The answer is a mixture of yes and no, and reflects much of the user’s own approach to sound. With all these extra features, and wads of conspicuously vintage-y stuff, is Ozone still purely a ‘mastering package’? We’ve covered that before, so won’t delve in now, but if bought standalone it’s worth the same as Ozone 7 Advanced. There are plenty of modern inclusions as well: a Type IV IRC maximiser algorithm, which boasts frequency specific limiting - no doubt an attempt to tackle competing products such as DMG Audio’s Limitless, a realtime audio Codec Preview, an improved Dynamic EQ, more export options than ever before, and all 10 modules can work as standalone plug-ins.įinally, iZotope’s excellent music visualiser and metering powerhouse, Insight, is also included as in Ozone 6. The latest goodies include a Vintage EQ, Vintage Limiter, Vintage Tape emulation, and Vintage Compressor. I’m not one to automatically assume newer is better, and apparently neither is iZotope, which has gone into a veritable vintage frenzy with this release. It has aspirations to break out into the recording and mixing part of the chain as well, and it might possibly have the charm and skills to do it. I might be getting ahead of myself, but you could say it’s straining at the bonds of being just a mastering package.
iZotope has kept the same look for version seven, concentrating on packing in more new features than any prior update. While a large portion of the last update addressed Ozone’s visual style. Ozone 6 covered a number of bases, Ozone 7 covers far more. Since I started reviewing Ozone 7 Advanced, guess how many times I’ve used it’s previous, less advanced forebear? Well… a couple, but only for comparisons with the newer release. It shows two things: Firstly, I guess I don’t use much reverb in mastering, but also, I began to appreciate many qualities of the new version - namely, the flexible workflow, the dynamic EQ, the newer IRC Type III limiting, but mainly the sound. In the intervening period of time - despite having had access to both versions of the program - have a guess how many times I have ‘gone back’ and used Ozone 5 on a job? I felt as though an old friend had been beheaded.
In Game of Thrones terminology it would be called something like ‘House Ozone’s sixth heir’.Īt the time of that writeup, whilst I thought it was better than the previous Ozone 5 in many respects, there were causes for concern - for example, the missing reverb algorithm. I found it to be a proud successor in the fairly lengthy lineage of iZotope’s ‘all in one’ mastering packages. Just over a year ago I wrote a review of Ozone 6 Advanced.
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