Table of Contents Introduction Authorization Authorizing Your Ozone 7 Online Authorizing Your Ozone 7 Offline iLok Support What is Ozone 7? Key Features in Ozone 7 New Features in Ozone 7 Ozone 7 vs. Ozone 7 Advanced Getting Started Standalone vs.
Visuals Component Vintage Limiter Plug-in Vintage EQ (Advanced only) Key Features High & Low frequency controls Mid frequency controls Mid/Side Controls Component Vintage EQ Plug-in Vintage Compressor (Advanced only) Key Features Mid/Side Controls Visuals Component Vintage Compressor Plug-in Vintage Tape (Advanced only) Key Features Input Gain Component Vintage Tape Plug-in Master Section Input/Output Meters Dithering Key Features Dithering Tips When Using the Plug-In Version of Ozone 7
Introduction Introduction Authorization Each purchased copy of Ozone 7 contains a unique serial number printed on a card that is included within the box. Welcome to Ozone 7 © 2001-2015 iZotope, Inc. All rights reserved. iZotope, iZotope.com, the iZotope logo, and Ozone are either registered trademarks or trademarks of iZotope, Inc. in the United States and/or other countries.
Introduction Authorizing Your Copy of Ozone 7 Online After opening Ozone 7 and launching the Authorization Wizard, perform the following steps to complete the authorization process online: 1. Click on “Authorize.” 2. Enter the serial number, using all capital letters, as it is shown on the included card or purchase confirmation e-mail. SN-OZONE7-XXXX-XXXX-XXXX-XXXX 3. You must also enter your name and a valid e-mail address.
Introduction Authorizing Your Copy of Ozone 7 Offline Some customers choose to keep their audio workstations offline; for these instances, a simple offline authorization option has been included. After opening Ozone 7 and launching the Authorization Wizard, the following steps will complete the authorization process offline: 1. When first prompted to authorize Ozone 7, click on “Authorize.” 2. Click on the option for “Offline Authorization” at the bottom of the authorization window. 3.
Introduction iLok Support Ozone 7 supports the iLok copy protection system. Our plug-ins will be able to detect iLok keys and assets if you already use iLok and PACE software on your system. If you don’t already have PACE or iLok, we will not install any PACE or iLok software to your system, and iLok authorizations will be unavailable. Authorizing Ozone with iLok 1. When first prompted to authorize Ozone 7, click on “Authorize.” 2.
Introduction What is Ozone 7? Get ready for an entirely new mastering experience... Glue a mix together, control dynamic range, and add rich character with Ozone Advanced’s criticallyacclaimed music production tools, including the new Vintage EQ, Vintage Compressor, and Vintage Tape modules. Audition masters before rendering with the new Codec Preview. Apply Ozone Advanced’s processing to mix busses, too, with individual plug-ins of all ten modules.
Introduction Key Features in Ozone 7 • Get essential mastering and mixing tools: Maximizer, Dynamic EQ (now in both Standard and Advanced), the new Vintage Limiter, Vintage Tape [Advanced Only], Vintage Compressor [Advanced Only], and Vintage EQ [Advanced Only]. • Build a high-tech new mastering chain when you mix-and-match components, going from fully modern to fully vintage to anywhere in between. • Quickly achieve authentic sounds for any genre and style with a comprehensive bank of presets.
Introduction All of the mastering modules in Ozone are specifically designed to work together; the sound quality and characteristics of each of the mastering modules is tuned to complement the others, providing consistent and high quality results. Ozone uses analog modeling to give each of the mastering modules a smooth, natural sound.
Introduction New Features in Ozone 7 If you’re moving up from an earlier version of Ozone to Ozone 7, we thank you for your continued support! Here are details of some of the changes and new features that you’ll find in Ozone 7: Vintage Tape [Advanced only] The Vintage Tape module brings the distinctive richness and warmth of tape saturation to your modern digital recordings with all the frequency coloration, distortion, and phase effects of tape.
Ozone 7 Standard vs Ozone 7 Advanced Ozone 7 Standard vs. Ozone 7 Advanced Ozone 7 Standard vs. Ozone 7 Advanced Ozone 7 comes in two separate versions: • A standard version with the most commonly used tools • An advanced version that includes an extra set of tools used in the most high-end, professional settings. These include: oo The separate Insight plug-in oo The Dynamic EQ processing module oo Individual component plug-ins for each Ozone 7 module O ZO NE 7 | O ZO N E 7 S TA N D A RD VS .
Getting Started Getting Started Standalone vs. Plug-In Version If you wish to process your audio material within your DAW or two-track editor software of choice, use Ozone 7 in its plug-in form. If you wish to take an existing audio file and process it without using a DAW or two-track editor, use Ozone in its standalone form.
