolling trace to represent the gain reduction applied to the selected band over time. Use this view to monitor and set the response times (attack and release) and gain reduction envelope applied over time.

trace

Gain Reduction Trace in Dynamics Module

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


Post Filter

Displays harmonic highlights that represent the saturation being applied to your signal across the frequency spectrum. You can adjust a high-shelf filter that affects the wet (processed) output of the module to tame any high frequency content that may have been introduced by the module’s processing.

Post filter view

Post Filter Color Indications

  • The affected frequencies on the spectrum are indicated by a bright white fill.
  • Non-affected frequencies on the spectrum will not display a fill color

Post Filter in Exciter Module

The histogram display is calculated AFTER the Post Filter is applied. Adjusting the Post Filter will update the histogram display to show the saturation occurring at the output of the Exciter module.


Spectrum Analyzer

Displays the real-time spectrum of the module’s output.

spectrum

Stereo Width Spectrum

Enable to view a hybrid mirrored spectrum display of the signal’s stereo width.

width spectrum

Overview

Ozone 9’s standalone application allows you to use its mastering tools outside of your DAW. Differing from the Ozone mothership plug-in, this standalone application includes a transport, file import/export, basic track editing, and the iZotope plug-in module option in the signal chain.


Application Interface

The key areas of the Ozone application interface are outlined in the image and table below.

Application Interface

Ozone’s file menu contains the different commands used to perform functions as described in the table below.

FILE OPTIONDESCRIPTION
Create New ProjectCreates a new Ozone project directory.
Open ProjectOpens a previously saved Ozone project.
Open Recent ProjectDisplays a list of any recent projects. If you want to clear this recent project list, click Clear List.
SaveSaves current project.
Save Project As..Creates a copy of the current project directory with a new name.
Save (.OZN) As..Saves a new copy of the session file within the current Ozone project directory. This is useful for versioning your Ozone projects over time. This saving method will NOT create copies of the imported audio files. Instead it will reference the files included in the Imported Audio Files folder of the current project directory.
Import Audio FilesOpens your file system manager and allows you to choose an audio file to import. See Importing Audio section for more information.
Export Audio FilesOpens the file manager and allows you to export an audio file to your computer. See Exporting Audio section for more information.
Close ProjectCloses out of your current project. A dialog window will appear asking if you wish to proceed with/without saving your current project.

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.

An Ozone session file (.OZN) contains all of the session data:

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

Importing Audio

You can import up to 16 audio files into an Ozone project using the following methods seen in the image and table below.

Importing Audio

No Duplicate Audio Files

Ozone only allows you to import the same audio file once per project.

Supported Import File Types

FILE FORMATSBIT DEPTH(S)SAMPLE RATE(S)
.wav16-bit11,250 Hz
.aiff20-bit22,050 Hz
.mp324-bit44,100 Hz
.aac48,000 Hz
88,200 Hz
96,000 Hz
176,400 Hz
192,000 Hz

Sample Rates

  • A projects sample rate defaults to the sample rate of the first file loaded.
  • If you attempt to load a file with a different sample rate, it will be converted to the original sample rate set by the first file, or manually set before the second file is loaded.
  • The conversion process will not convert previously converted/processed files (which are copied as working files upon load); Ozone will simply go back to the original files, create new copies, and then convert all the files to this new sample rate for their new working copies.

Exporting Audio

You can export processed audio files from the Ozone application using the following methods outlined in the table below.

EXPORT METHODDESCRIPTION
File Menu MethodClick on the File menu. Choose “Export Audio Files” from the File Menu options.
Exporting Audio Track NavigaionUse the keyboard shortcut (Mac) or (Windows).

Exporting Audio Options

A dialog box will appear, offering various options for the files you are about to export as outlined in the table and images below.

Export Options
Current Track vs. All Tracks

There are two tabs in the Exporting Audio Options window:

  • Current Track: Used to export the audio file in the currently highlighted tab.
  • All Tracks: Used to export separate audio files for each audio file loaded into the current project.
OPTIONDESCRIPTIONCURRENT TRACKALL TRACKS
FilenameType the desired name into this field to label your exported file.X
Append TextType in the desired text to append each track being exported. You can select to append either before or after the file name which is useful for “tagging” the titles of a group of audio files with a common label.X
Add Track NumbersSelect the “Add Track Numbers” checkbox to add track numbers to your exports in the order they appear in your Ozone project.X
FormatSelect the format of the exported file(s): WAV, AIFF, MP3, or AAC.XX
Bit RateSets the bit rate for compressed file formats. Audio quality improves with increasing bit rate. (Available on MP3 and AAC Only).XX
Save PathClick on the Set Path button to open your File System window and to select where your exported audio file(s) will be saved.XX
Sample RateSets the sample rate to export your audio file as. If you select a sample rate that differs from the original imported file, Ozone will apply a high-quality sample rate conversion to the file.XX
Bit DepthSets a Bit Depth value for your audio file.XX
Enable DitherCheck this box to apply high-quality dithering to the exported file, typically used when exporting to a bit depth lower than 32-bit. For more information, see Enable Dither section below.XX
Prevent ClippingCheck this box to prevent clipping through either the Normalize or Limit option.XX
ExportClick 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.XX
Track InfoOpens the Track Info window after clicking Export. Enter any metadata for the encoded audio file (used by MP3 & AAC players) to display information about the file. MP3 will be tagged using ID3v2.3, while AAC uses iTunes style tags. (Available for MP3 and AAC Only)XX

AAC & MP3 Codecs used by Ozone

For AAC, Ozone uses Fraunhofer’s codec. For MP3 the LAME codec is used (www.mp3dev.org). If an MP3 or AAC format is selected, files are exported with a 44.1kHz sampling rate.

SAVE PATH OPTIONS

  • 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.

Enable Dither

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. Ozone processes files at 32-bit so dither is desirable for files being exported to values lower than 32-bit.

  • 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 (32-bit).
  • 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.

Most of the controls and features in the Ozone mothership plug-in are also available in the Ozone Application. Transport controls and readouts are unique to the Ozone Application since it is an audio workspace and not a plugin.

Ozone 9 App Module Header

Transport Controls

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 functions outlined in the table below.

Enable Looping

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 repeatedly loop playback 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. To start looping audio again, simply click the Loop button.

Transport Readouts

The transport readouts available in the Ozone 9 application are outlined in the image and table below.

Transport Readouts Labeled
LabelReadoutDescription
Label-1 Track Number
Track NumberDisplays the track number of the currently selected track.
Label-2 Time Counter
Time CounterDisplays the current time position within the audio file, displaying in minutes/seconds/milliseconds.
Label-3 Total Time
Total TimeDisplays the total length of all tracks in the project.

Track Workspace

You can load up to 16 audio files into the same Ozone project. You can interact with your tracks via the Track Tab bar or within the Waveform Display of the individual tracks.

Track Tabs

Each tab represents an audio file and its associated settings within the current Ozone project. You can navigate the Track tabs using the methods and controls outlined in the table and image below.

Tracks in Ozone
LABELTRACK TAB NAVIGATION METHODDESCRIPTION
Label-1 Add Tracks
Add TracksClick on the File menu. Choose “Export Audio Files” from the File Menu options.
Label-2 Removing Tracks
Removing TracksTwo methods: 1. Right-click on a track tab and select “Remove Track.” 2. Click on a tab to highlight it, then click on the X button. You will be prompted with a dialog window to check if you want to remove the file (Delete), remove the track, but retain the file in the Imported Audio Files folder of the Ozone project directory(Keep), or cancel your decision.
Label-3 Re-ordering Tracks
Re-ordering TracksClick and drag track tabs to change the order of tracks in the project.

Waveform Display

Displays the entire audio file in a waveform format. You can select regions of your audio’s waveform to focus on using the various Waveform Display controls and features outlined in the image and table below.

Waveform Display Controls
LABELCONTROL/ FEATUREDESCRIPTION
Label-1
Region SelectionClick and drag in the Waveform Display to select a region that you want to loop and apply processing to.
Label-2 Re-ordering Tracks
Trim/Fade HandlesYou can right-click between the trim/fade-start and trim/fade-end regions to access the fade type menu. The fade type menu includes the following options: Log, Linear, Cosine, Equal Power.
Label-3 Removing Tracks
Segmentation BarsOzone will analyze your imported audio file and find similar song segments and automatically places those color bars. Click on the color bar to set a loop selection for that segment.

