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1. MASTERING MODULES 54 CONE 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 When using multiband processing the current selected band s gain reduction is drawn imposed on a waveform of only that band s signal The Gain Reduction Trace can help you to set attack and release controls appropriately and monitor the envelope of gain reduction Note You can adjust the scale on the left by hovering over it and using your mouse wheel You can also slide the scale by clicking and dragging Threshold Meter The Threshold meter displays gain reduction as it is taking place with level meters Two meters display the levels of the incoming signal and as gain reduction begins to take place a gain reduction meter appears in red between the two level bars Dynamic Curve Meter This meter shows the input signal x axis plotted against the output processed signal y axis More horizontal compression curves mean the signal is being flattened compressed more You can zoom in and out on the meter by clicking the and buttons in the bott
2. Audio quality improves with increasing bit rate Save Path Click on the Set Path button to select through the resulting dialog box where your exported audio file s will be saved e Ifthe project is unsaved the default save path is your Documents folder e Ifthe project has already been saved the default save path is an Exported Audio Files folder in the same location as the project Sample Rate Select the sample rate with which you wish to export your audio file If you select a sample rate that differs from the original sample rate of the imported file Ozone will apply high quality sample rate conversion to the file e The project sample rate defaults to the sample rate of the first file that is loaded e Ifa file is loaded after with a different or higher sample rate it is converted to the original sampling rate set for the project by the first file or manually set before the second file is loaded e The conversion process will not convert previously converted processed files which are copied as working files upon load Ozone will simply go back to the original files create new copies and then convert all files to the new sample rate for their new working copies Please note if MP3 or AAC format is selected files will be exported with a 44 1kKHz sampling rate OZONE STANDALONE VERSION OPERATION 4 GAOS Standalone Version Operation Bit Depth Select the bit depth you want to export your file to If
3. If you do not receive this email within a few minutes please check your spam folder and make sure our responses are not getting blocked To prevent this from happening please add Support izotope com to your list of allowed email addresses OZONE 7 TIPS AND SHORTCUTS 106 OON Tips and 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 1Zotope http www izotope com support Thanks for using Ozone The iZotope Team OZONE 7 TIPS AND SHORTCUTS 107
4. Tube mode of the Maximizer in Ozone 6 1 in the following ways e Module and component presets from Ozone 6 1 that utilized Tube mode of the Maximizer cannot be loaded in Ozone 7 s Vintage Limiter module or component plug in e When loading an Ozone 6 1 Global Preset that uses the Maximizer s Tube mode Ozone 7 will replace the Maximizer module in the signal chain with the Vintage Limiter module in Tube mode e When loading an Ozone 6 1 Project that uses the Maximizer s Tube mode Ozone 7 will replace the Maximizer module in the signal chain with the Vintage Limiter module in Tube mode e When loading an Ozone 6 1 Maximizer module preset that uses the Tube mode Ozone 7 will display a note that reads Invalid preset file Please use the Vintage Limiter for Tube limiting e When loading an Ozone 6 1 Maximizer component plug in preset that uses the Tube mode Ozone 7 will display a note that reads Invalid preset file Please use the Vintage Limiter for Tube limiting OZONE 7 PRESET SYSTEM GONS 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 Modul
5. click on its icon on the left side of the display Detection Filter View Sidechain This view allows you to specify the frequency response of the detection circuit used by the Vintage Compressor so that it is more or less sensitive to specific frequencies By clicking the Solo Detection Filter button in the upper left corner you can monitor the filtered signal that the detection circuit is using to trigger the Vintage Compressor 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 The Gain Reduction Trace can help you to set attack and release controls appropriately and monitor the envelope of gain reduction Oo _ OZONE MASTERING MODULES 7 OZONE 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 SN I OZONE 7 MASTERING MODULES 75 GONS 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 th
6. in their processed state e A session file with the file extension ozn that contains all parameter values that have been applied to the imported audio files This file uses the project name specified by the user This is the file you would click on to launch and reload the session if you wished to make further adjustments to the audio files and then perform a new export Save Project As Clicking the Save Project As command will always bring up the save dialog box where you can give a new name and save the project as a new separate file from the previously saved version This is very useful if you wish to save different mastering versions of the same project and do not wish to overwrite the old version with new changes you have made For example you could create a mastering session with a very loud bright mix intended for radio and then save that project using the save command You could then create an alternate mastering that is quieter and with more dynamic range intended for a vinyl release By using the Save As command both versions of your mastering have been saved and preserved Note that when using the Save As command only a new version of the project file the file containing the mastering settings is created No new version of the actual audio files is created OZONE STANDALONE VERSION OPERATION 49 OAO Standalone Version Operation Other File Menu Commands Close Project Click this menu item t
7. it using the Options screen W J Wi a Mn Ni MN Mahy Aa AW In the background you ll see the gain scale for the EQ displayed on the right This will change as you zoom the EQ in or out You ll see the scale for the spectrum along the left in gray OZONE 7 MASTERING MODULES 46 CONE 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 Spectrum Analyzer Options You can set options for the spectrum by accessing the Spectrum Options tab or right clicking the spectrum and selecting Spectrum Options from the context menu Post Equalizer Ozone includes a second Equalizer available for placement anywhere in your signal chain You can use this post Equalizer to balance frequencies after multiband processing or perform Stereo and Mid Side or Left Right EQ processing simultaneously all from within Ozone The Alt Solo Feature If you hold down the Alt key and click on the spectrum you have an audio magnifying glass that lets you hear only the frequencies that are under the mouse cursor without affecting your actual EQ settings dE This is useful for p
8. linearity with modern IRC limiting variable release times and transient reproduction Other Controls Threshold The Threshold control determines the level at which the Vintage Limiter will begin limiting When the incoming signal level crosses above the threshold value the limiter kicks in This control also adds gain as the threshold value is lowered Turning down the threshold limits more of the signal which in turn creates an overall louder mix In other words when you turn down the threshold you limit the dynamic range of the mix and the Vintage Limiter automatically adds a proportional amount of gain to maximize the output level Ceiling The Ceiling control sets the maximum output level of the Vintage Limiter It is generally recommended to use a setting of 0 3 dB when dithering or a more dramatic setting 0 6 dB to 0 8 dB when converting to MP3 or AAC formats in order to prevent clipping during conversion See the Codec Preview section for more details True Peak Limiting The True Peak Limiting control enables the limiter to take into account not only the levels of each digital sample but also the levels of the analog signal that will eventually be produced by D A conversion This is sometimes necessary since an analog signals peak level can exceed its corresponding digital signal s peak level by more than 3 qB Note This option will result in a small increase in CPU usage but if your mixes are running very hot you may
9. 0b12150zone App 0b121503 10 8 Crossover Type Selects between a digital linear phase crossover an analog crossover and Ozone s Hybrid crossover e The analog crossover option provides a natural analog character e The digital crossover provides a more transparent sound e The Hybrid crossover is a perfect reconstruction IIR analog crossover designed to reduce phase distortion and frequency distortion found in other analog crossovers while maintaining precise crossover points and the warm characteristics of analog crossovers Crossover Buffer Size Determines how large of a digital audio buffer is used in the Exciter module s crossover section Crossover Q When in Digital mode you can manually set the bandwidth of the crossover points in the dynamics exciter crossover section OZONE 7 OPTIONS 95 OON E Options I O Options General Spectrum Equalizer Dynamics Imager Dynamic EQ Exciter fa Plug in General al RMS Peak w dB non linear Peak Hold Time ms 1000 Integration Time ms S00 VU Readout Max Peak Ozone 7 0b12150zone App 7 0b1215035 10 8 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 wi
10. 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 Thus the recorded waveform appears to be above or below the zero line In FFT Fast Fourier Transform analyzers the DC offset is represented with energy at zero frequency O Hz A DC offset can be removed with a high pass filter Ozone s DC Offset button activates a high pass filter with a 1 Hz cutoff frequency It is important to distinguish DC offset from waveform asymmetry Asymmetry skews the waveform shape towards positive or negative levels but the average current stays at zero Unlike DC offset asymmetry has no particular energy near O Hz and can be reduced using phase rotation filters Note The Filter DC Offset runs in real time before the Maximizer The Maximizer module must be in signal chain to enable DC offset filtering DC Offset Meter When the DC Offset Filter is on the DC Offset meter shows the amount of the DC that is being removed Dithering Guide If you are interested in getting some practical tips for using dithering as well as some of the theory behind it please check out the Ozone Dithering Guide Note that with the purchase of Ozone 7 Advanced you also get the comprehensive Insight metering plug in included For more information about Insight click here Dithering Tips When Using the Plug In Version of Ozone 7