Getting Started Getting to Know Ozone Interface 1. Transport Bar: This set of controls allows you to navigate playback of the audio files that are loaded into the Ozone program. 2. Audio File Tabs: Click on any tab to switch to its corresponding audio file, where you can play it back and adjust the controls of Ozone’s processor modules to affect the sound of the audio file. 3. Waveform: The waveform display shows a graphical representation of the currently selected audio file.
Standalone Version Operation Standalone Version Operation Ozone 7’s standalone version allows you to use its mastering tools as a standalone application; no external DAW or two-track editor is required. This approach can be advantageous when your un-mastered audio already exists as a standalone audio file, and you wish to process it in as straightforward a manner as possible, without the complexity or CPU overhead of running a separate DAW or two-track editor.
Standalone Version Operation You can also import an audio file by dragging and dropping the audio file from your computer desktop/ folder onto the Ozone window. The imported audio file displays as a tab in the upper portion of the screen, with the title of the imported file. Each audio file tab, when clicked on, will display its audio file as a waveform, with an accompanying timeline displayed in minutes/seconds/milliseconds.
Standalone Version Operation Loop 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 loop playback repeatedly for the highlighted section only. To stop looping audio, click on the Loop button again.
Standalone Version Operation Multiple File Workflow You can load multiple files into the same project. To do so, simply repeat the Import File process; each newly imported file will display in its own separate tab on the top of the screen. To play back audio from any given file, simply click on its corresponding tab. The waveform file will change to display that tab’s audio, and the playback controls will control playback for that audio file.
Standalone Version Operation Using Ozone’s preset system, you can also copy and paste processing settings from one imported song to another, using the following steps: • Effect the first track with your desired settings. • Save these settings as a preset. • Click the tab of the next track you wish to apply the preset to. • Load the previous preset you have just saved. • Continue working from there as a starting point.
Standalone Version Operation Filename (Available on Current Track Only) Type the desired name into this field; the exported file will be labeled with the name you have typed. Append Text (Available on All Tracks Only) Type in the desired text into the field; it will be automatically added to each of the exported tracks. You can also select whether to add the text before or after the file name.
Standalone Version Operation Bit Depth Select the bit depth you want to export your file to. If you select a bit depth other than 32-bit, you may want to apply dither to your export. Ozone processes files at 32-bit so dither is desirable for files being exported to values lower than 32-bit. Dither settings will default to ideal settings for 16 bit exports (CD quality bit depth). Checking the Dither on export box will apply these default settings or any custom settings you choose in the Dither module.
Standalone Version Operation Saving The standalone version of Ozone 7 offers three separate save commands, located within the file menu. They work as follows: Save Project Click on File/“Save Project” to save the Ozone project to your computer. A dialog box will appear, allowing you to specify the save path of the project, as well as the project name.
Standalone Version Operation Other File Menu Commands Close Project Click this menu item to close the currently loaded project. Ozone will present a dialog box asking you what you wish to do with the currently loaded project; options include: • Cancel: Cancels out of the close operation; the current project will stay loaded. • Don’t Save: The current project will be closed and no changes will be saved since the last save operation.
Standalone Version Operation Edit Menu Ozone’s edit menu contains different menus that allow you to configure the audio aspects of the Ozone 7 standalone application. These menus include: Audio Devices Click this menu to select which audio hardware device you wish to monitor Ozone’s audio playback from, as well as the buffer size of the device. Options will include: • The onboard sound circuitry of your Windows or OS X computer. • Any CoreAudio compatible audio hardware (OS X).
General Functions General Functions Ozone Processing Modules Ozone offers its processing modules in a horizontal signal chain at the bottom of the screen. By default, the order of processing in Ozone is as follows: • Equalizer • Dynamics • Maximizer The visual phase and spectrum meters that display information about the audio level and spectrum are based on the final output signal, after all processing from the modules has occurred.
General Functions Input/Output Gain The panel on the right side of the Ozone interface is the main input/output section for Ozone. This is used for setting and monitoring gain levels going in and coming out. Setting Input and Output Gain You can adjust the input or output gain by sliding the faders with the mouse, as well as clicking and using the mouse wheel. Adjusting the Left and Right Channels Independently By default, the left and right gain levels are linked; moving one moves the other.
General Functions Audio Audition Section Ozone’s audition section is located underneath the master stereo meters on the right-hand side of the screen. It provides a useful set of tools for monitoring the master stereo signal, and works as follows: Bypass Click this button to bypass all processing, from all modules, on the audio signal. The graphical interface for the modules will turn a light grey as a reminder that these modules are not in the signal path.