Signal Chain And Module Interface

The signal chain and included modules are the same across the Ozone 9 Application and Ozone 9 mothership plug-in. However, the Ozone 9 Application includes an extra module called the Plug-in module.

  • Please see the General Controls chapter for more information on the Signal Chain.
  • Navigate through the rest of the Help documentation for more information on the modules included in Ozone 9.
  • See the Plug-in module section below for more information on how to utilize this module.

Plug-in Module

The Plug-in Module is special to the Ozone Application. The following workflow details how to access and use the Plug-in module:

  1. Add the Plug-in module to choose an iZotope plug-in to add to your signal chain.
  2. Once added to the signal chain, the module card will appear with the plug-in’s name in the signal chain. The Plug-in module card has the same basic Signal Chain controls as the Ozone application modules, but does not include a preset option.
  3. When you click on the plug-in module, the Ozone application will open the plug-in in a new window, allowing you to begin use.
Plug-in Module

Plug-in Module Options

Click on the Options icon to open the Options window to the Plug-in tab. You can customize the following options:

  • Enabled Plug-in Formats
  • VST Plug-in Folders

When plug-in formats are enabled, the Ozone application will scan for new plug-ins in the background every time it is opened.

Plug-in Module Options Labeled

Enabled Plug-in Formats

Choose your Plug-in formats using the following options outlined in the table below.

LABELCONTROL/ FEATUREDESCRIPTION
Label-1 Scan Plug-ins
Scan Plug-insClick to scan your available plug-ins based on the format selection options: AU, VST, or both.
Label-2 VST
VST CheckboxClick to include VST plug-ins when scanning.
Label-3 AU
AU CheckboxClick to include AU plug-ins when scanning.
VST Plug-in Folders

Customize your VST plug-in folders using the following options outlined in the table below.

LABELCONTROL/ FEATUREDESCRIPTION
Label-4 Add File
AddClick to add a VST plug-in file from your file directory.
Label-5 Remove
RemoveClick to remove a VST plug-in file from your file directory.
Label-6 File Path
File PathClick on the the dialog box and type in the desired file path to add or remove your VST plug-in folders.

Input/Output Panel

Contains Input/Output Gain controls and metering similar to the Ozone mothership plug-in. The main difference between the Ozone plug-in and the Ozone application with respect to the Input/Output panel is that the Ozone Application includes input and output Stereo Gain Levels (L/R). Please see the General Controls chapter for more information on the I/O Panel.

Stereo Gain Levels

Displays input and output signal level information for left and right speakers.

Overview

Master Assistant is designed to give you a starting point that is intelligently tailored to your music to help you create a professional-sounding master, regardless of your experience level.

Accessing Master Assistant

In the Ozone 9 mothership, you can access Master Assistant by clicking on the Master Assistant button.

Master Assistant Button in Header

Genre Classes

Master Assistant uses target genre curves generated from spectral analysis of different genres to analyze and classify your input audio. The genre classification will determine which preset is applied to your audio. See the Processing Steps section below for more information on how these curves are used during Master Assistant processing. Your audio will be designated into the following representative categories: Classical, Country, EDM, Folk, Hip-hop/Rap, Jazz, Pop, RnB/Soul, World, Rock

These presets provide starting points for the modules used in Master Assistant, and will set parameters that are not learned from your input audio, such as: IRC Mode in the Maximizer and Attack times in Dynamics. The Master Assistant presets are more subtle than those used in Neutron’s Track Assistant.

Generating Unique Target Curves

  • Master Assistant will analyze your audio to determine how similar it is to the genre curves.
  • Master Assistant will assign a percentage of similarity to each genre class curve and create a unique target curve based on these percentages.
  • For example: Your track is classified with the following percentages: 60% Pop, 30% Rock, and 10% Country. The resulting unique target curve will be a mix of 60% of the Pop target, 30% of the Rock target and 10% of the Country target.

Target curve is based on Reference audio

  • When “Reference” is chosen as the Master Assistant Target, the unique target curve is derived from the selected Reference track and not by calculating the genre classes of your input audio.

Recommended Workflow

  1. Click on the Master Assistant button to adjust the Master Assistant settings.
  2. Choose from the Master Assistant settings outlined in the Master Assistant Settings section below.
  3. Click Next when you are ready to play your audio for Master Assistant.
  4. Play back your audio for at least 30 seconds so that Master Assistant can analyze the audio content.
    • For best results, we recommend running Master Assistant on the loudest portion of the track.
    • To analyze a section that is less than 30 seconds long, we recommend looping playback prior to running Master Assistant.
  5. When Master Assistant is finished, you can either Accept or Cancel the changes.
    • Accept will exit the Master Assistant settings window and retain all settings Master Assistant modified.
    • Cancel will dismiss the Master Assistant panel and revert your settings to the state they were in prior to running Master Assistant.
    • Undo any accepted Master Assistant changes using Undo History.

What Are You Going For Settings

Adjusting the Master Assistant settings gives a baseline for Master Assistant to help you find a starting point relative to your artistic vision.

What Are You Going For Settings

Modules

Choose from either Modern or Vintage to determine the type of style of module processing you want to apply to your audio. You can choose from the following settings as described in the table below.

SettingDescription
ModernSelect to apply standard (non-vintage) module settings to achieve targets.
VintageSelect to apply vintage module settings to achieve targets.

Loudness

You can either manually set how intense (how loud) you want the assistant to aim for or you can use a reference to match the intensity of that track.

SettingDescription
ManualSelect to manually set your loudness intentstiy target which will adjust the Maximizer Threshold to reach your recommended loudness target. Master Assistant will listen to your audio and load a preset that is based on the genre class detected with the highest percentage of similarity.
ReferenceSelect to choose any reference track that is currently loaded in the Reference panel as your target or by importing a Reference. The target loudness and target EQ curves will be calculated from the loudness and EQ curve of the selected reference track. See the Load Reference Track setting in the image below.
Reference Load

Intensity

Choose the amount of target loudness processing applied to your audio ranging from:

  • low (-14 LUFS)
  • medium (-12 LUFS)
  • high(-11 LUFS)

Destination

Sets the Maximizer ceiling to provide your audio with an appropriate amount of headroom based on your destination medium.

SETTINGMaximizer CEILING TARGET
Streaming-1 dB
CD-.3 dB

Next

Click to play a part of your track so that Master Assistant can detect which settings to implement for setting up your workspace.


Master Assistant Processing

Master Assistant will process the audio based on the information gained from your selected settings and the incoming audio. Master Assistant will process this information in the following order:

  1. Master Assistant will listen to the incoming audio.
  • If Master Assistant is not receiving audio, you will see a “Waiting for audio” screen will appear. To dismiss the Waiting screen, simply playback audio.
  1. Master Assistant classifies the processing based on Modern or Vintage.
  2. Master Assistant will calculate and implement loudness parameters.
  3. Master Assistant will set the Maximizer threshold ceiling based on your destination setting.
  4. Master Assistant will modify the settings in specific modules based on the genre detected.
  • End Result: A unique mastering signal chain that acts as an ideal starting point.

Play Loudest Portion of Your Track

It is important to play the loudest portion of your track when running Master Assistant. Learning the Maximizer Threshold on a quiet portion will maximize the loudness for that portion of the track. This can potentially introduce distortion in louder sections of the track since the Threshold was learned for lower level signals.

Module Settings Adjustments

Master Assistant provides suggestions or starting points for the modules in the signal chain and their settings. These are simply a way to help reduce time in your workflow. However, we encourage you to add, remove, and adjust the modules to suit your mastering needs.

Modern Mode

When you use Modern Mode, Master Assistant will adjust the following modules.