11. Bands sss 35 Other Band Controls ee 36 Mid Side Processing oe 38 Mid Side Processing Examples ss 38 Mid Side Processing with Ozone Modules 39 Equalizer rr 41 Key Features 41 EQ Display Options ee 42 Spectrum VIEW cceeeeseeeeeeeens 42 Main View sereen 42 Selecting Filter Shapes 43 Matching EQ 44 All Bands View 46 Mid Side C ontrols oo eceeeeeees 46 Spectrum Overlay cceeeeeee 46 Post Equalizer 47 The Alt Solo Feature 47 Component Equalizer Plug In 47 Dynamic EQ 48 Dynamics 50 Key Features n 50 Global Dynamics Controls 51 Mid Side Controls laaan 54 VISUAIS caicoarsausnniiddasmunsie ninii 34 Component Dynamics Plug ins 55 Key Features 56 Correlation Meter 5 7 Stereo Width Controls 58 Visuals errr 58 Component Stereo Imaging Plug in 59 Exciter rrn 60 Key Features 60 Multiband Controls oe 61 Post Filter View 61 Exciter Controls ciscsseiecsszenaesigatiecuennions 61 Mid Side Controls l n 61 Maximizer i ccecceceeseeeeeeentteen 62 Key Features 62 Limiting Modes 62 Threshold Controls ooo eee 64 Other Controls le 64 VISUANS errn 65 Component Maximizer Plug in 65 Vintage Limiter eee 66 Key Features 66 Limiting Modes 66 Other Controls 67 Visuals 68 Ce o Component Vintage Limiter Plug in 68 Vintage EQ Advanced only ow 69 REY COTS yerai En OE 69 High amp Low frequency controls sss 69 Mid frequency controls 70 Mid Side Controls n 71 Component Vintage EQ Plug
12. Comp Threshold 15 7d0B DYN Band 2 Lim Threshold 1 1dB ee _ OZONE GENERAL FUNCTIONS 68 GONS 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 For that reason Ozone provides this dialog to let you find out exactly what buffer sizes are being sent to the plug in To use this dialog simply launch it by clicking the View Buffers button on the General tab of the Options screen Then use the following controls Captured Buffer Sizes This list box shows the buffers you have captured thus far The number on the left is the input buffer size and the number on the right is the output buffer size Note that the input and output buffer sizes will be equal in Pro Tools VST AU and MAS versions of Ozone but in the DirectX version if delay compensation is enabled then the sizes may differ When tweaking buffer sizes you re interested in the number on the left which is the host application s buffer size Start Stop Push Start to begin capturing buffer sizes Now each time a buffer is sent to the plug in it will be added to the list of
13. address 4 Select Use iLok Authorization and enter your iLok ID 5 When you have confirmed that all your information is accurate click once more on Authorize 6 Lastly click on Submit in order to send your authorization message to the iZotope servers 7 You will now be instructed to log in to your iLok account and transfer your Ozone 7 license to your iLok 8 When you have completed this step and have your iLok connected to the computer on which you want to use Ozone click Next 9 You should now receive a message that your authorization has been successful and may click Finish to begin using Ozone 7 Online Help We have created an online article to help with common questions about our authorization system Removing Your Current Authorization Use the authorization menu in Ozone s General Options panel to remove your current Ozone authorization for example if you have upgraded to Ozone 7 Advanced and have already authorized Ozone 7 Standard After removing your authorization Ozone s authorization screen will pop up when you restart the program Now you can re authorize the application using a new serial number You may also remove your Standard authorization at any time in order to run Ozone 7 Advanced in Trial or Demo mode Note If you have downloaded Ozone 7 Standard and then purchased an upgrade to Ozone 7 Advanced you will need to download Ozone 7 Advanced from our website here and rei
14. and 30 ips tape speeds e Continuous bias control for precise tuning of frequency and distortion response e Mix in even harmonics for warmer saturation or leave them out for more accurate tape emulation e Accurate phase response modeling across the entire frequency spectrum to provide the natural phase behavior of tape Oo _ OZONE MASTERING MODULES 76 OZONE 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 Vintage tape also contains internal automatic gain adjustment which uses the value of the input gain and knowledge of the tape saturation process to avoid large jumps in output level whatever the amount of input gain you apply Bias Bias primarily impacts the the shape of the distortion curve but also changes the frequency response mainly the high end Negative bias boosts high frequencies and causes more high frequency distortion than positive bias High values of positive bias can severely limit dynamic range a characteristic of over biased tape machines Speed Speed primarily changes the frequency response but also changes the level w
15. and D Buttons You can assign up to four points in the History list to A B C and D buttons To do so e Select the point in the list you want to capture e Click on the Set button below the A B C or D button e Clicking on the appropriate button will then recall the setting assigned to that button History Depth The history list has a depth setting which controls how many edits it remembers You can change this setting in the General Options tab For the plug ins the history is saved at the system level while for the standalone the history is saved in the Project file While using Ozone you can press Ctrl Z repeatedly to undo edits you ve made and Ctrl Shift Z to redo edits CMD Z and CMD Shift Z on Mac OSX See Shortcut Keys and Mouse Support for more keyboard shortcuts EQ Band 7 BXT 10661 0 9 6 46 EQ Band EQ Band 7 Shape Flat Low Pass EQ Band 7 EQ Band 7 T Shape Baxandall Treble shape Baxandall Treble shape Resonant High Shelf EQ Band 7 Gain 0 6d0B DYN Band DYN Band DYN Band OYN Bang DYN Band DYN Band DYN Band DYN Band 3 DYN Band 3 DYN Band 3 DYN Band DYN Band DYN Band DYN Banc 1 Comp Threshold 18 5dB 1 Lim Threshold 2 1dB 1 Lim Ratio 3 5 1 1 Comp Ratio 8 2 1 1 Comp Attack 33ms 1 Camp Release 15ms 1 Comp Knee 4 8dB Comp Knee 8 8qdB Comp Ratio 2 9 1 Camp Threshold 17 1dB 3 Lim Threshold 2 3d0B 3 Lim Threshold 6 1dB 3 Lim Threshold 3 4dB 2
16. captured buffer sizes for you to see Push Stop to stop capturing buffer sizes Note that buffers are sent in very rapid succession to the plug in and after 100 buffer sizes are captured the capturing will automatically be stopped Clear Clears the list of captured buffer sizes Copy Copies the list of gathered buffer sizes to the Windows OS X clipboard useful for pasting into a Support e mail if necessary See Buffer Sizes for more info IN ny OZONE 7 GENERAL FUNCTIONS 27 NZ OON 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 To open or close the Preset Manager click the Browse button in the lower left hand corner of the screen or press the keyboard shortcut P Ozone 7 presets are organized into three folders based on their level of processing e Balanced These are the standard set of Ozone 7 mastering presets e Light These are based in the balanced set but are more transparent applying less processing to the audio Best suited for louder mixes e Heavy These are based on the balanced set but are more aggressive applying more
17. click on the Loop button again The button will de illuminate and looping will no longer be active even though the area of the waveform will remain highlighted The Loop button can be manually clicked again if you wish to again loop the audio Ozone s transport bar also contains three helpful displays as follows Track Number This number displays the track number of the currently selected track Time Counter This counter will display the current time position within the audio file displaying in minutes seconds milliseconds Total Time This smaller display shows you the total length of all songs in the session To play back the imported audio file press the space bar or click on the Play button The audio file will be played back with a moving playhead indicating the current position in the file e Press the space bar again or click on the Stop button to stop playback This function is very useful when dialing in the desired processing for a particular section of your audio file OZONE STANDALONE VERSION OPERATION 48 GAON 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
18. download the product The serial number should resemble SN OZONE7 XXXX XXXX XXXX XXXX Launching the Authorization Wizard _iZotope Authorization _ The first time you open Ozone 7 the Authorization Wizard will appear You can choose to either authorize 4 zotope AUTHORIZATION Ozone or instead use it in trial mode for evaluation purposes Please use your supplied Ozone 7 serial iZotope Ozone 7 number to fully authorize your product Thank you for continuing your evaluation of iZotope Ozone 7 If you have already purchased Ozone click Authorize to authorize the product To continue using this demonstration version click the Demo button Trial vs Demo Mode For 10 days after Ozone is first opened or instantiated Ozone will run in Trial mode Trial mode offers full For details on purchasing Ozone please visit the iZotope functionality of the Ozone plug ins and application eae httpv www izotope com store After 10 days Ozone will revert to Demo mode In the plug ins and application Demo mode will intermittently mute audio output Additionally exporting and saving is disabled in the Ozone application Have a question about iZotope authorization Please visit httov www izotope com authfag 8 OZONE INTRODUCTION OMONE 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 onlin
19. e Do not perform any processing to the audio after it has been dithered with Ozone You may perform level adjustment with the output gain sliders in Ozone those come before the dither but do not change any levels in the host app or with other plug ins e Almost all host apps have their master faders after the effects slot so any level adjustment in the host app will destroy the dither e Do not put any plug ins after Ozone if you are dithering with Ozone The dither must be the last thing that touches the audio e Turn off dithering in the host app Basically you just want to truncate throw away the bits because they re just zero anyhow ee _ OZONE MASTERING SECTIONS oSA SA 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 Codec Preview allows you to hear what your audio will sound like after lossy audio compression has taken place and gives you the opportunity to compensate for this data loss without leaving your DAW For example when converting to a low bit rate MP3 you may want to brighten your audio slightly to counteract the loss of high frequency data Key Features e Preview what your audio will sound like in popular audio com