General Functions Swap Button Click this button to swap the left and right sides of the stereo signal, allowing you to monitor the signal in reverse. Codec (Advanced only) Click this button to bring up the codec preview window and its various settings. See the Codec Preview section for more details. Dither Click this button to bring up the dither window and its various settings. See the Dither section for more details.
General Functions Undo History Window The Undo History window is a unique and powerful feature for comparing settings in Ozone. To access the History list, click on the History button in the lower right-hand corner of the interface. As you tweak controls, each movement is captured and displayed in the History list. To go back and hear a previous setting, simply click on the list at the point you want to audition. The changes that you’ve undone will show up in a lighter color.
General Functions Buffer Size The Buffer Size Viewer dialog lets you inspect the buffer sizes that your host uses. If you are using Ozone at low latencies, you may experience unusually high CPU usage. Ozone allows you to tweak several buffer sizes in order to optimize CPU usage for your host application settings. Some host applications make it very easy to see what your buffer sizes are, but it can be more difficult to determine in others.
Preset System Preset System Ozone features a preset manager that allows you to quickly and easily work with presets. Note that User Presets are the same as Global Presets, as users can save to the factory presets folders. Preset Manager By default the preset manager will open automatically at startup. If you do not wish for this to occur, uncheck the “show at startup” box at the bottom of the presets window.
Preset System Renaming Presets In the Preset Manager you can double click on a preset to edit its name. Custom Default: You can set your current settings as the default state by right-clicking on and selecting “Set current state as ”. If you have an existing preset that you would like to use as the default state, you can rightclick on that preset’s name and select “Set ‘Preset Name’ as ”. To revert the default state to factory settings, right-click on any preset and select “Reset to factory default”.
Preset System Close The Close button simply closes the Preset Manager window. Note: You cannot “Cancel” an update of a preset. That is, adding, removing, and updating presets are done “in place” and are not reverted when you close the preset system dialog. Preset Storage Location By default, the data files for the presets are stored in a folder located at the following locations: Windows Users C:\Users\\Documents\iZotope\Ozone 7\ Mac OS X Users Users//Documents/iZotope/Ozone 7/ Change Folder It is not n
Preset System Migrating Presets from Ozone 6 Ozone 6 Preset Loading Presets that were created in Ozone 6 can be loaded into Ozone 7. You can access your Ozone 6 presets by changing the preset manager folder path to your Ozone 6 preset folder, or by manually copying your Ozone 6 presets into the Ozone 7 preset folder. Changing Preset Manager file path Open Ozone 7 and navigate to the Preset Manager.
Preset System Module Preset System Ozone 7 brings back the module preset system from Ozone 5. You can now load and save presets for individual modules, allowing you to mix and match settings for various modules. The module preset system works in a similar way to the global preset system but with a simplified interface that is more tailored to to working with individual modules.
Preset System Changing the Module Presets Folder Like the Global Preset System, the Module Preset system allows you to specify where module presets are stored on your hard disk. Simply open the Module Preset menu and click the Change Folder button. A file window will open in which you may specify the location of module preset files. By default, each module’s presets are stored in a folder located at the following locations: Windows Module Preset file paths C:\Users\\Documents\iZotope\Ozone 7\Dynamic EQ Pre
Mastering Modules Standard Module Controls Each processing module contains various buttons and controls that allow you to modify the behavior of the module. The function of these controls is the same regardless of which module you are using. These controls include the following: Module Preset Opens module preset system (see Module Preset System). Solo Clicking the Solo (“S”) button turns off (bypasses) all the mastering modules except the one currently displayed.
Mastering Modules Using Multiband Modules The Dynamics, Exciter, and Imager modules in Ozone default to a multiband configuration; this means they allow you to apply processing independently to up to four separate frequency ranges of the program material passing through them. The ranges (or cutoffs) of these four bands are shown at the top of the multiband modules with up to three vertical light blue lines.
Mastering Modules Other Band Controls Right-clicking on a band brings up a contextual menu with the following additional commands: Insert Band Inserts a new band, same as if you click on the “+” button. If all four bands are already added, this control will be automatically hidden. Remove Band Removes an existing band, same as if you click on the “-” button.
Mastering Modules Crossover Buffer Size Sets the buffer size for the digital crossover. See Buffer Sizes for more info. Crossover Q You can adjust the bandwidth, or Q, of the crossover filters with this control. A higher Q results in tighter crossovers, while a lower Q provides a more gradual transition from one band to the next. This is only available for the digital crossover. Note: The above two controls are available when a digital crossover is selected.