ModuleMaster Assistant Adjustments
EQDetermines the EQ settings by comparing the input audio to the unique target curve generated. EQ nodes are adjusted to closely match your incoming audio to the unique target curve.
DynamicsMeasures the Crest Factor of your incoming audio to determine if applying Dynamics processing will positively affect the output of the Maximizer. Learns the average level of your input audio to set the Compressor Threshold values.
MaximizerDetermines the Ceiling value and Threshold value based on the Target setting. Compares the input and output signals of the Maximizer to determine which frequencies are hitting the Limiter the hardest. For more information on the specifics impact of each Target setting on the Maximizer see Maximizer Settings section below.
Dynamic EQSets Dynamic EQ nodes at peak frequencies found in the Maximizer to reduce potential distortion. Learns Threshold values based on the input audio to the Dynamic EQ bands.

Vintage Mode

When you use Vintage Mode, Master Assistant will adjust the following modules.

ModuleMaster Assistant Adjustments
EqualizerDetermines the Equalizer settings by comparing the input audio to the unique target curve generated. Equalizer nodes are adjusted to closely match your incoming audio to the unique target curve.
Vintage EQAdjusts the Vintage EQ settings of low boost and high cut to achieve a warmer tonal characteristic depending on the input audio.
Vintage CompressorAnalyzes the dynamic range of the input audio. If no extreme dynamic range is detected, then the Vintage Compressor is bypassed. Otherwise, Master Assistant engages Vintage Compressor to smooth out the dynamic range of the signal.
Vintage LimiterAdjusts the Vintage Limiter threshold and ceiling simultaneously by linking the threshold and ceiling controls in order to add an analog character to your input signal while maintaining the same gain.
MaximizerDetermines the Ceiling value and Threshold value based on the Target setting. For more information on the specifics impact of each Target setting on the Maximizer see Maximizer Settings section below.

EFFECTS TO THE SIGNAL CHAIN

The modules included and their order in the signal chain will always be the same after running Master Assistant. Depending on your input audio, Master Assistant may bypass the Dynamics module.

EQ BAND SETTINGS

Master Assistant will always enable Low Shelf & High Shelf filters on Bands 1 & 8 (respectively). Master Assistant will add up to 6 Peak Bell filters in Bands 2-7 in order to match the target curve.

DYNAMICS MODULE AND CREST FACTOR

Applying some light low-end compression to overly dynamic audio will allow the Maximizer to operate more transparently.

  • If the detected genre class falls under the broad “Orchestral” category, crest factor will be calculated based on the full bandwidth of your signal. Otherwise, Crest Factor will be calculated for the low band of your input audio.
  • If the Crest Factor measurement is higher than a predetermined cutoff value (this cutoff was determined as a result of our internal research) we will enable the Dynamics module. If the Crest Factor measurement falls under our predetermined cutoff value, the Dynamics module will be disabled.
  • The total Crest Factor range used by Master Assistant is -1 to 14 and the “ideal” Crest Factor range is 3 to 10.
  • If the Crest Factor measurement is lower than 3, it can be considered “too compressed.” If the Crest Factor measurement is higher than 10, it can be considered “too dynamic.”

Higher Track Level Than Target Loudness

  • If your track is louder than the Target Loudness value, Master Assistant will not make it any quieter than the difference introduced by the Ceiling value.

Accept/Cancel

When Master Assistant has finished, you can either Accept or Cancel the changes.

  • Accept will retain all settings modified by Master Assistant.
  • If you Accept changes and decide to revert them, you can undo the Master Assistant changes in the Undo History window.
  • Cancel will dismiss the Master Assistant panel and revert your settings to the state they were in prior to running Master Assistant.
Accept OR Cancel Master Assistant Settings

Overview

The Dynamics module can be used to shape the dynamics of your master, with up to four bands of analog-modeled compression, limiting, and expansion.


Module Interface

Ozone 9’s Dynamics module main interface components are outlined in the image and table below.

Dynamics Interface

The Dynamics module header includes the following global module controls and features outlined in the image and table below.

Dynamics Module Header

Views

The Dynamics module includes the following view options to show in the Views display:

Channel Processing Modes

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

MULTIBAND COMPRESSION AND MID/SIDE PROCESSING

When dealing with multiband compression on a stereo mix, it is sometimes difficult to apply processing to a specific instrument or vocal if they are too close in frequency.

In these cases, Mid/Side processing reveals more refined control by allowing you to separate a specific frequency range into its Mid and Side components and apply compression separately to the Mid (center) channel, or the Sides of your mix.

There are many uses for Mid/Side processing while using compression. For example, this can help prevent other instruments from being affected by compression made to the lead vocal. This is especially true since the vocal typically sits in the center of your mix while the other instruments are usually found at the sides.

Learn

Enables the Dynamics module Crossover Spectrum View to search for natural crossover cutoff points for multiband processing.

LEARN ONLY APPLIES TO CROSSOVER VIEW

The Learn button does not change other View settings within the Dynamics module except for the Crossover Spectrum View.

PLAY AUDIO FOR LEARN TO ENGAGE

In order for Learn to function as expeced, the module must be receiving audio input while Learn is engaged.

LEARN WILL DISABLE WHEN DONE

After Learn determines and sets the ideal values for the crossover cutoffs, it will turn itself off automatically. When the Learn button is toggled OFF the button is grey instead of orange. You can also manually disable Learn when it is active by clicking the Learn button again.

Reset

Returns all controls in the Dynamics module back to their factory default values. You can use the Undo History window to revert any settings used before clicking Reset.


Controls

There are three categories of controls you can adjust in the Dynamics control panel:

  1. Limiter & Compressor Controls
  2. Dynamic Curve Contols
  3. Output Controls
Dynamics Controls

Limiter and Compressor Controls

The Limiter and Compressor utilize the following controls:

Compressing and Limiting in Dynamics Signal Flow

In the Dynamics module, the Compressor processing preceeds the Limiter processing in the signal flow. By applying the Compressor and Limiter in this way, you are free to create complex transfer curves.

Threshold

The Threshold has the following associated controls:

There are two types of thresholds you can adjust:

  • Compressor Threshold
  • Limiter Threshold

Adjusting either threshold will determine the signal level at which the compressor or limiter begins dynamics processing.

ADJUSTING THRESHOLD

  • Click and drag the Threshold slider handle up to increase the Threshold or down to decrease the Threshold.
  • Click on the Threshold value readout text and manually enter a value in the inline edit field.
Threshold Meter

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

  • The two meters on the far left and right of the threshold meter display the input audio level.
  • The two meters in between the input meters display the gain reduction applied.

Level Detection Modes

Select one of the three modes outlined in the table below to determine the type of calculation you want applied to your signal processing within the Dynamics module.

MODEEFFECT
PeakWhen this option is enabled Ozone’s detection circuit looks at the peak levels of the incoming signal. In general, this setting is useful when you are trying to even out sudden peaks in your music.
EnvEnvelope 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.
RMSWhen 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.

Ratio

Determines how much gain reduction will be applied to the entire signal or band when the threshold is crossed, according to the rules set by the Level Detection Mode. Both the Limiter and Compressor have their own ratio control.

  • Higher positive ratios: result in more extreme compression.
  • Lower negative ratios: result in an expander effect.

Limiter Maximum Ratio

The limiter in the Dynamics module is similar to the function of a limiter in the analog domain. This characteristic allows some overshoot when setting the Ratio to the maximum 30:1 meaning that this is not a Brickwall limiter.

Attack

Determines the amount of time, or how quickly it takes (in milliseconds), for the dynamics to react and for the signal to become fully compressed after exceeding the threshold level.

Release

Adjusts the amount of time (milliseconds) it takes for the dynamics processor to return to unity gain (recovers gain) when the input signal falls below the threshold, according to the rules set by the Level Detection Mode.

Dynamic Curve Controls

The Dynamic Curve controls appear in the Dynamic Curve Meter view. These controls are 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 visually, rather than using the standard controls. These controls are outlined in the image and table below.

Transfer Controls

Dynamic Curve Meter

Displays the input signal (x axis) plotted against the output (processed) signal (y axis). Lowering the horizontal compression control adds more compression to the signal.

Dynamic Curve Meter Zoom

Click the + and - buttons in the bottom right when hovering the mouse over the Dynamics Curve Meter view to zoom in and out on the meter.

Slope

Adjust to set the slope of the Dynamic curve between the origin value and the knee value.