20. important part of a compressor s sound The release is program dependent meaning that the release time on transients is much faster than it is on periods of sustained compression which helps to decrease both pumping and distortion Another unique feature of feedback compressors is that the attack and release times can vary depending on how much compression is occurring This algorithm includes a versatile detection filter in the feedback loop This filters the signal that is passed into the level detector to change which components of the signal are triggering the compressor Some compressors use a highpass filter or a high shelf boost to reduce pumping Others have a wide boost in the high frequencies to let high frequency content drive the compressor The Vintage Compressor in Ozone includes all of these filters Oo _ OZONE MASTERING MODULES 72 CONE 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 An editable detection filter with highpass mid peak and high shelf nodes Automatic gain compensation provides automatic makeup gain an
21. in a spectrum analyzer Component Vintage Limiter Plug in If you are using Ozone 7 Advanced you will also have the ability to instantiate Ozone 7 s Vintage Limiter 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 Oo _ OZONE MASTERING MODULES 68 CONE MasteringModuies 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 45 a 30 60 hae eow tw are a 12k High Low Boost Cut High Boost 10 144 166 Oost erg 6 6 oo ene nOn 2 2k 4k 300 2 5 Low Mid High ior 200 5 5 1 K Tee do 500 Ik 1 5K 2k 3k H A unique property of the EQP 1A is that it has separate controls for boosting and cutting the low frequencies While the original manual warns Do not attempt to boost and attenuate simultaneously these controls interact in a way that many engineers have found to be extremely desirable Rather than canceling each other out combining these controls results in a boost in the low frequencies followed by
22. including Analog Digital and Hybrid e Analog Crossover The analog crossover option provides a natural character reminiscent of filter slopes in analog equipment e Digital Crossover Ozone 3 first introduced the option of digital linear phase crossovers These provide a more accurate and transparent sound e Hybrid Crossover This perfect reconstruction IIR analog crossover is designed to reduce phase distortion and frequency distortion found in other analog crossovers while maintaining precise crossover points and the warm characteristics of analog crossovers Oo _ OZONE MASTERING MODULES 86 CONE 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 Automatic Crossover Ozone 7 includes an innovative Learn function which intelligently searches for a natural place to set your crossover cutoffs To use this click the Learn button in the bottom right corner of the crossover display then stream audio through the plug in Ozone will search for natural crossover cutoff points using a few criteria including minima in t
23. individual components on your mix busses and take advantage of the flexibility of Ozone s power during mixing Highest Audio Quality Ozone uses highly optimized audio signal processing to achieve the highest resolution and sound quality possible 8 OZONE INTRODUCTION GAON 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 For example the Equalizer can recreate the soft limiting exhibited by a vintage valve Equalizer while the Exciter mimics the musically pleasing harmonic saturation of a vacuum tube component Whenever there was a choice between CPU power and sound quality we chose sound quality There are less CPU intensive ways of doing some of the processing that Ozone does but the sound quality can suffer Since Ozone is optimized for the mastering workflow you would typically only have one instance of Ozone running on the main bus of a DAW session or used in a two track editor application Following this best practice should allow you to utilize Ozone even on computers using lower powered CPUs Powerful Audio and Visual Feedback We wanted to provide useful visual feedback wherever possible Your ears and your eyes can be a powerful comb
24. ins 71 Vintage Compressor Advanced only 72 KOY SES pens Stas taahve OET 73 Mid Side Controls n 74 VISUAIS anasan iach eeiaaitncedaes 74 Component Vintage Compressor IO e L OEE te aot ue aa eee 79 Vintage Tape Advanced only 76 Key Features usann inoen 76 MES A nni 71 Component Vintage Tape Plug in 71 Master Section i ceeeeeeeee 78 Input Output Meters oe 78 UNUM sae fae th eta athe Aen etait 79 Key Features r 79 Dithering Tips When Using the Plug In Version of Ozone 7 82 Codec Preview Advanced only _ _sssi 83 Key Features a A 83 Options rrn 85 General Options eee 85 STAD MICS ooie oE 85 SCM izpis r a eE ation 86 Keyboard SUpport crn 86 Authorizations and Updates ssi S Spectrum Options oe 87 Equalizer Options ooo eee 89 Dynamics Options eee 91 Crossover ype 91 Crossover Buffer Size 91 Look Ahead Time 91 Crossover Q 91 Imager Options eee 92 Prevent Antiphase eee 92 Vectorscope Detection Method ss 92 Crossover ype 93 Crossover Buffer Size 93 CTrOSSOVET O urani niet emn deans 93 Dynamic EQ Options 94 Show Musical Units 94 Show Spectrum 94 Alt Solo Filter Q 94 eceso cooooooooooooooooooooooooooooooooHo o Exciter Options 95 Crossover Ype 95 Crossover Buffer Size 95 Crossover Q e 95 I O Options 96 Enable Meters onioni E 96 Show Peak Hold eeceeeeeeeees 96 Detect True Peaks eee 96 Meter TYPE snega ea ia 97 SCAO a A 97 OUE E na S 97 Peak Hold HIMO areeni 98 Int
25. is necessary the spectrum will be unaltered While a typical multiband limiter has only a few bands set using crossovers Ozone s IRC IV algorithm uses dozens of psychoacoustically spaced bands in order to react to any type of audio To achieve the best results try the various styles to see which best suits your mix The style choices include e Classic This setting provides general enhancement of the overall mix with a sound more reminiscent of Ozone s earlier limiting algorithms which are still being used by professionals today e Modern This style also provides general enhancement and life to your mix but with greater detail and clarity than the Classic style e Transient This style is optimized for maximum preservation of all transients resulting in a highly detailed overall sound that may benefit some mixes needing added clarity Oo OZONE MASTERING MODULES 63 CONE 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 It is generally recommended to use a setti
26. on the spectrum Average Time Averages the spectrum according to this setting Higher average times can be useful for viewing the overall tonal balance of a mix while shorter average times provide a more real time display Overlap Controls how often the spectrum updates More overlap will cause the spectrum to update more frequently at the expense of increased CPU usage OZONE 7 OPTIONS 88 OON Options Equalizer Options General Spectrum Equalizer Dynamics Imager Dynamic EQ Exciter MD Plug in Spectrum Performance al Ozone 7 0b12150zone App 7 061215035 10 8 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 Show Extra Curves Click on this setting to display Phase Delay Phase Response and Group Delay Soft Saturation Checking this button allows the audio material when booted to the point of overloading to saturate in a more forgiving analog type mater as opposed to harsh digital style overloads Buffer Size Adjusts how large of a memory buffer measured in samples Ozone uses when applying equalization to the signal OZONE 7 OPTIONS 89 OON E Op
27. processing to the audio Best suited for quieter mixes Selecting Presets Loading Presets in Ozone You can select and audition any preset by simply clicking on the name in the list This will activate the relevant selected Ozone modules and you will hear the effect of the preset when you play back your audio You can easily compare several different presets just by picking a different name on the list Working with Presets in Ozone Once you have selected a preset from the list you may choose to change the original settings within a specific module When you change any of the original settings within a preset you will see an asterisk added to the beginning of the preset s name This means that the preset has been altered If you want to keep these settings you need to Add a new preset or Save the existing preset in the Preset Manager Working Settings If you modify a preset s settings then these modified settings become your Working Settings Your Working Settings will always be at the top of the preset list within the preset manager This allows you to freely preview and compare different preset options When you are done you can return to your Working Settings by selecting the item at the top of the Preset Manager labeled To select a preset and have it replace your Working Settings just select the name of the new preset ___________________ OZONE 7 PRESET SYSTEM 8 GONS Preset System Renaming Prese
28. pumping and distortion Updated for Ozone 7 the Maximizer features a brand new frequency specific IRC IV algorithm to deliver transparent mixes with even less pumping and distortion Smooth out an unwieldy mix or tame the kick drum peaks without affecting the vocals The Dynamic EQ now in both Ozone Advanced and Ozone Standard lives and breathes with your audio for finer control over your sound Take advantage of the precision of an equalizer and the musical ballistics of a compressor in one integrated processor Learn more about using Dynamic EQ in mastering New sounds and new processing capabilities A new set of vintage inspired processing in Ozone puts nostalgic tone at your fingertips to bring the creative color and character of analog hardware to digital recordings Glue a mix together and control dynamic range with the Vintage Limiter Add the distinctive sonic characteristics of analog tape with Vintage Tape Get subtle warming and sweetening effects with the single band program dependent Vintage Compressor Extend the range of colors available for your masters with the wider more artful equalization palette of Vintage EQ Ozone isn t just for mastering anymore Ozone was designed for mastering but there are lots of possibilities for how Ozone can help out in music production With Ozone Advanced you get all ten Ozone modules including the new vintage processors as separate component plug ins So go ahead and load those
