![]() Ozone 6 has a added a new “Learn” feature to each multi-band section that can automatically set the crossover points based on the audio itself. This is great news – it’s often been hard to find an ideal crossover point that suits all three processors at the same time.Īctually it’s often difficult to find the ideal crossover points at all – most people I know don’t even touch the preset ones. And even different types of crossover as well – analogue, digital or hybrid. The Parallel and master Gain sliders in the dynamics section do go some way towards matching the features but nowhere near enough.įinally, the multi-band dynamics, exciter and imager sections can each have an independent number of bands and different crossover frequencies. I can’t believe this awesomely useful feature was removed – it seems like such a major step backwards. This was a convenient way to correct some heavy-handed tweaking after spending too long in the mastering zone, and provided much more detailed feedback on exactly how much processing was needed than the simpler “Bypass” button. In Ozone 5, these handy sliders scaled the processing amount for each section (and globally). One of the things I immediately noticed was missing in Ozone 6 was the “Amount” sliders. But then you can still tweak the phase response for each band with a little “phase” slider.Īnd as with previous versions of Ozone, there is a “Matching” button for matching an EQ sourced from another track, or even against Pink Noise or 6dB Slopes. You can switch into “Surgical” mode for super-accurate editing of EQ. If analogue colour is not your thing, then the Digital mode avoids it almost completely. ![]() If you want to see exactly what’s going on with phase, there’s also an optional display of Phase Delay, Phase Response and Group Delay. Analogue mode includes the phase-shifts from real EQ types that add their own phase responses, and you can even select different types of filters depending on their type – including Analog, Vintage, Baxandall, Brickwall, Proportional-Q, Band-shelf and Resonant modes. There’s a global button for Digital and Analogue EQ modes. There’s eight EQ bands that can be switched between high pass/low pass/bell/high and low shelf and Baxandall (new) filter types, and as usual an excellent spectrum analyzer that lets you see a detailed view of what’s going on in the mix. On the surface, not a lot different that it was before, but laid out a lot better. I’m very glad to see this feature has not vanished in Ozone 6. In the very-expensive Advanced version, each processing module also comes as a separate plug-in, so working with other mastering plug-ins is easy. This made finding troublesome resonant frequencies ridiculously simple, fast and intuitive, and even when I moved into using other mastering tools, I still preferred Ozone’s EQ section for my precision-repair EQ’ing purposes. My own favourite reason for using Ozone over other mastering products was the cool trick of being able to hold down the Alt/Option key and then click in the EQ display with the mouse to solo a particular frequency. One of its key advantages is having an entire suite of mastering-ready tools condensed into a single mastering plug-in. Izotope’s Ozone has become quite a stalwart of the low-to-mid-budget mastering scene over recent years. Good: Great sound, easier to use, better look and feel, some cool new features and more flexibility in multi-band modes.
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