DYNAMIC CURVE SLOPE IS THE RATIO

Watch the Ratio slider while you make changes to the Dynamic Curve. The slope of the Dynamic Curve represents the ratio of the applied compressor and limiter processing. When you adjust the Knee and Slope nodes, you are effectively adjusting the Ratio value.

Knee

Adjust to set the desired character of the compression. There are two types of Knee nodes you can adjust in the Dynamic Curve view:

  • Limiter Knee
  • Compressor Knee

The range of knee values provide different results:

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

Output Controls

The following output controls affect the overall signal output of the Dynamics module:

Parallel

Adjust to set the amount of the dry, unprocessed (lightly compressed) signal to mix with the wet, processed (heavily compressed) signal. This technique is also known as “parallel compression”.

  • At 100%, you will hear only the processed audio signal.
  • At 50%, you will hear a blend between unprocessed and processed audio.
  • At 0%, you will hear a only the unprocessed audio signal.

Bands Display

Enable to toggle from Single Band view to an All Bands view. In the Single Band view, you can use the arrows left or right of the band icon to cycle through the enabled bands.

All Band and Link Band Comparison

Link Bands

Enable to link all Limiter and Compressor Controls controls for each band. Adjusting any of these controls for one band while in linked mode will adjust all other Limiter and Compressor Controls for the other three bands by the same amount and vice versa.

Gain

The resulting effect of the gain slider is dependent on the type of View you choose to work in.

VIEW TYPEGAIN SLIDER EFFECT
ALL BANDSThe Gain slider affects the gain of the entire Dynamics module after processing. This is useful for compensating any loss in level after compression has been applied.
SINGLE BANDThe Gain slider will affect the output gain of the currently selected band after processing.

Auto Gain

Enabling allows the Dynamics module to automatically calculate and apply the make-up gain to the output signal. The make-up gain applied compensates for level differences introduced by dynamics processing.

Auto & Manual Gain Adjustments

Auto Gain 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. Auto Gain adapts the post-processing level to match the pre-processing input level over time. You can use this tool for A/B’ing various settings in the multiband Dynamics module without having gain changes affect your perception. Auto mode and manual band/global gain adjustments can be applied simultaneously.

Adaptive Release

Enable to allow the Dynamics module to 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.

Auto Release Adjustments

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.

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.


Module Interface

The main components of the Dynamic EQ module are outlined in the image and table below.

Dynamic EQ Module Interface

The Dynamic EQ module header includes the following module controls and features outlined in the image and table below.

 Module Header

Meters & Displays

The Dynamic EQ module includes the following options:

The Dynamic EQ module’s display also includes the curves and scales to assist you when making adjustments as outlined in the image and table below.

 Dynamic EQ Curves and Scales

Composite Curve

Displays the combined filter response of all enabled bands. Represented by a thick white line drawn across the display. Adjusting band nodes will contribute to the overall shape of the composite curve.

Filter Response Curve

Displays the filter response of the currently selected node. Represented by a highlighted line and filled area under the band which appears when you select a node. If there are no nodes selected, the filter response curve is hidden and you will only see the composite curve.

Meter Scales

There are three scales available in the Dynamic EQ module display that can help inform decisions:

  • DYNAMIC EQ GAIN SCALE: Gain scale for the Dynamic 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 & Dynamic EQ curve frequency scale is displayed along the top of the spectrum window.

Change Meter Scales in Options

The scales for the Dynamic EQ and spectrum are different, by design. If they were made to match, you wouldn’t see enough of the spectrum for it to be useful. The frequency scale in grey applies to both the Dynamic EQ and the spectrum.

You can set options for the spectrum by accessing the Spectrum Options tab or by clicking the spectrum and selecting Spectrum Options from the Options menu.

Dynamic EQ Filter Mode

Sets the Dynamic EQ filter algorithm to apply to all band filters. The modes are outlined in the table below.

MODEDESCRIPTION
ANALOGSelects minimum-phase IIR filter types for processing in the Dynamic EQ.
DIGITALSelects linear-phase FIR filter types for processing in the Dynamic EQ module. FIR filters retain the phase of the original signal, but are more expensive in regard to CPU usage. Extra controls for this mode become available in the HUD Advanced panel. For more information, see the Advanced Panel section below.

Channel Processing Modes

The Dynamic EQ module can operate in Stereo, Mid/Side, or Left/Right modes. See the General Controls chapter for more information about Mid/Side Processing.

Reset

Returns all controls in the Dynamic EQ module to their factory default values.

UNDO HISTORY TO REVERT SETTINGS

If you wish to return to settings you were using before clicking the Reset button, you can use the Undo History window to revert the settings.


Controls

There are two sets of controls in the Dynamic EQ module:

Node Interactions

You can adjust bands by adding or removing nodes.

Add Bands

You can add bands in three different ways outlined in the table below.

ADD BAND METHODDESCRIPTION
Add on the Composite CurveHover over the white composite curve for a + button to appear. Click on the + button to add a node at the specific frequency on the composite curve.
Add with Keyboard ShortcutHit + (Mac) or + (Windows) to add a new node to the center of the Dynamic EQ spectrum.
Add anywhere on the SpectrumDouble-click anywhere in the Dynamic EQ spectrum to add a new node at the location of the mouse.

NOTE: NODES WILL ADD CONTEXTUAL FILTER SHAPE

Depending on where you add a node, the node will appear with a pre-determined filter shape. There are three default contextual filter shapes that will be used when you add a new node:

  • To the far left: Flat Highpass or High Shelf
  • To the far right: Flat Lowpass or Low Shelf
  • In the middle: Proportional Q

The Flat Highpass and the Flat lowpass shapes will only be added once because typically only one is used at either end of the spectrum. Otherwise, the node will default to a Shelf or Proportional Q filter shape.

Remove Bands

You can remove bands in three different ways outlined in the table below.

REMOVE BAND METHODDESCRIPTION
Remove Single bandSelect a node and click the X button in the HUD to remove it.
Remove Multiple bandsClick and drag to select multiple nodes. Use the or key to remove all selected nodes.
Remove with modifier keys+click to select multiple nodes. Use the or key to remove all selected nodes.

HUD Controls

You can access a band’s HUD by selecting the band’s node. The HUD includes:

Dynamic EQ HUD

General Band Controls

ICONCONTROLDESCRIPTION
Power Button
Power ButtonEnables or disables processing of the currently selected band.
Solo Button
SoloEnables the selected filter to be listened to in isolation.
Remove Button
RemoveRemoves the band.

NOTE: Bypassed filter response curve display

When a band is disabled, the filter response curve will still be displayed in the Dynamic EQ module panel. Disabled bands are displayed in grey to clearly differentiate them from enabled bands.

NOTE: Using Alt-Solo and Band Solo

Use the following methods to solo a specific band or area of the frequency spectrum:

  1. Band Solo: Filters per-band. To access Band Solo, ( ) key and click on a node to solo the band. You can also use the Solo button in the HUD display to solo the selected band.
  2. Alt-Solo: Creates a moveable filter window allowing you to easily focus on the frequencies surrounding the location of the click. To access Alt-Solo hold the ( ) key and click anywhere on the frequency spectrum.

Filter Shapes

Choose from the Filter Shape menu to assign the filter shape of the selected band. Each band offers the following filter shapes: Baxandall Bass, Band Shelf, Peak Bell, Proportional Q, Baxandall Treble

ShapeDescriptionWhen to Use

Baxandall


Dynamic EQ Baxandall Filter Shape
Inspired by the Baxandall EQ, with the addition of freely adjustable frequency.
  • Bass: Gentle low frequency shelf.
  • Treble: Gentle high frequency shelf.
Transparent way of addressing extreme lows and extreme highs for a more natural, gentle sounding effect.

Band shelf


Dynamic EQ Band Shelf Filter Shape
Bell filter with wide, flat top.To change the relation between the harmonics in your audio. Useful for boosting or attenuating a block of frequencies.

Peak Bell


EQ Bell Filter Shape
Smoothly boosts or cuts an adjustable region around a specific frequency. Looks like a bell, come on what do you want from me.Changes the overall color or texture of the sound with larger gain adjustments (boost or cut). This will be a more noticeable change than Proportional Q.