29. right Gain of your signal however The Mid Side meters will still adhere to the same Type and Scale settings defined in the I O options menu Peak Hold Time Selects how many consecutive samples of audio must exceed digital full scale before registering as a peak Choices include 5 e 250 e 500 e 1 000 e 5 000 e Infinite Integration Time This setting lets you specify the integration time for the RMS calculation In most RMS meters the integration time is set to around 300 ms e 10mms e 50Oms e 300 ms vu e 1 475 ms e 2 650 ms e 3 825 ms e 5 000 ms Readout Selects whether the peak hold section of the meters displays the current peak status current or instead displays the highest peak that has occurred in the audio file max peak OZONE 7 OPTIONS 98 OON Options App Options Plug in Tab General Spectrum Equalizer Dynamics Imager Dynamic EQ Exciter pa Plug in App Enabled Plug in Formats VST Plug in Folders Library Audio Plug Ins VST Ozone 7 0b12150zone7 App 7 0 b1215035 10 8 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
30. s Hybrid crossover e The analog crossover option provides a natural analog character e The digital crossover provides a more transparent sound e The Hybrid crossover is a perfect reconstruction IIR analog crossover designed to reduce phase distortion and frequency distortion found in other analog crossovers while maintaining precise crossover points and the warm characteristics of analog crossovers Crossover Buffer Size Determines how large of a digital audio buffer is used in the Imager module s crossover section Crossover Q Determines the bandwidth of the crossover points in the Imager crossover section OZONE7 OPTIONS 93 OON E Options Dynamic EQ Options General Spectrum Equalizer Dynamics Imager Dynamic EQ Exciter I Plug in App General Ozone 7 0b12150zone App 7 0b121503 10 8 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 OZONE 7 OPTIONS 94 OON E Options Exciter Options General Spectrum Equalizer Dynamics Imager Dynamic EG Exciter fo Plug in Crossover Hybrid Ozone 7
31. shape of the Reference as opposed to an exact match Click on the Analog or Digital buttons to go back to the Main View You ll notice that you can still use the EQ nodes to further adjust the equalization It may not be necessary but feel free to further season to taste manually Matching settings are universal for both of Ozone 7 s Equalizers so you may only perform matching with one EQ in the signal chain However each instance of Ozone 7 or Ozone 7 Advanced s Component EQ may load and save its own snapshot sets Oo _ OZONE MASTERING MODULES 45 ooN Mastering Modules All Bands View Bands Band6 Band Band amp 1870 3000 T400 16000 emer 3 04g omer emer 0 30 0 22 0 30 1 00 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 See the Mid Side Processing section for more details Spectrum Overlay By default a spectrum is overlaid on the EQ module for visual feedback of the mix You can turn off the spectrum to conserve CPU or if you simply just don t want to see
32. the Plug ins section of Ozone Use in conjunction with the Add VST Folder to add a new location or the Delete VST Folder to delete a currently displayed folder path Note that for AudioUnit plugins OS X only no folder selection is needed AudioUnit plug ins are always automatically installed to a standard folder location on OS X and Ozone always monitors that specific folder path for any installed AudioUnit plug ins OZONE 7 OPTIONS 99 OON E Options App Tab General Spectrum Equalizer Dynamics Imager Dynamic EQ i Plug in App Other al Ozone 7 0b12150zone App 7 06121505 10 8 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 The corresponding audio can be selected by clicking on the colored segment this allows you to easily select a loop region or quickly jump to different sections of a file Playhead Follows Playback When this control is checked the playhead will always stop at the location that the stop button is pressed as opposed to returning to the start posit
33. the Exciter Exciter Modes The Exciter module has six separate modes available to it To select the desired mode click on the corresponding mode label underneath the module s crossover display Each mode has a unique sonic character Warm Warm mode generates only even harmonics that decay quickly e Retro Retro mode is based on characteristics of transistors with a slowly decaying row of odd harmonics e Tape Tape mode can be recognized as a brighter sound due to the odd harmonics found when saturating analog tape e Tube Tube modeling is characterized by its clear tonal excitation with an emphasis on dynamic or transient attacks e Triode Triode mode is accurately modeled after a tube circuit for realistic analog warmth It uses one half of a tube circuit for a subtler overdrive than the Dual Triode mode e Dual Triode The Dual Triode mode models a full circuit using a vacuum tube introducing more pronounced overdrive with a warmer tone Oversampling Click this control to turn on the oversampling option It utilizes more processing power to increase the quality level of the Exciter module by increasing the sampling rate of the applied distortion to reduce aliasing Oo _ OZONE MASTERING MODULES 60 CONE 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 c
34. the harmonic excitation for the corresponding frequency band Mix This slider controls the mix of the excited signal with the original mix Mid Side Controls The Exciter module can operate in either Stereo or Mid Side operation See the Mid Side Processing section for more details OZONE7 MASTERING MODULES 61 OOS 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 Hi Ei a hlu L l Wie 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 Key Features Intelligent limiting modes provide amazing results greatly reducing pumping on transients and letting you get louder fuller mixes without unwanted artifacts Character control helps you fine tune the Maximizer s response perfectly to your source material Gain Reduction display provides valuable visual feedback of gain reduction Interactive Threshold Ceiling control allows you to adjust the amount of limiting in visual relation to the level of the incoming signal Stereo Unlink feature allows you to limit the left and right channels independently Transient Emphasis feature allows you to preserve transi
35. 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 iZotope Customer Support Policy iZotope is happy to provide professional technical support to all registered users absolutely free of charge https www izotope com support contact index php We also offer valuable pre sales technical support to customers who may be interested in purchasing an iZotope product Before contacting iZotope support you can search our Product Knowledgebase to see if the solution to your problem has already been published How to Contact iZotope for Technical Support For additional help with Ozone e Check out the support pages on our web site at http www izotope com support Contact our customer support department at support izotope com iZotope s highly trained support team is committed to responding to all requests within one 1 business day and frequently respond faster Please try to explain your problem with as much detail and clarity as possible This will ensure our ability to solve your problem accurately the first time around Please include all system specs and the build version of Ozone that you are using Once your support request is submitted you should automatically receive a confirmation email from iZotope support
36. 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 Stereo Width Controls Band Width These sliders set the amount of stereo widening for each band there is one slider for each of the four bands Higher amounts provide more widening 100 mono to 100 full widening Enable Stereoizer Toggle this option on to use stereo synthesis to add natural sounding stereo width to mono or narrowsounding recordings Stereoizer Amount By adjusting the amount control in conjunction with the width sliders you can control the character of the stereo effect The Stereoize effect is completely mono compatible even if you add width to audio it can still be played back in mono without producing unpleasant artifacts Visuals The display at the top of the Imager module offers three separate displays e Crossover View e Stereo Width Spectrum e Correlation Trace To view a given display type click on its icon on the left side of the display Crossover View This view displays the multiband information and crossover points for the module For more information see the Using Multiband Modules section A I OZONE 7 MASTERING MODULES 58 YZ CONE Mastering Modu
37. update the drawing of the control less frequently It may look like the control is moving in steps but rest assured that the audio is being processed smoothly When automating in a track view with envelopes but working mainly with the Ozone interface we found it helpful to be able to see through Ozone so you can monitor Ozone meters and controls but see the track view and automation curves behind Ozone Thus we have provided an Opacity slider in the main options dialog plug in version only available at Settings gt General gt Graphics gt Opacity This allows you to see through Ozone to monitor both what Ozone is doing and what is happening with the automation curves Note that this is not available in all host applications and it does require more CPU power than a standard opaque plug in if you set the Opacity to less than 100 OZONE 7 TIPS AND SHORTCUTS 103 OON S Tips and 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 Using the Scroll Function of your Mouse or Trackpad You can use the scroll function of your mouse or trackpad to adjust most controls I O gain sliders etc by simply p
38. want to enable it to ensure that absolutely no distortion is introduced when your audio is finally run through a D A converter Character The Character control adjusts the attack and release times of the Vintage Limiter It employs different attack and release times depending on the mode that is selected but allows a continuous range from Fast 0 0 to Slow 10 0 in each mode Oo _ OZONE MASTERING MODULES 67 CONE 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 e Detection Filter MR e Gain Reduction Trace To view a given display mode click on its icon on the left side of the display Gain Reduction Trace The Gain Reduction Trace is a scrolling meter that displays the waveform of the input signal with a superimposed trace showing the amount of gain reduction taking place The vertical scale on the left side of the meter can be adjusted by hovering over it and using your mouse wheel to zoom or clicking and dragging to change the range This can help you to set attack and release controls appropriately and to monitor the envelope of gain reduction Spectrum View The Spectrum View displays the output signal