Mastering Modules Mid/Side Processing Most of the modules in Ozone (EQ, Dynamics, Exciter, and Dynamic EQ) include an optional “mid/side” processing option, letting you process the center and edges of the stereo soundstage separately. What is Mid/Side Processing? At the mastering stage, Mid/Side processing separates an ordinary stereo recording into its center (mid) and side elements. • You can think of the Mid channel as the phantom image between your two speakers, or center channel of your audio.
Mastering Modules Example Using Mid/Side Processing in Exciter Module Using the Side channel in the Harmonic Exciter module, try selecting the upper frequency bands for your mix. By increasing the amount sliders for the upper frequencies you will be applying the exciter to the extreme edges of your mix only and leaving the Mid (center) channel as-is.
Mastering Modules The Mid/Side controls work as follows: Mid When the Mid button is selected, processing of the module is applied only to the center of your soundstage. The more you boost the volume level of the Mid channel, the more centered (mono) the audio will be. Side When the Side button is selected, processing is applied to the edges (sides) of your soundstage. The more you boost the volume level of the Side channel, the more spacious and full the audio will be.
Mastering Modules Equalizer 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. Ozone offers different types of versatile EQs for placement within the signal chain, and includes a wide variety of filter shapes, including Flat (Butterworth) low- and high-pass, Brickwall low- and high-pass, and vintage shelf filters.
Mastering Modules EQ Display Options Ozone’s EQ module contains three different user interface modes for working with the EQ; each mode offers a different way of interacting with the module and what parameters you can control. The three modes work as follows: • Spectrum View • Main View • All Bands View To view a given display type, click on its icon on the left side of the display.
Mastering Modules When selecting Digital mode, two additional parameters become available: • Phase: When using the Equalizer in Digital mode, you have access to a phase slider for each of the EQ bands. When the Phase slider is set to 0%, the currently selected band will have a Linear phase response. When the Phase slider is set to 100%, the currently selected band will have a Minimum phase response.
Mastering Modules Matching EQ While in the main view, click on the Matching button to switch the interface panel to Matching EQ mode. Ozone’s Matching EQ feature allows you to automatically equalize a mix based on the spectrum or frequency response of another recording. The Matching EQ is a digital linear-phase EQ, with the ability to use over 8,000 bands of frequencies for very precise matching.
Mastering Modules Target Audio Target audio refers to the audio signal that you wish to apply the reference audio fingerprint onto. To do so: • Click on the graphical “record” button to record the audio passing through Ozone • Click the graphical “stop” button when you have captured it. To apply the resulting EQ curve to your audio, click the graphical “power” button on the Matching tab.
Mastering Modules All Bands View This view allows you to view the numerical parameters (frequency/gain/Q) for all eight bands at the same time, and adjust them by clicking and dragging on the numerical entries, or highlighting the field and typing in the desired numerical value. In this view you can also bypass any band of the EQ by clicking on the graphical “power” button at the top of each parameter column. Mid/Side C-ontrols The Equalizer module can operate in either Stereo or Mid/Side operation.
Mastering Modules Note: The scales for the 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 EQ and the spectrum. The spectrum provides a real-time display of the frequencies of the mix. This display helps with EQ’ing and adjusting the band cutoffs for multiband dynamics.
Mastering Modules Dynamic EQ Ozone’s Dynamic EQ module works similarly to a regular EQ, but allows you to set a compression threshold; when a specified frequency range passes over that threshold, it is reduced or boosted. This processor can be very useful in toning down any specific frequencies in your mix that are too loud, with a degree of precision not possible with a normal EQ. The circles on the display mark each of the six nodes for the dynamic Equalizer.
Mastering Modules Threshold Drag the threshold to adjust the amount of compression applied to the specific EQ band you have selected. Inverse Mode Click this control to activate the Dynamic EQ’s Inverse Mode. Normally, Dynamic EQ acts like a multiband compressor: as audio exceeds the threshold, boosts are reduced and cuts are increased, thus compressing the dynamic range of the affected frequencies. However, you can also invert this behavior, so that the filters respond more like an expander.
Mastering Modules Dynamics One of the most powerful modules in Ozone is the Dynamics section. You can use this module to shape the dynamics of your mix, with up to four bands of analog-modeled compression, limiting, and expansion. Key Features • Apply dynamics processors selectively to different frequency ranges, and even to the center and edges of the sound stage with Mid/Side processing.
Mastering Modules updated to display the currently selected band. As a reminder of which band they are currently controlling, the color of the controls will switch to match the color of the selected band.Each band of dynamics is capable of three types of dynamics processing: • Limiting • Compression • Expansion This type of versatility allows you, for example, to aggressively limit high level signals, apply more gentle compression to medium level signals, or boost (expand) the level of soft signals.