Proportional Q

Dynamic EQ Proportional Q Bell Filter Shape
Unique filter that varies shape in proportion to the amount of boost or cut applied. As you increase or decrease the gain, the change is proportional to bandwidth.Tight, precise corrective cuts-the bigger gain adjustment, the tighter the cut will become.

Readouts

Use the HUD Readouts to see and adjust where the node is located within the Dynamic EQ module. The table below describes the readouts available with each readout’s respective units.

ReadoutUnitsDescription
FrequencyHzShows the center frequency (or cutoff frequency) of the currently selected node. The Dynamic EQ module supports frequency values ranging from 20 Hz to 20 kHz.
GaindBShows the amount of gain applied by the selected filter. The Dynamic EQ module supports gain adjustments ranging from -30 dB to +15 dB.
Q(cF/Bandwidth)(Parametric/Bell Filters) Shows the width or slope of the selected filter.

Adjust Frequency, Gain, and Q

There are 3 ways to adjust the Frequency, Gain, and Q:

  1. Click and drag band node or handles (for Q only).
  2. Manually enter the value.
  3. Use arrow keys.

The three types of adjustments you can apply for altering the Frequency, Gain, and Q values are outlined in the table below.

VALUETYPES OF ADJUSTMENTS
Frequency
  • Click and drag the band node left to decrease the frequency or right to increase the frequency.
  • Manually enter the value as described below.
  • Use LEFT and RIGHT arrow keys.
Gain
  • Click and drag the band node down to decrease the gain or up to increase the gain.
  • Manually enter the value as described below.
  • Use UP and DOWN arrow keys.
Q
  • Click and drag the band node handles towards the node to narrow the bandwidth or away from the node to widen the bandwidth.
  • Manually enter the value as described below.
  • Use / + arrow keys.

To manually enter the value for Frequency, Gain, or Q:

  1. Double click on the value readout of the metric you wish to change.
  2. Type in the value desired in the text edit field.
  3. Hit or to save the value adjustment.

TIP: Keyboard Modifiers For Value Adjustments

  • Hold the key while clicking and dragging the node to lock the movement to the horizontal axis (for frequency) and vertical axis (for gain).
  • Hold the while using the arrow keys to make coarse value adjustments.
  • Hold the key (Mac) or key (Windows) while using the arrow keys to make fine value adjustments

NOTE: Reset All Band Parameters

You can reset all parameters for a particular band to their default values by double clicking on the node.

NOTE: Dynamic Gain Scale

Use the EQ Gain scale, located on the right edge of the Dynamic EQ module display to reference dB magnitude while adjusting nodes.

Threshold

Sets the signal level at which dynamic gain adjustments will be triggered for the selected band node. You can set the Dynamic threshold in three ways:

  1. Click and drag the slider to the desired value.
  2. Click on the slider and use the UP or Down arrow keys to increase or decrease the value.
  3. Double-click on the Threshold readout and type the value into the inline edit field.

Threshold Meters

There are two meters associated with the Threshold control:

  • Input Level Meter: Displays the input signal of the selected node.
  • Band Reduction/Band Addition Meter: Displays the amount of dynamic level adjustment applied by the selected band.

Dynamic Mode Direction

When you enable the Dynamic mode, you can control the Dynamic Mode Direction Up/Down controls which determines the direction of gain change (UP or DOWN). The Up/Down controls will appear directly above and below the associated band node.

TRIGGER MODE DIRECTIONDESCRIPTIONPositive Static Gain ValueNegative Static Gain Value
UPWhen a signal exceeds the threshold, the filter will move upwards.Using the Up trigger mode will move the filter from the center line toward the static node (boost when triggered).Using the Up trigger mode will apply the full negative gain until it is triggered–when triggered it will move toward the center line.
DOWNWhen a signal exceeds the threshold, the filter will move downwards.Using the Down trigger mode will move the filter from the static boost value toward the center line (cut when triggered).Using the Down trigger mode will move the filter from the center line toward the static negative gain value.

Advanced Panel

To access the Advanced Panel, select a node and click the Advanced Panel arrow on the right hand side of the band HUD. The Advanced Panel includes the following Advanced controls for the Dynamic EQ module:

Dynamic EQ Advanced Panel

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.

Module Interface

EQ Module Interface

The Equalizer module header includes the following controls:

EQ Module Header

View Selector

The View Selector includes a HUD-Based View and an All Bands View.

HUD-Based View

The HUD-based View is the default view in the Equalizer module. In this view, a HUD panel will appear when you click on a node.

All Bands View

When the All Bands view is selected, a table with control information for each band is shown below the spectrum area. The HUD panel will not appear when nodes are selected in the All Bands View.

4

Note

The Phase control is not accessible in the All Bands View of the Equalizer module.

Learn more about the different Ozone module views

You can learn more about the different Ozone module views in the Views chapter.

Global Filter Mode

Selects the global filter algorithm used for processing in the EQ. The following global filter modes are available:

Analog

Selects minimum-phase IIR (Infinite Impulse Response) filter types for processing in the Equalizer module.

Digital

Selects linear-phase FIR (Finite Impulse Response) filter types for processing in the Equalizer module. FIR filters retain the phase of the original signal, but are more expensive in regard to CPU usage.

Features exclusive to Digital mode

When Digital mode is enabled, the following features become available: Phase and a Surgical filter shape in each of the filter shape sub-menus.

Channel Processing Modes

The Equalizer module includes the following channel processing modes: Stereo, Mid/Side, and Left/Right.

Learn more about Channel Processing Modes

See the General Controls chapter for more information about working with Channel Processing Modes in applicable Ozone modules.

Reset

Returns all controls in the Equalizer module to their factory default values.

Reset Band Gain to Default

Double-click on an EQ node to reset the Gain value to 0 dB.


EQ Curve and Spectrum

The main area of the Equalizer module includes a spectrum analyzer and an EQ curve.

EQ Curve and Spectrum

Spectrum Analyzer

Displays the magnitude (amplitude, in decibels) of the input signal across the frequency spectrum in real-time. The spectrum analyzer in the Equalizer module displays the output signal of Ozone.

Spectrum Scales

  • Spectrum Magnitude Scale: Spectrum magnitude (dB) scale is displayed on the left side of the spectrum window.
  • Spectrum Frequency Scale: The frequency scale is displayed along the bottom of the spectrum window.

Composite Curve

Displays the combined filter response of all enabled filters. The curve is represented by a thick white line drawn across the display. You can adjust the overall shape of the composite curve by moving the EQ nodes.

Filter Response Curve

Displays the filter response of the currently selected node, represented by a highlighted line and filled area under the band which appears when you select a node. If there are no nodes selected, the filter response curve is hidden and you will only see the composite curve.

Bypassed filter response curve

When a band is disabled, the associated filter response curve will still be displayed. Disabled bands are displayed in grey to clearly differentiate them from enabled bands.

EQ Curve Gain Scale

The gain scale for the EQ curve is displayed on the right side of the spectrum window. You can zoom on the EQ Gain scale using a trackpad or mousewheel. Click and drag on the gain scale to adjust the position of the scale. Double-click on the EQ Gain scale to reset it to default.


When the Show Extra Curves option is enabled in the EQ options tab, three additional rulers appear on the right-hand side of the spectrum analyzer: Phase Response (degrees), Phase Delay (ms), Group Delay (ms).

Extra Curves

You can hide and show each curve individually by clicking on the buttons that appear in the legend along the top of the spectrum view.

Extra Curves Close

Working with EQ Nodes

The following sections outline methods you can use to add remove bands in the EQ module(s).

Add Bands

You can add bands to the Equalizer module using the following methods:

  • Add nodes along the composite curve: Hover your cursor over the white composite curve and single-click to add a new node when the + icon appears below your cursor.
  • Add nodes using a keyboard shortcut: Select an existing node in the EQ module and press + (Mac) or + (Windows) to add node to the center of the EQ spectrum.
  • Add nodes using double-click: Double-click anywhere in the EQ spectrum view to add a new node at that location.

Default Filter Shape Assignments

Filter shapes are automatically assigned to a newly added node based on the frequency range it is added within.

  • Between 20Hz to 100Hz: Flat Highpass or Analog Low Shelf (if Flat Highpass is already used by an existing band).
  • Between 100Hz and 8kHz: Proportional Q.
  • Between 8kHz to 20kHz: Flat Lowpass or Analog High Shelf (if Flat Lowpass is already used by an existing band).