39. 0ms e Short Term This measurement is a calculation of loudness over the course of 3 seconds e Integrated This measurement is a calculation of loudness over the course of an indefinite period of time Scale This sets the range and scale of the I O Meters e dB Linear Decibel scale presented linearly from 60 dB to O e dB Non linear Full decibel scale dBfs presented non linearly e BS 1771 Loudness scale recommended by the ITU that spans from 45 LUFS to 14 0 LUFS e EBU 9 Loudness scale recommended as a default by the EBU that spans from 41 0 LUFS to 14 0 LUFS e EBU 18 Loudness scale recommended for material with a wide Loudness Range by the EBU that spans from 59 0 LUFS to 5 0 LUFS Note LUFS is Loudness Units Full Scale and 1 LUFS 1 dB Source Selects the audio source feeding the meters Choices include e Stereo e Mid Side OZONE 7 OPTIONS 97 OON 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 The Left and Right Gain sliders will still control the Left and
40. 1A High Cut Frequency Selection Sets the high frequency to be attenuated Options include 5 kHz 10 kHz and 2OkKHz High Frequency Cut Sets the amount of attenuation applied to the selected high frequency This is a high shelf filter Mid frequency controls All of the mid frequency controls are peaking filters As in the original MEQ 5 the filter bandwidths are affected by the boost cut amount Low Mid Frequency Selection Sets the low mid frequency to be boosted Options include 200 Hz 300 Hz 500 Hz 700 Hz and 1000 HZ Low Mid Frequency Boost Sets the amount of boost applied to the selected low mid frequency Mid Frequency Selection Sets the mid frequency to be attenuated Options include 200 Hz 300 Hz 500 Hz 700 Hz 1 kHz 1 5 kHz 2 kHz 3 kHz 4 kHz 5 kHz and 7 kHz Mid Frequency Cut Sets the amount of attenuation applied to the selected mid frequency High Mid Frequency Selection Sets the high mid frequency to be boosted Options include 1 5 kHz 2 kHz 3 kHz 4 kHz and 5 kHz ot OZONE MASTERING MODULES 70 GONS 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 O
41. 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 The following is an explanation of the commands and workflows that are unique to the standalone version of Ozone that are not present when using it as a plug in with your DAW software File Menu Ozone s file menu contains the different commands you use to perform functions such as e Loading audio files into an Ozone project for processing e Saving the project e Exporting the processed audio files The file menu s different commands are detailed below in the context of describing the workflow of loading processing and saving audio files Loading Files Upon launching the standalone Ozone application a new project will automatically be created The first step is to import an audio file into the new project To do so you can e Click on the File menu at the top of the screen then Import Audio Files e Click on the plus icon at the top left area of the interface e Use keyboard shortcut Cmdt l or Ctrl l A standard dialog box will appear where you can navigate to the desired file then click Open to import it into the project Supported file formats that Supported bit can be loaded include depths incl
42. E 7 MASTERING MODULES 34 NY CONE 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 You can adjust the frequency cutoffs of the crossover points by dragging the cutoff lines to the left or right with the mouse Bypassing a Band 10 0k You can bypass the processing for a specific band or bands by clicking on the power button that appears above the center of that band The power button is similar in appearance to the power button used by the mastering modules When you bypass a band of the crossover you will hear the audio within that band but without any processing for that band Soloing a Band You can Solo a band by clicking on the box labeled S above the center of the band This allows you to adjust multiband processing more easily by hearing only the audio within the selected band Change the Number of Bands To add or remove bands click in the plus and minus signs in the lower left hand corner of the crossover display e Clicking will add a band oe 9 e Clicking will subtract a band e You can choose to split the audio into on
43. Enter your full Challenge Code copied in step 3 10 After submitting your Challenge Code you will receive a unique authorization file named Ozone_ izotopelicense xml Copy this file to your offline computer 11 12 Once the authorization file is copied to your offline computer using a network hard drive or USB thumb drive click the Choose File button in your authorization wizard Navigate and select the authorization file and click Next to authorize your machine 13 You should now receive a message that your authorization has been successful you may click Finish to begin using Ozone 7 8 0Z0NEZ INTRODUCTION O GAONA 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 When first prompted to authorize Ozone 7 click on Authorize 2 Next enter the serial number in 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 Make note of the e mail address you use to authorize your license Your license and iZotope account will be linked directly to this e mail
44. GONS MasteringModuies 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 This allows you to audition the effect of one module without hearing the effect of the others Bypass Clicking the Bypass button which visually looks like a power button turns off the processing within the currently displayed module This allows you to compare the sound with or without the currently displayed module You can also bypass more than one module at a time by clicking on the bypass control for each module you wish to bypass the processing for Delete Click on the X icon to delete a module from the processing chain You can also delete a module by right clicking and selecting Remove Module Add If a module slot is empty click on the area that says Click to Insert Module This will bring up Ozone s module browser where you can add an Ozone module or a third party plug in Slider Compare Feature You can Shift Click on any slider in Ozone to quickly A B the changes that have been made to that Slider SN I OZON
45. OZONE Helpo Documentation Table of Contents Introduction i cccceeeeeeneeeeeree 1 Authorization rren 1 Authorizing Your Ozone 7 Online 2 Authorizing Your Ozone 7 Offline 3 LOK SUPPOTt eerren 4 What is Ozone 7 5 Key Features in Ozone 7 6 New Features in Ozone 7a 8 Ozone 7 vs Ozone 7 Advanced sss 9 Getting Started cece 10 Standalone vs Plug In Version ss 10 Getting to Know Ozone Interface 11 Standalone Version Operation _ _s__y 12 File MON en 12 Playing Back Audio Files The Transport Bar 13 Multiple File Workflow 15 SAVING aaier rrn 19 Other File Menu Commands sss 20 Edit Menu 21 General Functions 22 Ozone Processing Modules s s 22 Module BrOWS r lrer 22 Input Output Gain cece 23 Audio Audition Section 24 Undo History Window owe 26 Buffer Size 27 Preset System 28 Preset Manager 28 Selecting Presets occ 28 Adding and Removing Presets 29 Preset Storage Location i 30 Migrating Presets from Ozone6 31 Ozone 6 Preset Loading 31 Changing Preset Manager file path 31 Copying Ozone 6 presets into your Ozone 7 preset folder 31 Notes on Legacy Preset loading 31 Module Preset System 32 Opening the Module Preset System 32 Loading Module Presets 32 Saving Module Presets 32 Deleting Module Presets oo 32 Changing the Module Presets Folder 33 Standard Module Controls 34 Using Multiband Modules ow 35 Bypassing a Band oes 35 Soloing a Band 35 Change the Number of
46. S AND SHORTCUTS 104 Keyboard Shortcuts FILE OPERATIONS Create New Project Open Project Save Project Save Project As Import Audio Files Export Audio Files Close Project Quit Ozone PROJECT SETTINGS Toggle Options Window Open Project Settings Dialog Open Audio Devices Dialog Toggle History List PRESETS Select Previous Preset OON S Tips and Shortcuts KEYBOARD SHORTCUTS OSX WIN 3N ctri N O ctril O 5 ctrl 5 shit S ctri shift S l ctri l aE ctri E 35W ctri W HQ ctri Q OSX WIN O O ob ctri a ctri H H OSX WIN Select Next Preset Toggle Preset Manager P TRANSPORT Start Stop Playback Return Playhead to Zero Go To Previous Track Go To Next Track Toggle Loop Selection Playback Toggle Playhead Follows Playback AUDITIONING Toggle Dither Enable Toggle Dither Panel View Toggle Codec Preview Enable Toggle Codec Preview Panel View Toggle Global Bypass Toggle Auto Match Effective Gain Toggle Sum to Mono Toggle Swap Left Right MISC OSX Undo 2 Redo Help Fi F1 OZONE 7 WIN ctri Z setshift Z ctritshift Z OSX WIN Spacebar Return L N OSX WIN D D D ctri D R R aR ctri R B B G G M M F F TIPS AND SHORTCUTS 105 OON S Tips and 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
47. a dip slightly higher up This unique filter shape is also available in our Equalizer module as the Vintage Low Shelf Key Features e Adds the richness warmth and color of analog equalization to your audio e Models the qualities and experience of Pultec hardware equalizers for a unique musical way to manage equalization e Mid Side and Left Right processing modes give you unprecedented control over the stereo soundstage High amp Low frequency controls Low Frequency Selection Sets the low frequency to be boosted Options include 20 Hz 30 Hz 45 Hz 60 Hz and 100 Hz The 45 Hz option isn t present in the original hardware unit but we ve added this frequency because we found it to be useful for mastering oo _ OZONE MASTERING MODULES 69 CONE 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 High Frequency Q Sets the bandwidth for high frequency boosting The boost amount and bandwidth interact i e the Q changes as you boost as they do in the EQP
48. al chain You can check mixes for stereo separation while using the module s controls to provide more or less separation The vectorscope provides three different views each of which you can select by clicking on the display type label below the scope AEA Polar Sample Polar Sample Vectorscope The Polar Sample Vectorscope plots dots per sample but uses a polar coordinate display that is more useful in highlighting the stereo image of the incoming signal Patterns that appear within the 45 degree safe lines represent in phase signals while patterns outside these lines represent out of phase audio The history of the Polar Sample Vectorscope also fades out slowly The last few seconds are displayed as slowly fading data points You can reset the display by clicking on the meter OZONE 7 MASTERING MODULES 56 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 EN image aie Polar Level Rays within the 45 degree safe lines represent in phase audio while anything beyond these lines represents audio that is out of phase History is represented on the Polar Level Vectorscope with the shrinking of the plotted rays slowly over time The rays shrink towards the center of
49. al for mono compatibility and make sure that any processing you have done does not cause any elements of your mix to cancel out and disappear when listening in mono ee _ OZONE GENERAL FUNCTIONS GONS 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 OZONE GENERAL FUNCTIONS GONS 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 Clear button Press the Clear button to clear the history list at any time Close button Press the Close button to close the History window processing resumes from the point you had last selected so you can continue building on the History list from an earlier point A B C