Mastering Modules All Display Displays controls and meters, in a condensed mode, for all four bands at the same time. Link Click the Link label to link the controls for all four bands. When doing so, adjustments made to any band will affect all four frequency bands. Adaptive Release When Adaptive Release is On in the Dynamics module, it will automatically adjust the Release time of the Compressor based on the Peak factor of a signal.
Mastering Modules This slider is very useful for applying the technique called “parallel compression” where you can mix in a desired amount of unprocessed signal.
Mastering Modules Knee Adjust this control to set the desired character of the compression. • Higher settings result in a “soft knee” setting with a subtler, natural sounding compression. • Lower settings result in a “hard knee” setting with a more aggressive sounding compression, often used as an intended effect on individual tracks such as kick and snare drum. Mid/Side Controls The Dynamics module can operate in either Stereo or Mid/Side operation. See the Mid/Side Processing section for more details.
Mastering Modules For all three of the detection filter modes, click on the small “S” icon to solo the filtered frequency, allowing you to monitor only the signal that the detection circuit is using to trigger the Dynamics module. Gain Reduction Trace View This view offers a scrolling meter that displays the incoming signal’s waveform with a superimposed curve that illustrates the amount of gain reduction taking place in real time.
Mastering Modules Imager Ozone’s Imager module allows you to adjust the stereo width of your mix, using a multiband stereo imaging module. As with the other multiband modules in Ozone (Dynamics and Exciter), the module is split up into four bands determined by the multiband crossover points displayed on the spectrum. Key Features • Provides up to four bands of widening, perfect for adding space to your mix.
Mastering Modules Polar Level Vectorscope The stereo energy of a recording is clearly represented by the Polar Level Vectorscope, which plots rays on a polar coordinate display that represent sample averages. The length of the rays represents amplitude while the angle of the rays represents their position in the stereo image. Rays within the 45-degree safe lines represent in-phase audio while anything beyond these lines represents audio that is out of phase.
Mastering Modules In general, most recordings have phase correlations in the 0 to +1 region. A brief readout towards the bottom half of the meter is not necessarily a problem but could represent a possible mono compatibility issue. Note: As you apply greater multiband stereo widening to your audio, the phase correlation will tend to draw more towards the bottom half of the meter, as the left and right channels will become “wider” and less similar.
Mastering Modules Stereo Width Spectrum This view shows a mirrored spectrum display of the signal’s stereo width, using the same frequency range as the multiband crossover display. Correlation View Trace This view displays a scrolling history of the incoming signal’s stereo correlation drawn in real-time. Positive (in phase) values are drawn in light blue while negative (out of phase) values are drawn in red. Clipping The Vectorscope will draw any clipped samples in red.
Mastering Modules Exciter The Exciter module can give a sparkle or shine to the upper frequencies of a mix. It can also be used in mid and even low frequencies to add a boost or presence, as well as add warmth, sparkle, and shine using four separate bands of excitation. Key Features • Choose from six different saturation types: Warm, Retro, Tape, Tube, Triode, and Dual Triode. • Adjustable amount and mix controls for each band.
Mastering Modules Multiband Controls Like other multiband modules in Ozone, the controls for the Exciter can individually process each of four frequency bands separately. To access these controls, click the Crossover View icon on the upper left-hand side of the module interface.
Mastering Modules Maximizer Ozone’s Maximizer is a digital peak limiter. It allows you to create an overall louder or fuller master by limiting the dynamic range and boosting the perceived overall level of the mix. Ozone’s acclaimed IRC (Intelligent Release Control) technology lets you boost the overall level of your mixes without sacrificing dynamics and clarity. The Maximizer applies to the entire bandwidth of the mix; it is not a multiband effect.
Mastering Modules IRC III Allows for the most aggressive limiting by using an advanced psychoacoustic model to intelligently determine the speed of limiting that can be done to the incoming signal, before producing distortion that is detectable to the human ear. The IRC III mode is very CPU-intensive, and produces a high latency, especially at higher sampling rates. You may find that at sampling rates greater than 48 kHz you are unable to use Intelligent III mode in real-time.
Mastering Modules Threshold Controls Threshold This slider determines the point that the maximizer will begin limiting. Turning down the threshold limits more of the signal, which in turn will create an overall louder mix. In other words, by turning down the threshold, you limit the dynamic range of the mix, and the maximizer automatically adds gain proportionally to maximize the output level. Ceiling Formerly called “Margin,” the ceiling sets the maximum level output by the Maximizer.
Mastering Modules Transient Emphasis Click the “Transient Emphasis” button to fine-tune the shaping of transients before limiting takes place; this helps to preserve sharper sounds like drums, while still optimizing loudness. The higher the amount of transient recovery you dial in using the fader, the more pronounced the transients will be after the limiting process. Visuals Threshold Meter The Threshold meter displays gain reduction as it is taking place with level meters.