Remove Bands

You can remove bands from the EQ using the following methods:

  • Remove a single band:
    • In the HUD-based EQ view: Select a node and click the X button in the HUD panel to remove the band from the EQ curve.
    • In the All Bands View: Click on the Power button in the header of the band controls table to remove the associated band from the EQ curve.
  • Remove multiple bands:
    • Lasso-select: Click and drag your cursor over multiple nodes to select them, then press the or key to remove all selected bands from the EQ curve.
    • Shift-click select: Hold and single-click on multiple nodes to select them. Press the or key to remove the selected bands from the EQ curve.

HUD Controls

Single-click on a node to view the HUD (Heads Up Display) panel for a given band. The following parameters are available in the HUD panel:

EQ HUD

General Band Controls

The left side of the HUD includes parameters for enabling/disabling, soloing, and removing the currently selected band.

IconDescription
Power Button
Power Button: Enables or disables processing of the currently selected band.
Solo Button
Solo: Enables the selected filter to be listened to in isolation.
Remove Button
Remove: Removes the band.

Using Alt-Solo and Band Solo

You can use the following methods to solo a filter or specific area of the frequency spectrum:

  1. Band Solo: Filters per-band. To access Band Solo, ( ) key and click on a node to solo the band. You can also use the Solo button in the HUD display to solo the selected band.
  2. Alt-Solo: Creates a moveable filter window allowing you to easily focus on the frequencies surrounding the location of the click. To access Alt-Solo hold the ( ) key and click anywhere on the frequency spectrum.

Filter Shape

The Equalizer module features several different filter shapes, each one belonging to one of the following filter type categories:

  • Peak Filter: Used to boost or cut a specific center frequency level. You can access the following Peak filters in the Bell sub-menu: Bell, Proportional Q, and Band Shelf.
  • Shelf Filter: Used to boost or cut the frequency content above or below a specified frequency. In the Low Shelf menu and High Shelf menu: Analog, Vintage, Baxandall, and Resonant.
  • Pass Filter: Used to attenuate frequency content that is below (for highpass) or above (for lowpass) a specified cutoff frequency. You can find the following pass filters in the Lowpass and Highpass sub-menus: Flat, Resonant, Brickwall.

You can change the filter shape selection for a given band using the following methods:

  • Click on a node and select a filter shape from the dropdown menu in the HUD.
  • Right-click on a node and select a filter shape from the context menu that appears.
  • In All Bands view, select a filter shape from the dropdown menu in the band controls table.

The following filter shapes are available in the Equalizer:


Frequency

Determines the center or cutoff frequency value for the selected filter. The EQ supports frequency values ranging from 20 Hz to 20 kHz.

Adjusting Frequency

You can adjust the Frequency using the following methods:

  • Drag a node to the left or right to decrease or increase the Frequency value.

    Lock Adjustments to the horizontal axis

    • Hold the key when dragging a node left or right to lock movements to the horizontal (frequency) axis. This allows you to make Frequency adjustments without accidentally adjusting Gain.
  • Double-click on the Frequency value text readout in the HUD and manually enter a new value in the inline edit field.
  • Single-click, hold, and drag the Frequency value text readout in the HUD to ‘scrub’ to a new value. The HUD will reposition itself after you have released the mouse.
  • Single-click on a node and use the left or right arrow keys to decrease or increase the Frequency value.

    Make coarse/fine adjustments with keyboard modifiers

    • Coarse: Hold the key when using the arrow keys to make Frequency value adjustments in larger increments.
    • Fine: Hold the key (Mac) or key (Windows) when using the arrow keys to make Frequency value adjustments in smaller increments.

Gain

Determines the amount of gain applied to the selected filter. The EQ supports gain adjustments ranging from -30 dB to +15 dB.

Adjusting Gain

You can adjust Gain using the following methods:

  • Drag an EQ node down or up to decrease or increase the Gain value.

    Lock Adjustments to the vertical axis

    Hold the key when dragging a node up or down to lock movements to the vertical axis. This will allow you to make Gain adjustments without also adjusting Frequency.

  • Double-click on the Gain value readout in the HUD and manually enter a new value in the inline edit field.
  • Single-click, hold, and drag on the Gain value readout text in the HUD to ‘scrub’ to a new value. The HUD will reposition itself after you have released the mouse.
  • Single-click on a node and use the down or up arrow keys to decrease or increase the Gain value.

    Make coarse/fine adjustments with keyboard modifiers

    • Coarse: Hold the key when using the arrow keys to make Gain value adjustments in larger increments.
    • Fine: Hold the key (Mac) or key (Windows) when using the arrow keys to make Gain adjustments in smaller increments.

Q/Slope

Determines the bandwidth or slope of the selected filter. The selected filter shape will determine if Q or Slope is available for adjustment. The Baxandall (Low Shelf/High Shelf) and Brickwall (Highpass/Lowpass) filter shapes do not include an adjustable Q or Slope control.

Q

Determines the bandwidth (cF) of the selected filter. The following filter shapes include a Q control:

  • In the Bell filter sub-menu: Proportional Q, Bell, and Band Shelf.
  • In the Low Shelf and High Shelf filter sub-menus: Analog, Vintage, and Resonant.
  • In the Lowpass and Highpass filter sub-menus: Resonant.

Slope

Determines the Slope of the filter below or above the cutoff frequency. Slope is measured in increments of dB/octave. Lower values result in a more gradual slope before or after the cutoff frequency, higher values result in a steep slope before or after the cutoff frequency. The Flat Lowpass and Flat Highpass filter shapes include and adjustable Slope control.

Adjusting Q/Slope

You can adjust Q and Slope using the following methods:

  • Single-click on a node and drag the horizontal handles toward the node to increase the Q/Slope value, or away from the node to decrease the Q/Slope value.
  • Double-click on the Q/Slope value text readout in the HUD and enter a value in the inline edit field.
  • Single-click, hold, and drag on the Q/Slope value readout text in the HUD to ‘scrub’ to a new value.

Advanced HUD

You can access the Advanced panel by clicking the arrow button on the right hand side of the HUD. If the Global Filter Mode is set to Analog, the Advanced panel button will be disabled. You can only access the Advanced panel of the HUD when the Digital Global Filter Mode is selected.

EQ Advanced Panel

Phase

Adjusts the phase response of the currently selected filter.

Phase
  • 0% Phase: the selected band will have a Linear phase response.
  • 100% Phase: the selected band will have a Minimum phase response.

Overview

Ozone’s Exciter module offers up to four bands of configurable saturation with numerous modes giving you the ability to customize how saturation is introduced into your music.


Module Interface

Exciter Module Interface

Exciter Module Header

View Selector

Exciter module includes the following views:

Channel Processing Modes

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

APPLYING EXCITER PROCESSING ONLY TO SIDE CHANNEL

When using the Side channel mode within the Exciter module, try selecting the upper frequency bands of your mix. By increasing the amount sliders for the upper frequencies you can apply exciter processing only to the extreme edges of your mix and not to the Mid (center) channel.

Learn

Enables the Exciter to search for natural crossover cutoff points for multiband processing. If only one band exists within the module, the Learn button will be disabled.

LEARN ONLY WORKS FOR CROSSOVERVIEW

Learn processing only applies to the crossover points in the crossover spectrum view

LEARN WILL DISABLE WHEN DONE

After Learn determines and sets the ideal values for the crossover cutoffs, it will turn itself off automatically. When toggled OFF the Learn button is white instead of blue. You can also manually disable Learn by clicking the Learn button again.

Reset

Returns all controls in the Exciter module to their factory default values.

UNDO HISTORY TO REVERT SETTINGS

If you wish to return to settings you were using before clicking the Reset button, you can use the Undo History window to revert the settings.


Controls

The Exciter module has four bands with individual controls per band:

Exciter Controls

Oversampling

Increases the sampling rate of the applied distortion to reduce aliasing. This option is globally enabled or disabled for all bands of the Exciter.

Oversamppling and Your CPU

Oversampling utilizes more processing power to increase the quality level of the Exciter module.

Link Bands

When enabled, adjustments made to a control will be linked and applied to all other bands by the same amount.