50. anges 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 Take advantage of analog tone for masters that sound more musical with added dimension fatness and depth Vintage EQ Advanced only With the richness warmth and color of Pultec equalizers Vintage EQ lets you brighten your master smooth out heavy lows and add body to your digital recordings Discrete frequency value selections let you boost and cut separately but at the same time without ending up with a boomy master Vintage Compressor Advanced only Vintage Compressor is a single band compression module for subtle warming and sweetening effects The program dependent release tailors release shapes depending on your material to adapt naturally to your music Thicken the midrange tighten and round out the lows let the top sparkle and get authentic vintage character Codec Preview Advanced only Get a real time listen to how your master will sound in various industry standard codecs with Codec Preview Preview the sound of a compressed master within your DAW or the Ozone standalone application Instantly make adjustments to perfect the audio for streaming or online music stores with this easy to use tool that improves your workflow Vintage Li
51. at might ruin your mix Its inspired by a well maintained Studer A810 two track tape deck a clean and accurate machine perfect for mastering Low High Harmonics Emphasis Emphasis la t 2 5 f 159 1 7 2 The amount of tape saturation depends heavily on a very high frequency 100 kHz AC bias signal and changing the level of bias can dramatically change the character of the saturation effect A high bias reduces dynamic range providing more compression a low bias also adds distortion but in a different manner Tape saturation is a wavelength tape speed divided by frequency dependent process so the exact sound of the saturation is a complex interplay between tape speed bias level program material and other factors Tape saturation typically produces distortion with odd harmonics However inaccuracies in the AC bias design or distortion from machine electronics often mixed in even harmonics Vintage Tape allows you to customize the amount of even harmonic distortion and the Iumpiness of the reproduction head frequency response if you want to undo some of the engineering work that made tape quite transparent for an analog medium Key Features e Get the deep natural sound and punchy low end response of analog tape with the convenience of a digital interface e Inspired by the innovative Studer A810 known for excellent frequency response even at the critical high and low frequency range limits e Faithful reproduction of 15 ips
52. button in the Preset Manager then browse to the folder that contains the presets you want to use 6 OZONE 7 PRESET SYSTEM 0 GONS 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 In the Preset Manager select the Change button and navigate to your Ozone 6 preset folder in the OS window that appears select Open to set the new path Copying Ozone 6 presets into your Ozone 7 preset folder Navigate to your Ozone 6 preset folder file paths listed below Copy the presets you wish to use within Ozone 6 navigate to the Ozone 6 preset folder and paste the presets into a folder of your choosing Notes on Legacy Preset loading Updating an Ozone 6 preset from within the Ozone 7 preset manager will update the file to work with Ozone 7 and will not be backwards compatible Presets saved in the Ozone 6 Advanced component plug ins will open in the Ozone 7 Advanced components with the exception of Maximizer presets that use the Tube mode The Tube mode has been moved in Ozone 7 from the Maximizer module to the Vintage Limiter module This affects presets that use the
53. button to begin the export process or launch the Track Info screen for MP3 and AAC A dialog box will appear that shows the progress of the export operation which occurs in faster than real time Track Info Available on MP3 and AAC Only When MP3 or AAC is selected the Track Info screen will become available after clicking Export Here you can enter metadata for the encoded audio file that will used by MP3 amp AAC players to display information about the file MP3 will be tagged using ID3v2 3 AAC uses iTunes style tags OZONE STANDALONE VERSION OPERATION 48 GAON 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 Once the project has been initially saved you can click on the Save Project command again at any time and it will automatically update your changes saving over the previous version A saved Ozone project contains the following three components all placed in an automatically created folder named after the project e An Imported Audio Files folder that contains a copy of the imported audio files in their original State e An Exported Audio Files folder that contains a copy of the exported audio files
54. c LO MINS bea aa imaqer Post Equalizer vintage Limiter To add a third party plug in to the signal chain click on the Plug ins tab in the module browser From there you can select any third party plug in you have installed Ozone 7 supports VST and AudioUnit AU plug in formats ee _ OZONE GENERAL FUNCTIONS GONS 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 You can adjust left and right gain independently by clicking on the lock icon You can also offset the two channels and then relock them so that later adjustments move both channels by the same amount The faders will remember their offset even if they are temporarily turned up or down all the way so that when you bring the faders back to the middle the offset will be preserved Double Click to Reset Faders If the left and right faders are locked double clicking on either fader will reset both of them to O dB If the left and right faders are unlocked and set at different levels double clicking a
55. channel When you play an audio file in this mode you will only hear the content assigned to the center of your soundstage which is typically your lead vocal other lead instruments etc Now select an EQ node around 1 kHz and boost the orange EQ curve about 6 dB This frequency specific boost at 1 kHz will only be applied to the center of your soundstage and can bring up the lead vocal in the mix without affecting the other instruments or the stereo separation of the entire frequency range Example Using Side Processing in Ozone EQ Select Mid Side mode in the EQ module and click Side to reveal the Side EQ curve Click the small s to solo the Side channel When you play an audio file in this mode you will only hear the content at the edges of your soundstage which is typically reverb tails or instruments that are panned to an extreme side Now select an EQ node around 6 kHz and boost the blue EQ curve about 6 dB This frequency specific boost at 6 kHz will only be applied to the edges of your soundstage The effect when applied will result in greater stereo widening and a richer fuller sound MN I OZONE 7 MASTERING MODULES 38 NY GONS 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 extrem
56. ckpad s scroll action to widen narrow a selected band As you adjust the nodes you will see multiple EQ curves The white curve is the composite of all EQ bands while the selected band shows as a thin line in the band s specific color Main View In this view you select an individual band to adjust by selecting that band s tab in the interface window the rest of the interface then displays a deeper set of parameters to adjust for that band including the parameters above but also the specific filter type as well as the matching function This view contains the following controls Analog Digital Click on the Analog or Digital labels to select which type of EQ algorithm you wish to use for the currently selected band The Analog choice emulates classic analog EQ sounds with added coloring while the Digital choice used more precise clinical sounding EQ models Oo OZONE MASTERING MODULES 42 CONE Mastering Modules When selecting Digital mode two additional parameters become available e 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 e Surgical Mode Enabling Surgical Mode changes the filter curves to less musical but far more precise shapes Selecting Filter Shape
57. d a greater emphasis on transients while the body of the signal is kept under control Balanced Gives a signal dependent balance between dynamics preservation and overall enhancement to the body of the signal Smooth Aptly named Smooth mode smoothes out transient and dynamic material but enhances and brings out the rest of the signal leading to a thicker and fuller sound Oo OZONE MASTERING MODULES 78 CONE 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 This automatically brings audio levels to a level comparable to the unprocessed audio and acts as a smart make up gain control that adapts to the mix over time This is also a useful tool for A B ing various settings without having gain changes affect your perception Mid Side Controls The Dynamics module can operate in either Stereo or Mid Side operation See the Mid Side Processing section for more details Visuals The display at the top of the Vintage Compressor module offers two display modes y VA e Gain Reduction Trace e Detection Filter To view a given display mode
58. d also allows you to easily compare your mix with and without dynamics processing applied Threshold Adjust the threshold of the compressor to set the point where the dynamics processing takes place Since some modes have a soft knee mild compression may occur below this point too Threshold Meter The Threshold meter displays gain reduction as it is taking place with level meters The two outer meters display the levels of the incoming signal and as gain reduction begins to take place a gain reduction meter appears in red between the two level bars Ratio Sets the amount of attenuation to be applied to the signal once it has passed the threshold Higher ratios will result in more extreme compression Attack and Release Adjust the attack and release controls to set how quickly the Vintage Compressor reacts to audio that crosses the threshold Attack determines how quickly the Vintage Compressor reacts when the threshold is reached Release determines the amount of time before the Vintage Compressor returns the level to normal once the signal is no longer above the threshold This control sets the release time for transients for sustained compression the release time will be significantly longer Mode The Mode selector adjusts the signal dependent internal ballistics of the Vintage Compressor and consequently changes its overall sonic character to suit the type of sound you re looking for Sharp Provides crisp dynamics an
