iZotope Ozone is undergoing a major update to Ozone 5 and Ozone 5 Advanced!
See the preview below...
In the meantime version 4, introduced in January 2009, still has all the processes needed to complete a CD master.
There are 7 in all: EQ, a mastering reverb, multiband compressor, an enhancer module, an imaging module, a finalizing limiter, and dithering with options for dynamic DC offset removal and preventing inter-sample overs.
You also have the ability to choose which order the different processes will happen, or whether they happen at all. Although limiting and dithering appear on the same user screen, you do have the option for no dithering if you choose.
Generally speaking, though, you should leave limiting and dithering as the last stage of your processes, as that will prevent your master from distorting (provided you don't push the limiter insanely hard!) on someone's home playback system.
This final stage of Ozone – dithering, with DC offset removal and preventing inter-sample overs goes on every master I've produced for my clients. There's a range of dithering and noise shaping types and intensities to choose from, but I generally prefer the MBIT option. This is only available exclusively from iZotope.
With Version 4, iZotope have added a “mix” control and a very cool mid-side function for it's signal processing. These added benefits (especially the mix control) are a secret to getting that mastered sound out of ITB mastering.
A lot of the recent mastering software designs have added mid-side features as part of their processing options. Used properly, it can remove some if the limitations that come up with ITB mastering, namely a collapsed or life-less soundstage.
Also added is a “warm” mode in the enhancement module, and a new limiter release algorithm called ”Intelligent II”.
Another important feature for mastering is extensive visual feedback through an assortment of meters. This lets you verify what you're hearing! In addition to the standard input and output levels, you can view the frequency spectrum while a track plays back which can speed up your EQ decisions. The imaging scope shows your audio signal's soundstage.
One feature in iZotope Ozone I really appreciate is the 'histogram' meter in the compressor section. This starts you off with finding a suitable threshold without squashing the life out of your music. You can also choose to monitor whether or not you're getting inter-sample overs in the input, output or both.
The mid-side options are available in the EQ, reverb, enhancement, and compressor modules.
One benefit of this for EQ is that you can centre the deep bass frequencies which helps give a track focus and punch – it also minimizes the rattling that can happen if your song is played on some of the cheaper boom-boxes!
Being able to add a touch of reverb just to the side channels of a track helps keep the vocals and any lead instruments clear, while adding a nice bit of air around a mix. This iZotope Ozone feature I haven't really found in any other software.
The “warm” mode in the enhancer module adds even harmonics. Used properly with the mid-side option it too can add clarity to vocals, and a sense of open-ness in the soundstage without widening it the way a side EQ boost might.
The mix control has its greatest benefits on the compressor.
Why is this?
Most processors start to “work” on a track when its signal gets louder - just at the point when most of the dynamics or drama start to happen! By mixing in a heavily compressed version of the track underneath a mix, you add fullness and a sense of loudness (still a prerequisite in mastering) without destroying those climaxes, because as the music becomes naturally louder, the compressed version fades more into the background. You also don't have to drive the limiter as hard to get a louder mix happening. And the less processing, the better! - especially when there's good mix happening.
iZotope Ozone also lets you increase or decrease the overall amount of processing for every active module which lets you hear what more processing might do or whether you can get away with less.
In the EQ module, linear and analog modes are available as is a track matching feature like in Voxengo and Harbal.
In the compressor section in addition to linear and analog modes, there is now a hybrid mode which will give linear phase accuracy on the crossover points with analog colour. You can also let Ozone “learn” the best crossover points. I found that many times, different crossovers are suited for the verses and choruses of songs.
When a good mix passes through the iZotope Ozone suite, I've found that just a little bit is all that's needed to give it that spice; and a little less processing can go a long, long way.
One feature in iZotope Ozone I really appreciate is the 'histogram' meter in the compressor section. This starts you off with finding a suitable threshold without squashing the life out of your music. You can also choose to monitor whether or not you're getting inter-sample overs in the input, output or both.