Mastering Modules Vintage Limiter The Vintage Limiter allows you to create a louder and fuller master by limiting the dynamic range and boosting the overall level of your mix. It is loosely modeled after the Fairchild 670, a feedback-based tube compressor/ limiter with a soft knee, with slightly different attack and release envelopes due to a differing feedback topology. An IRC I limiter is then applied after the tube processing to transparently prevent clipping.
Mastering Modules Tube A more balanced limiter with variable attack and release times, this mode provides smooth feedback limiting with a wider range of sonic characteristics that vary depending on your incoming signal.
Mastering Modules Visuals Threshold Meter The Threshold meter uses level meters to display the gain reduction taking place. The two outer meters display the levels of the incoming signal and the inner meters show the amount of gain reduction taking place. Visuals The display at the top of the Vintage Compressor module offers two display modes: • Detection Filter • Gain Reduction Trace To view a given display mode, click on its icon on the left side of the display.
Mastering Modules Vintage EQ (Advanced only) The Vintage EQ module is based on the Pultec EQP-1A and Pultec MEQ-5, two highly regarded equalizers from the 1950s. EQP-1A affects the high and low frequencies, and MEQ-5 acts on the midrange. The Ozone Vintage EQ closely emulates the frequency response of the Pultec EQP-1A and MEQ-5 by modeling their individual circuit components. A unique property of the EQP-1A is that it has separate controls for boosting and cutting the low frequencies.
Mastering Modules Low Frequency Boost Sets the amount of boost applied to the selected low frequency. This is a low shelf filter. Low Frequency Cut Sets the amount of attenuation applied to the selected low frequency. This is also a low shelf filter. High Boost Frequency Selection Sets the high frequency to be boosted. Options include 3 kHz, 4 kHz, 5 kHz, 8 kHz, 10 kHz, 12 kHz, and 16 kHz. High Frequency Boost Sets the amount of boost applied to the selected high frequency. This is a peaking filter.
Mastering Modules High-Mid Frequency Boost Sets the amount of boost applied to the selected high-mid frequency. Mid/Side Controls The Vintage EQ module can operate in either Stereo, Left/Right, or Mid/Side modes. See the “Mid/Side Processing” section for more details. Component Vintage EQ Plug-in If you are using Ozone 7 Advanced you will also have the ability to instantiate Ozone 7’s Vintage EQ module as an individual component plug-in.
Mastering Modules Vintage Compressor (Advanced only) Think of the Vintage Compressor as an accurate analog emulation of a compressor that has never existed before! We’ve combined some of the best elements of vintage analog compressors to create this algorithm. The Vintage Compressor is a feedback compressor. A compressor detects the signal level, and reduces the gain when the signal goes above the threshold.
Mastering Modules Key Features • With minimal controls to shape, enhance, and even completely redefine your mix, Vintage Compressor gives your music authentic vintage character. • Flexible feedback compression modeling tailors attack and release shapes depending on your material. • Program dependent release times mean longer release times for a transparent sound on vocals with no pumping and fast release times to keep drums sounding tight and natural.
Mastering Modules Gain The gain slider adjusts the output gain of the Vintage Compressor module. This is useful, for example, after compressing to makeup the decrease in volume. Auto Gain Compensation When you click the Auto button, automatic gain control calculates the RMS levels of both the input and output signals of the Vintage Compressor, and then applies the appropriate gain to the output signal to compensate for the difference.
Mastering Modules Component Vintage Compressor Plug-in If you are using Ozone 7 Advanced you will also have the ability to instantiate Ozone 7’s Vintage Compressor module as an individual component plug-in. Ozone 7 Advanced includes component plug-ins for all of Ozone’s modules. Each component plug-in has the same features as its corresponding in-Ozone module.
Mastering Modules Vintage Tape (Advanced only) Vintage Tape provides the frequency response (magnitude plus phase) and saturation characteristics of magnetic tape without the crosstalk, hiss, wow, and flutter that might ruin your mix. It’s inspired by a well-maintained Studer A810 two-track tape deck, a clean and accurate machine perfect for mastering.
Master Section Input Gain Changes the gain of the input signal prior to tape emulation. Tape becomes non-linear when recording high amplitude signals, leading to saturation. Increasing the input gain prior to tape emulation can lead to more saturation, while lowering the input gain decreases saturation. The level necessary to achieve a certain amount of saturation depends on the frequency content of the source material and the bias setting.
Master Section Master Section Input/Output Meters Ozone’s input/output level meters display the input and output level for the left and right channels. Several metering options are available; you can select which metering method you wish to use by clicking the Settings button, then selecting the I/O settings tab. Alternatively, you can right-click on the meters themselves to go straight to the I/O settings tab as well. See the I/O Settings section for details on the different available metering scales.