59. dent on the host application please refer to the documentation of your host app for setting up an automated mix In general you insert Ozone as an ordinary effect on a track and then in the track view of the host app assign automation envelopes to it These envelopes control how Ozone parameters are changed over the course of the mix In this case most of your tweaking is done in the track view of the host app dragging curves and envelopes as opposed to changing controls in Ozone Notes Specific to Ozone Automation We have done our best to provide the controls with intelligent names but it can be overwhelming when you initially see the very large list of automatable parameters in Ozone When scrolling through the list remember that each multiband module has up to 4 bands per parameter So for example Dynamics Comp Thresh Band 1 corresponds to the Compressor Threshold setting in Band 1 of the Dynamics module When automating parameters in the EQ module it is important to note that Stereo Mid Left parameters are labeled with the St M L prefix and Side Right parameters are labeled with the S R prefix When automating a control from the track view you can see the control on the Ozone interface move under the control of the host application We purposely do not update the position of the control as often as we could as it takes CPU power to redraw controls power that is ideally reserved for processing audio So we
60. depths higher than CD quality make sure you have selected audio hardware that supports it Sessions The saved ozn files are referred to as an Ozone session and its hierarchy is similar to that of other audio DAW programs It contains e A project folder that contains all files that are relevant to that project e The session file references audio in the Imported Audio Files folder Initially each project has only one session but you could have many sessions in one project OZONE STANDALONE VERSION OPERATION GONS 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 e Equalizer e Dynamics e 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 Module Browser The module browser displays the available Ozone modules To open the module browser screen click the Click to insert module button at the end of the signal chain Then click on any one of the available Ozone modules to add it to the chain To change the order of the processing simply click and drag any of the modules moving them left or right to a different order Ozone Modules Ko DE Vintage CQ Vintage Tape LESNE Dynami
61. e 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 Note Clicking the Advanced button reveals a set of options that allow you to store your Ozone authorization on a portable hard drive or flash drive Click here or go to the Knowledgebase on iZotope com for more information on these options Please make note of the e mail address you use to authorize your license as your license and iZotope account will be linked directly to this e mail address 4 When you have confirmed that your serial number and e mail information is accurate click once more on Authorize iZotope Authorization zotope AUTHORIZATION Please enter the following information Serial Number 2 Name POT Country United States gt _ Subscribe to the iZotope newsletter Use iLok authorization iLok ID i Cancel b Advanced Not connected to the Internet You can use offline authorization Offline Authorization Have a question about iZotope authorization Please visit htto www izotope com authfag 5 Click on Submit to send your authorization information to iZotope 6 Once the authorization is accepted click on the Finish button to complete the authorization 8 OZONE INTRODUCTION OAOE introduct
62. e two three or four bands For subtle compression or when working with solo instruments less bands can sound smoother as there is less processing required for the audio The other benefit is that less CPU is required when working with fewer bands Oo OZONE MASTERING MODULES 85 GONS Mastering Modules Other Band Controls Right clicking on a band brings up a contextual menu with the following additional commands Insert Bane Stereo 0 0 p Crossover Options 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 Copy Clicking on Copy will copy all of the settings used for that band of the processor into the copy buffer where they can be pasted into a different band Paste Clicking on the Paste command will take the band settings that have been copied into the copy buffer and will apply them to the band that is currently being right clicked Copying and pasting can be helpful for example for duplicating settings across bands in the multiband Dynamics module Spectrum Options Navigates to the options tab for Ozone s spectrum analyzer Crossover Options Navigates to the crossover options tab for the module you are right clicking on Each multiband module can have its own independent crossover options
63. e 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 Operating Matching EQ Mode The Matching EQ works hand in hand with spectrum snapshots to borrow the spectrum of an audio clip and apply it to another Therefore the first step is to take snapshots of two spectrums the reference audio that has the spectrum you want to match and the target audio you want to apply the matched EQ to Reference Audio Reference audio refers to the audio signal that contains a sonic reference fingerprint that you wish to capture and emulate To work with your reference audio signal follow the steps below e Click on the graphical record button to record the audio passing through Ozone e Click the graphical stop button when you have captured it Note that at any time you can click on clear to clear out the recorded signal from the target audio buffer Instead of capturing your own reference you can select Pink Noise or 6 dB Guide These snapshots represent the high frequency decay found in many commercial recordings You can use this as a guide to compare to your own spectrum In general many recordings follow the 6 dB slope while some newer recordings are tending towards a brighter Pink Noise spectrum Note You cannot adjust th
64. e edges of your mix only and leaving the Mid center channel as is Example Using Mid Side Processing in Ozone s Dynamics Module When dealing with multiband compression on a stereo mix it is sometimes difficult to apply processing to a specific instrument or vocal if they are too close in frequency In these cases Mid Side processing reveals more refined control by allowing you to separate a specific frequency range into its Mid and Side components and apply compression separately to the Mid center channel or the Sides of your mix There are many uses for Mid Side processing using compression For example this can help prevent other instruments from being affected by compression on the lead vocal since the vocal is usually in the center of your mix and other instruments are typically found at the sides of your mix Mid Side Processing with Ozone Modules On the three Ozone modules that offer Mid Side processing you can choose between normal stereo operation or Mid Side processing by clicking on the Stereo or M S labels on the left hand side of the module s interface The chosen option will illuminate in blue e When Stereo is selected the Ozone module will perform basic stereo signal processing Note When the audio file is mono the Stereo SS button will be labeled mono and Mid Side controls D will be disabled Stereo e When Mid Side is selected all Mid Side features become available and an additi
65. e overall level or position of these guides but instead use it as a representative slope for your spectrum It is the slope of the spectrum as opposed to the absolute level of the mix that defines the tonal balance Oo OZONE MASTERING MODULES 44 CONE Mastering Modules Target Audio Target audio refers to the audio signal that you wish to apply the reference audio fingerprint onto To do so e Click on the graphical record button to record the audio passing through Ozone e 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 Matched Curve Amount Settings As you increase the Matched Curve amount you ll notice a light blue EQ curve appearing Most likely the more you increase the Matching amount the more jagged this Matching EQ curve will become with increasing peaks and valleys A Matched Curve amount of 100 and a Smoothing amount of 0 might be technically the closest match to your Reference mix but in reality it s probably not the most effective combination of settings Those settings will try to capture every peak valley and level which can result in extreme unnatural EQs We suggest working with the Matched Curve amount under 50 If your Matching EQ curve has narrow peaks and valleys increase the Smoothing parameter to smooth them out Your goal is to capture the overall tonal
66. e presets allow you to easily save and load settings in individual modules without affecting other modules in the signal chain Ozone 7 module and component plug in presets are interchangeable so Ozone 7 Advanced users can make use of their module presets within the component plug ins and vice versa Opening the Module Preset System The Module Preset system is easily accessible from the Ozone signal chain Clicking on the button directly above a module s Solo button will open the Module Preset window Loading Module Presets Selecting a preset in the list will load their settings and related comments will be displayed in the bottom of the module preset window Saving Module Presets To add a new module preset that includes a module s current settings click the Add button After clicking Add you will be prompted to name the preset once you are happy with the name hit Enter or Return to save the name You can modify a preset comment by clicking on the text in the comment area typing in the comment and hitting Return or Enter to save the new comment The Module Preset system does not include the update functionality that the global preset manager has In order to save changes to a module preset you will need to add a new preset rather than simply updating an existing one Deleting Module Presets To delete existing module preset files select them in the module preset window and click on the Delete button Yo
67. e the location of where the presets are stored on your computer See next section for details Save When you click the Save button your current settings are assigned to the selected highlighted preset This is useful for selecting a preset tweaking it then coming back to the preset system and clicking Save to save your changes to the existing preset The save function will only appear after a preset is adjusted and the asterisk flag appears in the preset title The save button will overwrite this preset with the new settings Show at Startup This allows you to set whether or not the preset manager will open automatically when starting Ozone OZONE 7 PRESET SYSTEM 9 OLONE 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 necessary to store all of your presets in the default folder s You can create custom folders of presets for different projects archive presets etc To change the folder that Ozone looks to for presets click the Change