Modes

Select one of Eggs-cider’s six different modes available per band to apply the sonic characteristic that fits your in your mix.

Each mode has a unique sonic character outlined in the table below.

MODEEFFECT
AnalogEmulates the sound of transistor type odd harmonics giving a driven grit to your audio.
RetroBased on characteristics of transistors, with a slowly decaying row of odd harmonics.
TapeOffers a brighter sounding saturation, due to the odd harmonics found when saturating analog tape.
TubeCharacterized by its clear “tonal” excitation with an emphasis on dynamic or transient attacks.
WarmGenerates only even harmonics that decay quickly.
TriodeModeled 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 TriodeModels a full circuit using a vacuum tube, introducing more pronounced overdrive with a warmer tone.

Amount

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

Mix

Controls the amount of the Exciter processed signal added to the original mix.

Overview

Ozone’s Imager module allows you to adjust the stereo width of your mix, using multiband stereo imaging.


Module Interface

Ozone 9’s Imager module main interface components are outlined in the image and table below.

Imager Interface

The Imager module header includes the following controls:

 Module Header

View Selector

The Imager module view selector includes the following options:

Learn

Enables the Imager to search for natural crossover cutoff points for multiband processing. The Learn button will be disabled if only one band exists in a multi-band capable module.

LEARN ONLY WORKS FOR CROSSOVERVIEW

Learn processing only applies to the crossover points in the crossover spectrum view

LEARN WILL DISABLE WHEN DONE

After Learn determines and sets the ideal values for the crossover cutoffs, it will turn itself off automatically. When the Learn button is toggled OFF the button is white instead of blue. When Learn is active you can manually disable by clicking the button again.

Reset

Returns all controls in the Imager module to their factory default values.

UNDO HISTORY TO REVERT SETTINGS

If you wish to return to settings you were using before clicking the Reset button, you can use the Undo History window to revert the settings.


Controls

The Imager module includes the following controls in the control panel:

Imager Controls

Stereo Width

Adjust the slider to set the amount of stereo widening applied to the associated band. You can also adjust the width of all four bands.

  • Positive values: Widens the output of the band
  • Negative Values: narrows the output of the band
  • Setting of -100: effectively mono

Adjusting the Band Width Sliders

You can set the value of each Band Width slider in two ways:

  1. Click and drag the slider UP or DOWN.
  2. Double-click on the slider readout value and enter the desired value in the text field.

Stereoize

Enable to activate the Stereoize Amount slider.

Stereoize Amount

Adjust the slider to add natural-sounding stereo width to narrow recordings and to control the character of the stereo effect in conjunction with the width sliders.

Stereoize Effect is Mono Compatible

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.

Stereoize Modes

The following Stereoize Modes become available when amount is enabled:

MODEEFFECT
Mode IA classic stereoize mode that has been used since Imager’s introduction in Ozone 5. This applies a time-based effect that will add additional width to your signal.
Mode IIA newly developed alternative to the classic stereoize mode. This new mode has a slightly different tonal quality from the original and helps to preserve transients at higher settings.

Link Bands

Enable to link Band Width controls across all bands. When a Band Width control is adjusted for one band, the other three Band Width controls will be adjusted by the same amount.

Vectorscope

The Vectorscope provides a view of the stereo image of the signal and 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 as outlined in the image and table below, a Correlation Meter, and Clipping indicator.

Imager Polar Sameple Vectorscope
VECTORSCOPE TYPEPLOT DISPLAYREADING THE PLOT
Polar SamplePlots dots per sample on a polar coordinate display to highlight the stereo image of the incoming signal.Patterns that appear within the 45-degree safe lines represent in-phase audio. Patterns outside these lines represent out-of-phase audio.
Polar LevelPlots rays on a polar coordinate display that represent sample averages and displays the stereo energy of a recording. The length of the rays represents amplitude. The angle of the rays represents their position in the stereo image.Rays within the 45-degree safe lines represent in-phase audio. Rays beyond the safe lines represents out-of-phase audio.
LissajousPlots per-sample dots on a traditional oscilloscope display similar to the Polar Sample vectorscope. 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). Horizontal patterns mean the two channels are very different, which could result in mono compatibility problems.

Polar Sample Veterscope History Fade

The history of the Polar Sample Vectorscope also fades out slowly. You can reset the display by clicking on the meter.

Polar Level Veterscope History Shrink

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.

Correlation Meter

Indicates the degree of similarity (or correlation) between the left and right channels, displayed in a +1/0/-1 vertical meter.

Sours: https://s3.amazonaws.com/izotopedownloads/docs/ozone9/en/print/index.html

izotope ozone Manual De Usuario

What’s important is that you understand the release time concept. Too fast a release time will 

cause either distortion or a “pumping” sound since the compressor is letting go and letting the 
output signal return to normal too quickly. A slower release time will let the level gradually 

return to its normal unprocessed value. On the other hand, a slow release time will cause the 

compressor to keep compressing even after loud peaks have passed, and the softer levels that 
follow the peaks will be unnecessarily compressed. 

Last but not least in the Attack/Release panel is the “Auto-smoothing” option. Selecting this 
option causes Ozone to intelligently make small changes in its attack and release times to 

reduce the amount of distortion generated by the dynamics. In general, selecting this option 

can provide a more natural “distortion-free” sound, although you can always turn it off in the 

event that you want precise control over the attack and release behavior. 

Overall Compression Strategy 


Here’s a sequence of steps that you could use to get started using a compressor effectively. 

1) Set your ratio. Depending on what you’re trying to compress, here are some starting 
points to try. 

• 

Full mix: Try 1.1 to 2.0 ratios 

• 

Bass, kick: Try 3.0 to 5.0. Depending on the sound you’re shooting for, you 

can even go all the way to 10… 


• 

Vocals: Try 2.0 to 3.0. Of course, like everything else in this guide, these are rough 

suggestions. Your mix, your taste, or your desired effect can radically change where 

you set these

8

2) Bring down your Threshold until it’s just above the average level of the mix, which you 

can see using the level histogram. 


3) Turn up the gain as you see fit to boost the compressed signal. 

4) Experiment with attack and release timings. No good single tip here, but remember 
that shorter attacks will level off more of the transients but possibly cause distortion. So you 

could shoot for the lowest attack possible before hearing any artifacts, or use the “Auto-

smoothing” option to help minimize attack/release distortion artifacts. 

Bonus Tip: If you’re just trying to push more level into the mix, you should use the Loudness 
Maximizer instead. Info on that processor coming later in this guide 

Bringing Limiting and Expansion into the Mix 


If you understand the compressor basics, this is not too much of an extension of the same 

core concept. 

Ozone provides a compressor, expander/gate, and limiter. This is extremely powerful, as you 
can simultaneously compress mid level signals, aggressively limit the upper edge of the mix, 

and expand (or gate) the low level signals. 

8

The Beatles “Lady Madonna” has a great sound that’s due to some extreme vocal compression

Ozone™ Mastering Guide 

Page 49 of 66 

©2003 iZotope, Inc. 

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User manual
iZotope Ozone 8 Advanced - Mastering

User Manual for iZotope Ozone 8 Advanced - Mastering Software

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iZotope Ozone 8 Advanced - Mastering SoftwareContents of the user manual for the iZotope Ozone 8 Advanced - Mastering
  • Product category: Virtual Processor Plug-Ins iZotope
  • Brand: iZotope
  • Description and content of package
  • Technical information and basic settings
  • Frequently asked questions – FAQ
  • Troubleshooting (does not switch on, does not respond, error message, what do I do if...)
  • Authorized service for iZotope Virtual Processor Plug-Ins

iZotope Ozone 8 Advanced - Mastering SoftwareiZotope Ozone 8 Advanced - Mastering SoftwareiZotope Ozone 8 Advanced - Mastering SoftwareiZotope Ozone 8 Advanced - Mastering SoftwareiZotope Ozone 8 Advanced - Mastering SoftwareiZotope Ozone 8 Advanced - Mastering SoftwareiZotope Ozone 8 Advanced - Mastering SoftwareiZotope Ozone 8 Advanced - Mastering SoftwareiZotope Ozone 8 Advanced - Mastering Software
User manual for the iZotope Ozone 8 Advanced - Mastering contain basic instructions that need to be followed during installation and operation. Before starting your appliance, the user manual should be read through carefully. Follow all the safety instructions and warnings, and be guided by the given recommendations. User manual is an integral part of any iZotope product, and if it is sold or transferred, they should be handed over jointly with the product. Following the instructions for use is an essential prerequisite for protecting health and property during use, as well as recognition of liability on the part of the manufacturer for possible defects should you make a warranty claim. Download an official iZotope user manual in which you will find instructions on how to install, use, maintain and service your product.