Master Section Dithering Ozone contains a comprehensive set of dithering tools that allows you to prepare studio-quality audio for CD and other formats by effectively converting and dithering audio to 24, 20, 16, 12, or 8 bits. Note that the dither tool is independent of the Maximizer module. Key Features • Includes iZotope MBIT+ Dither for exceptionally transparent conversion to different bit depths.
Master Section Dither Amount This sets the number of bits or amount of dither that will be used. The dithering amount can be varied among Off, Medium, and Strong. The Off and Low settings can leave some non-linear quantization distortion or dither noise modulation, while the strong setting completely eliminates the non-linear distortion at the expense of a slightly increased noise floor. In general, the medium dither amount is a good choice.
Master Section Bit Meter This can be an invaluable resource for monitoring the digital activity of your program material, including viewing: • Whether the full range of bits (dynamic range) is being used. • The output word length. • Faulty A/D converters. • Sub-par plug-in processing (detecting a plug-in that’s only processing at 16 bit, using fixed integer math, etc.). The bit meter monitors the state of bits in a digital signal.
Master Section Bit Meter Reset Click here to reset the bit meter and start its display over with the program material’s current playback point. Filter DC Offset DC offset (direct current offset) is a defect in the recording when the waveform’s average voltage is above or below zero. Audio signals are normally represented by an alternating current whose average value is zero. Some malfunctions in the recording equipment can result in a direct current leaking into the signal.
Master Section Codec Preview (Advanced only) When converting to a lossy audio format (such as MP3 or AAC), psychoacoustic algorithms are used to truncate the less audible components of your audio. This means that parts of your audio are actually being removed, which has a subtle (or not so subtle at lower bit rates) affect on the sound.
Master Section Solo Codec Artifacts: This option lets you hear what is being lost in the codec conversion. The codec artifact signal is the codec preview signal subtracted from the unencoded signal. Performance Notes CPU usage & Latency: AAC and MP3 files don’t support sample rates greater than 48kHz. In order to accurately represent the sound quality changes introduced by AAC and MP3 compression, it may be necessary for realtime resampling to take place when Codec Preview is enabled.
Master Section Options Options Ozone contains a comprehensive user settings section that allows you to configure various settings for the program.
Master Section Options Frame Rate Limiter Allows you to set the speed (frames per second) that Ozone should use to display and update meters. In most cases the default will provide smooth displays while still allowing adequate processing time for audio. If your PC hardware allows it, you can increase the frame rate for smoother animation.
Master Section Options Authorizations and Updates Check for Updates Selects the frequency with which Ozone 7 looks for version updates. You may choose between: • Daily • Weekly • Monthly • Never Check Now Instantly checks if your version of Ozone is currently up to date. Authorize Click this button to run the authorization wizard, allowing you to authorize your copy of Ozone if you have not already done so.
Master Section Options Fill Spectrum Allows you to display the real-time spectrum as a solid graph as opposed to a line graph. This option can be used to differentiate the real-time spectrum from the peak hold spectrum. Show Peak Hold Toggles whether Ozone displays and holds the peaks of the spectrum. Spectrum Type Lets you select between four types of spectrums: • Linear: A continuous line connecting the calculated points of the spectrum.
Master Section Options Equalizer Options Show Spectrum Check this box to display a real-time spectrum analyzer signal underneath the Equalizer curve. This can be very useful in showing the frequency balance of your mix and how it is changed as you apply equalization. Show Musical Units When this setting is checked, it allows you to display frequency labels as notes (for example, A4) in addition to the conventional EQ measurement of Hz.
Master Section Options Frequency Resolution Selects the minimum resolution, in Hz, the Equalizer can be adjusted in. Choices include: • 48 Hz • 24 Hz • 12 Hz • 6 Hz • 3 Hz Filter Size Adjusts the steepness of the filter setting used in the EQ module. Alt-Solo Filter Q: Sets the bandwidth (Q) of the Alt-Solo Feature.
Master Section Options Dynamics Options Crossover Type Selects between a digital linear-phase crossover, an analog crossover, and Ozone’s Hybrid crossover. • The analog crossover option provides a natural analog character. • The digital crossover option provides a more transparent sound.
Master Section Options Imager Options Prevent Antiphase When checked, the Imager will automatically prevent any settings from being applied that would result in phase cancellation of the stereo signal, when summed to mono. Vectorscope Detection Method Chooses which type of amplitude detection method is used by the Vectorscope. Choices include: • Peak: When this option is enabled, Ozone’s detection circuit looks at peak levels of the incoming signal.
