The other new module, Low End Focus, is intended for emphasising or blunting transients between 20Hz and anywhere from 49-300Hz, as determined by the adjustable crossover. Truly spectacular, and we look forward to more instrumentation options in Ozone 10.įocus and Focus Gain allow you to select a mix element for adjustment in Master Rebalance and then dial in up to 8dB of boost or attenuation of Master Rebalance’s Focus element.
It just works, every time, making it genuinely possible to bring out undermixed parts or suppress overly dominant ones to a greater degree than you might expect, without any detrimental effect on the surrounding material.
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Master Rebalance is the most impressive of the two: simply click the Vocals, Bass or Drums button to target that component within your full mix, and slide the slider to apply up to 8dB of cut or boost to it. The two (Advanced-only) headline features this time round are a pair of very straightforward new spectral processing modules designed to give effortless control over specific elements of the mix. It all looks and feels fabulous, and CPU usage has also been quite appreciably reduced in comparison to Ozone 8.
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That means EQ control panels overlaid on the main display rather than racked up below (but with the All Bands view still available to the main and Post EQs, which are now called Equalizer 1 and 2), much smoother spectrograms, and – yay! – free ‘corner-drag’ resizing. It’s one plugin that I just love to abuse and I’m sure you’ll all enjoy it too, along with all the other offerings in this comprehensive mastering suite.The first thing upgrading users will notice is that the GUI has been overhauled for visual and workflow parity with stablemates Neutron 3 (9/10, cm265) and Nectar 3 (9/10, cm265). Maximizer allows you to slam your dynamic range until there is nothing left, or delicately increase the overall volume a touch, depending on your intended audience. You can get the most of every dynamic level in your track without it hitting the ceiling, gently pushing all your voices into the realm of kick drum subtlety. Maximizer now has a couple of extra modes for more modern styles of music to allow even more squeezing of your sound without unwanted pumping. Of course, I couldn’t not mention the Maximizer, a feature that has been around in Ozone for some time and still gets me excited every time I open it up. This then breaks down into several sections of EQ stages, using the included EQ plugins within the Ozone bundle to bring your sound in line with the competition. The Tonal Balance plugin is a new step forward that looks at the overall EQ shape and sound of your mix and compares it to a range of tracks and genre reference points from a database of musical style to see how your tracks fit in with industry standards. With so much going on in this new release, I thought it best to just focus on some of the main updates and additions to Ozone. You don’t have to be an expert mastering engineer, you just need a pair of eyes and ears and the time to apply some simple processes to get the most from your music. This is how all the tools in Ozone are designed to work. Ozone then helps you bring the two closer together for a better result. This enables you to analyse sections of another track from the album you are working on, or a completely different track, already mastered, in a similar genre and compare how it fits against your master. A handy feature is the A/B track referencing, which allows you to load up to ten tracks into Ozone for cross reference listening. This package features 12 different mastering tools, all designed to work with you both visually and aurally so you can control your sound in the way that works best for you. Ozone 8 is available in three bundle sizes, but this month I was lucky enough to give the whole lot a test drive in Ozone 8 Advanced.