If you really want to dig into all of the features of Ozone 8, I recommend that you read it, or at least scan through the overview to get a sense of its power. In terms of features, Ozone is deep, which is plainly clear by the size of the manual. Every module can be operated in stereo or mid/side mode, and you can choose how and where each section of each module is applied. There is even a Tonal Balance Control plugin included (although this is only available in Ozone 8 Advanced). If that wasn’t enough, they also throw in a Vintage Tape module and an Imager for good measure. There’s a Dynamics section, a Vintage Compressor, a Vintage Limiter, a Dynamic EQ, and a Maximizer. The modules here include an Equalizer and a Vintage EQ, a Spectral Shaper and a multi-band Exciter. Ozone 8 Advanced is a full-featured plugin suite that contains 12 different modules that can handle almost any audio sweetening task you may throw at it. So naturally, the opportunity to try out Ozone 8 Advanced was a no-brainer. The subsequent release of Ozone 6 was a step up from there, with an improved limiter, some new modules, and better quality all the way around. The limiter became my favorite for mastering, and the EQ and multi-band tools can be real lifesavers. Using my RX experience as an affirmation that iZotope makes high quality products, I bought Ozone 5 several years ago, and have found it to be practically indispensable since.
It often removes the offending noise, pop, or click with no other audible change. Talk about showing what you’re made of! Then, as now, I find this processor to be akin to voodoo. Well clearly, I’m no Nostradamus, because the clicks were gone and the audio seemed otherwise unchanged.
I sent the ailing audio file to a friend (who prescribed iZotope’s RX), fully expecting to notice the changes and be irritated by the artifacts. (I admit that this may seem lazy, but the scale of the project-4 discs!-and a rapidly approaching deadline made this feel like the correct solution at the time.) Since the mix was a continuous 70-minute audio file, it ended up being easier and faster to remove the clicks from the final mix than it was to re-open the mix, locate the bad edits, and then bounce the whole mix again. My first encounter with an iZotope product occurred when I needed a few stay “click” noises removed from a final mix of a live recording. Other trusted colleagues of mine swore by the almost-magical ability that iZotope products have to work transparently with minimal negative effect, but I guess I never had much occasion to climb aboard. I was a tad late when I finally boarded the i Zotope train about 4-5 years ago.Īs a company, they have made it a core part of their business to enable audio professionals to effectively solve almost any problem that they may encounter. Containing 12 different modules, along with the ability to communicate directly with Neutron 2, Ozone 8 Advanced is iZotope’s definitive mastering suite.
0 kommentar(er)