Master Section Options Crossover Type Selects between a digital linear-phase crossover, an analog crossover, and Ozone’s Hybrid crossover. • The analog crossover option provides a natural analog character. • The digital crossover provides a more transparent sound.
Master Section Options Dynamic EQ Options Show Musical Units When checked, the Dynamic EQ will show its frequency points as musical notes (for example, A4) instead of measured in Hz. Show Spectrum When checked, a spectrum view of the program material will be available to view within the module, allowing you to see in real time how your settings affect the spectral balance of your audio. Alt-Solo Filter Q Controls the bandwidth (Q) of the filter used in the Dynamic EQ. The setting ranges from .2 to 12.
Master Section Options Exciter Options Crossover Type Selects between a digital-linear phase crossover, an analog crossover, and Ozone’s Hybrid crossover. • The analog crossover option provides a natural analog character. • The digital crossover provides a more transparent sound.
Master Section Options I/O Options Enable Meters Check this setting to enable the meters in Ozone’s master I/O section. When unchecked, the meters will not appear. Show Peak Hold Check this setting to allow the master I/O meters to visually display a peak hold, whenever peaks occur in the loaded audio file. Detect True Peaks By default the Input/Output meters will only indicate clipping which occurs within the digital domain.
Master Section Options Meter Type Ozone 7 allows the I/O meters to display peaks according to several different audio monitoring types, including: • RMS: RMS (Root Mean Square) is 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.
Master Section Options By default, the I/O meters will display the Stereo mix of your audio. However, when working with Mid/ Side processing, it is often very helpful to have a clear meter indication of the overall Mid and Side levels individually. When the I/O meters are in Mid/Side mode, they will no longer display your signal in terms of Stereo Left and Right. Instead, on the left side of the meter will be the level of the entire Mid signal, and on the right will be the overall level of the side signal.
Master Section Options App Options Plug-in Tab Enabled Plug-in Formats Allows you to individually select which plug-in formats (VST and AudioUnit) will be automatically loaded into Ozone’s “Plug-ins” section. Scan Plug-ins Click this button to re-scan the selected plug-in locations and load in any newly installed plug-ins. VST Plug-In Folders Displays the currently monitored folder path of where your VST plug-ins reside that are loaded into the “Plug-ins” section of Ozone.
Master Section Options App Tab Enable Waveform Segments Overlay Click to enable the Waveform Segmentation overlay, which is the multicolored bar located just below the waveform. In Ozone 7, every imported audio file is scanned for matching “segments,” which are displayed as colored bars. This display acts as a helpful color coding of the sections of a song. A mastering engineer can use this display to quickly check every transition, or alternatively A/B the chorus of one song with the chorus of another.
Master Tips andSection Shortcuts CPU Optimization Unlike many single task plug-ins, Ozone 7 harnesses the power of six plug-ins in one, and performs a significant number of calculations when running. The combination of multiple DSP modules performing analog modeling and a half dozen real-time meters dictates that it requires more CPU processing than a typical plug-in.
Master Tips andSection Shortcuts Tips and Shortcuts How to Decrease CPU Usage If you experience unusually high CPU usage, you can try changing the EQ module to Analog mode. You can also try increasing your host application’s buffer size to decrease CPU usage. We understand that these solutions might not be adequate for many users, so we’ve also designed Ozone to be optimized for any host application setup.
Master Tips andSection Shortcuts Automation (Plug-In Version Only) 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 in Ozone, using any host application that supports effects automation.
Master Tips andSection Shortcuts Shortcut Keys and Mouse Support Turn Keyboard Support On or Off You can turn Keyboard Shortcuts on or off from the General Options menu. Keyboard support must be set to Full for all keyboard shortcuts to be available. Available options include Full (full keyboard support), Minimal (only TAB, arrow keys, and ENTER), or None (Keyboard shortcuts turned off).
Master Tips andSection Shortcuts Keyboard Shortcuts O ZO NE 7 | TIP S A N D SHORTCUTS 105
Master Tips andSection Shortcuts iZotope Customer Support How to Purchase the Full Version of Ozone 7 If you are using the demo version of Ozone and would like the full version, you can purchase Ozone direct from the iZotope online store, located at: https://www.izotope.com/en/products/mixing-mastering/ozone Once your purchase is complete, you will be sent an e-mail confirmation and a full version serial number that can be used to fully authorize your current installation of Ozone.
Master Tips andSection Shortcuts International Distribution Support is also available from our international distributors worldwide, for any customers who purchased their iZotope products through a certified iZotope distributor. Check with your local distributor for their availability. If you would like help locating your local distributor please contact iZotope support. http://www.izotope.