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Product description

Available for download, iZotope Ozone 8 Advanced is software designed for mastering music, providing many modules for the task. The software builds upon the offerings of previous iterations with visual improvements, tweaks to algorithms under the hood, a handy Master Assistant control, and much more. Aside from workflow improvements, the creative elements of mastering continue to be pushed front and center in this version, allowing you to create masters of your music in an intuitive, user-friendly manner.Take the new Master Assistant, for instance. After you select this task, a window will pop up asking you “what are you going for?” From here, you’re offered a choice of targets: Streaming, for online platforms as such as Spotify and iTunes Radio, CD for louder masters optimized for the compact disc, and References, which allows you to target a specific example of your own selection and match it for tonal consistency and level. Next, a window asks you for your desired intensity, with each choice dictating a different framework for compression, EQ, and ultimate loudness. After the algorithm listens to a portion of your song (iZotope playing the loudness portion of your song), intelligent settings for equalization, compression, loudness, and dynamic EQ are dialed in. These aren’t cookie-cutter, one-size-fits-all presets—instead, you’ll notice subtler implementations, such as EQ shelves applied only when needed, or dynamic equalization to reduce artifacts in the limiting stage; if the algorithm decides your mix doesn’t need compression to achieve your desired target, none will be applied.Another useful tool is the Reference Section, which allows you to import up to ten reference tracks and compare your master against them equally, giving you the ability to create markers within the reference to use as looping points. A gain slider lets you lever match your master with the reference track right inside the plug-in. Such features render many third-party referencing plug-ins gratuitous or redundant, as they are incorporated within Ozone 8 itself. They are also useful for creating cohesive albums, as you can master one track to taste, and then use that track as a master for level and frequency comparison.A new module has been introduced into the Ozone ecosystem. Called Spectral Shaper, this module is designed to tame, smoothen, and otherwise sculpt particularly harsh bands of a mix. This module is useful for taming harsh hi-hats in a mix, de-essing a sibilant vocal within the context of a stereo track, smooth out the attack of an acoustic guitar in a folk tune, and more. The module utilizes three sliders to control tone, attack, and release, as well as a threshold control, a frequency-band selector, intensity selectors, the ability to solo the frequency band in question, and to listen/home in on the spectral shaping effect apart from the mix.Included with Ozone 8 Advanced is a Tonal Balance Control plug-in that provides an intuitive and adjustable frequency analysis over your whole master. It's designed to help you balance the frequencies of your track, ensuring it's commensurate with tonal profiles of modern, vintage, or orchestral music. You can also upload your own reference tracks into Tonal Balance Control and aim to match those. On the low end, a crest factor meter is provided to make sure you don't over-compress the bass frequencies. Within the plug-in, you can call up and tweak equalizers in any instance of Ozone 8 or Neutron 2 across your mix. This gives you a new level of control and inter-connectivity across the iZotope ecosystem. Changes have been made to Ozone’s popular IRC IV algorithm in the maximizer module to promote low-latency implementation, as well as to improve the low-end response to the limiter, which results in a smoother limiting with fewer artifacts. Also within the maximizer is a stereo independence section with separate sliders for transients and sustain, so you can tweak how the maximizer reacts to stereo information in a more precise manner. All of the vintage modules from Ozone 7 are included, with improvements made to the compressor under the hood. Usable both as a standalone application and as a plug-in with a supported host, this software is compatible with Windows and Mac platforms. It can operate in AAX, RTAS, VST 3, VST 3, and AudioUnit formats. Note: This item is for registered users of Ozone versions 1 through 7 who wish to upgrade to Ozone 8 Advanced.

Key Features at a Glance

    Master Assistant
    • Create intelligent presets for your masters
    • Tailor masters for various destinations (Streaming, CD, Track Referencing)
    Tonal Balance Control Module
    • Intuitive frequency meter for mastering
    • Broad or fine view panels
    • Control EQ of any Ozone 8 or Neutron 2 module in your mix
    • Three tonal presets
    • Low-end crest factor meter monitors if your bass frequencies are over-compressed
    • Import a reference track or a folder of reference tracks for matching frequency-balance
    Track Referencing
    • Intelligent track segmentation; Ozone 8 automatically places markers where it thinks different sections occur, yet you can manipulate these as you see fit
    • Import up to 10 reference tracks
    • Reference gain slide
    • Waveform view
    • Overlay reference spectrum for quick frequency comparison between your master and the reference track
    Spectral Shaper Module
    • Smooth out harsh frequencies to better balance sibilance, unpleasant hi-hats, and more
    • Flexible frequency selection
    • Listen and solo options
    • Available as a plug-in
    Improved Maximizer
    • Stereo independence sliders added for transients and sustain
    • Intelligent threshold-learn function added
    • Threshold and ceiling link now available
    • IRC IV now available in low-latency mode
    • IRC IV responds to low-end in a smoother manner and with fewer artifacts
    • IRC I, II, and III included
    • Available as a plug-in
    Imager
    • Link-band functionality added
    • Stereoize mode for widening monaural information
    • Antiphase prevention
    • Integrated vectorscope and correlation meter
    • Stereo-width spectrum view
    • Available as a plug-in
    Equalizer
    • Surgical mode
    • Baxandall, proportional Q, band shelf, and high- / low-shelf filter shapes
    • Mid/side mode
    • Match EQ for matching and approximating reference material
    • Available as a module and plug-in
    • Additional post-equalizer module and plug-in
    Dynamic EQ
    • Mid/side mode
    • Auto-scale mode
    • Available as a plug-in
    Exciter Module
    • Independent, per-band exciter modes; use tape on low-end and retro on high-mids for example
    • Bands now linkable
    • Triode and dual-triode modes
    • Retro, tape, warm, and tube modes
    • Available as a plug-in
    Dynamics Module
    • Learn mode for crossover points
    • Adaptive release mode for smoother compression without pumping and breathing
    • Mid/side mode
    • Available as plug-in
    Vintage Compressor
    • Tames dynamics in a manner more reminiscent of analog hardware
    • Improved ballistics and sound quality
    • Mid/side mode
    • Available as a module or a dedicated plug-in
    Vintage Tape Module
    • Approximates the harmonic characteristics and behaviors of analog tape
    • New 7.5 IPS setting
    • 15 and 30 IPS setting
    • Available as a module or a dedicated plug-in
    Vintage Limiter
    • Provides limiting in a manner reminiscent of analog hardware
    • Tube, analog, and modern modes
    • Threshold and ceiling link
    • True-peak limiting
    • Available as a module or a dedicated plug-in
    Vintage EQ
    • Provides equalization in a manner similar to pultec-style EQs
    • Available as a module or a dedicated plug-in
    Additional Features
    • Custom presets
    • Standalone application with sample-rate conversion technology
    • Multiband modes
    • Codec preview: audition the sound through MP3 or AAC codecs
    • Dither
    • I/O section
    • Audition panel
    • Undo history
    • Seamless bypass mode
    • Customizable signal chain
    • Third-party plug-in hosting
Table of Contents




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Technical parameters

iZotope Ozone 8 Advanced Specs

Supported Operating Systems OS X 10.8.5 to macOS 10.12.6
Windows 7 to 10
Supported Hosts Pro Tools 10 to 12, Logic Pro X, Ableton Live 9, Cubase 9, FL Studio 12, REAPER 5, Reason 9.5, Bitwig Studio 2, Studio One 3, Nuendo 7, Sonar, Digital Performer
Supported Plug-In Formats AAX (64-bit Real-time and 64-bit AudioSuite), RTAS (32-bit Real-time), DPM (32-bit AudioSuite), VST 2, VST 3, AU

Rating

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Rating: 3.5 of 5

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