68. ectrum 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 e Linear A continuous line connecting the calculated points of the spectrum e 1 3 Octave Splits the spectrum into bars with a width of 1 3 of an octave Although the spectrum is split into discrete bands this option can provide excellent resolution at lower frequencies e Critical Splits the spectrum into bands that correspond to how we hear or more specifically how we differentiate between sounds of different frequencies Each band represents sounds that are considered similar in frequency Full Octave Splits the spectrum into bars with a width of one full octave Window Size Controls the size of the spectrum analyzer allowing you to optimize it for different sized monitors Window Selects a window type for the spectrum In most cases the default window type will work well but you can choose from a variety of window types Each window type has different amplitude and frequency resolution characteristics Peak Hold Time You can click on Peak Hold Time to select between specific hold times in milliseconds or Infinite where the peak is held indefinitely You can reset the peaks by clicking
69. egration TimMer 98 PEO OUIT a carrey ocedcarsncinhooeasatennthcveecnaanatne 98 App Options 99 Plug in Tab len 99 Enabled Plug in Formats ooo 99 Scan Plug ins n 99 VST Plug In Folders 99 App Tab rrenen 100 Enable Waveform Segments Overlay 100 Playhead Follows Playback 100 CPU Optimization 101 PUNON SIZES eaa A 101 Setting Buffer Sizes for Independent MOUE S ea a E 101 Tips and Shortcuts 102 How to Decrease CPU Usage 102 Optimizing OZONE eee 102 Automation Plug In Version Only _ 103 Using Automation in Ozone ssi 103 Using the Scroll Function of your Mouse or frackpad eee 104 Copy Paste Support eee 104 Mouse and Meters n 104 Keyboard Shortcuts 105 iZotope Customer Support 106 How to Purchase the Full Version of Ozone 7 106 Ce oooooooooooooooooooooooooooooooooooooooolo o iZotope Customer Support Policy 106 How to Contact iZotope for Technical Support 106 International Distribution 107 Welcome to Ozone 7 2001 2015 iZotope Inc All rights reserved iZotope Introduction iZotope com the iZotope logo and Ozone are either registered trademarks or trademarks of iZotope Inc in the United States Each purchased copy of Ozone 7 contains a unique serial number printed and or other countries on a card that is included within the box Authorization If Ozone 7 has been downloaded directly from iZotope or another reseller the serial number will be e mailed to you along with the link to
70. ents through the limiting process Limiting Modes Four separate limiting modes are available they work as follows IRC This mode provides intelligent digital loudness maximization of the signal It does this by analyzing the source material and applying limiting in a psychoacoustically pleasing manner reacting quickly to transients to prevent pumping and reacting more slowly to steady bass tones to prevent distortion IRC Il Similar to Intelligent mode above but this mode is optimized to preserve transients even more so they sound sharper and clearer in the output signal even when aggressive limiting is taking place Oo OZONE MASTERING MODULES 62 OOS Mastering Modules IRC IlI 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 IIl 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 The IRC modes provide intelligent release control the release time is automatically varied depending on the audio material However when the Maximizer is set to IRC III mode you may also choose between four different character styles which will help you manage the limiter s final sou
71. er OZONE STANDALONE VERSION OPERATION 45 GAOS 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 Ozone Projects An Ozone project is the overlying master project file that encompasses Save Project Untitled Project e The data of all of the one or more audio files that have been imported into the project e The specific audio processor settings that have been separately applied to each imported file in the project By saving the above as a project you can always re open a project at a later time and perform functions such as re ordering the audio files within a project or adjusting the audio processing of any audio file within the project Exporting Audio Once you have applied the specific audio processing to your imported audio file s it is time to export the files A new copy of the audio file will be saved with all of the processing from the Ozone modules permanently applied to the exported file Click on the File menu and then select Export Audio Files A dialog box will appear offering various options for the files you are abou
72. er you can also invert this behavior so that the filters respond more like an expander In expansion mode boosts and cuts occur as signals exceed the threshold increasing them further For example if you wanted to bring out the snare in a mix you could adjust a filter to boost at the appropriate frequency and set the dynamic settings to respond to the level of the snare hits This boosting filter will only activate when the snare is present thus expanding the dynamic range of these frequencies Conversely a cutting filter in the same scenario would only attenuate these frequencies when the snare was not present acting much like a gate The small arrow above or below each Dynamic EQ node allows you to quickly see whether the node will compress downward arrow or expand upward arrow Attack Click on this number and drag the mouse to adjust the attack time for the Compressor s attack time Release Click on this number and drag the mouse to adjust the release time for the Compressor s attack time Auto Scale When auto scale is enabled Ozone automatically scales attack and release times based on frequency When auto scale is disabled the attack and release of each band will not scale with frequency as with a conventional compressor Oo _ OZONE MASTERING MODULES 49 OZONE 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 wi
73. evels individually To change your meters to display the Mid Side information of your master you can either e Click on the Mid Side icon at the top of the meters e In I O Options set Source to Mid Side 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 the middle of the meter will be the level of the entire Mid channel and on the right left meters will be the overall level of the Side channel The left and right gain sliders will still control the left and right gain of your signal The Mid Side meters will still adhere to the same Type and Scale settings defined in the I O options menu MN I OZONE 7 MASTERING MODULES 40 NY XAO N 4 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 lon _ i _ ae eT e UREE Band 6 8001 PAIE 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 New in version 6 of Ozone is a larger parameter readout and larger controls making it easier than ever to adjust settings to your liking Key Features e Eight bands of bell high pass low pass high shelf low shelf o
74. for example instead of all four bands See Using Multiband Modules for instructions on how to change the number of crossover bands e If you are using Ozone 7 Advanced and are using less than four modules try using the modules as individual component plug ins to reduce CPU power Buffer Sizes Ozone 7 contains advanced controls to help you get the optimal performance for your setup Since Ozone contains several modules within its internal DSP chain there are several places where you can control its internal buffer sizes In general the default values should give good performance on most systems however there are some aspects of host applications that are not detectable by plug ins Read this section for instructions on how to optimize Ozone for your particular setup Setting Buffer Sizes for Independent Modules Ozone s Equalizer requires fixed buffers when set to certain modes You can set its buffer size independently using its options tab These buffer sizes default to reasonable values and most users Should be able to use Ozone right away without tweaking them OZONE 7 TIPS AND SHORTCUTS 101 OON Tips and 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
75. he spectrum Once Ozone has found a stable place for the cutoffs the Learn function will disable automatically You can also tell it to stop learning by clicking the Learn button again Oo _ OZONE MASTERING MODULES 87 CONE 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 e You can think of the Mid channel as the phantom image between your two speakers or center channel of your audio This is often composed of low frequency material and lead instruments drums bass lead vocal horns etc e The Side channel will contain the remaining elements of your mix that exist at the edges of your soundstage reverberation and or instruments that are panned to one extreme side With Mid Side processing Ozone can process separate areas of your soundstage independently When your mix is divided into its Mid and Side components you can easily hear the separate elements that make up your soundstage Mid Side Processing Examples Example using Mid Processing in Ozone EQ Select Mid Side mode in the EQ module and click Mid to reveal the Mid EQ curve Then click the small s to solo the Mid
76. here different frequencies experience distortion Specifically high frequencies small wavelengths distort at lower input levels than low frequencies long wavelengths Changing the speed changes the wavelength wavelength speed frequency so a 1000Hz signal at 15 ips will experience distortion at the same level as a 2000Hz signal at 30 ips Harmonics Adds even harmonics into the tape distortion Low Emphasis Controls the resonant peak of the reproduce tape head bump Increasing this control will add gain to bass heavy material High Emphasis Compensates for high frequency losses in the reproduce tape head Component Vintage Tape Plug in If you are using Ozone 7 Advanced you will also have the ability to instantiate Ozone 7 s Vintage Tape 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 ee _ OZONE MASTERING SECTIONS OONA 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 Setting
77. his option doesn t create any random dithering noise floor Instead it works more like truncation but with better tonal quality in the resulting signal Limit Peaks Dither noise is random in nature and has a very low amplitude However after noise shaping especially in aggressive dithering modes the high frequency dither noise is significantly amplified and the overall dither signal can show spurious peaks up to 60 dB FS for a 16 bit quantization If such high peaks are undesirable you can click the Limit Peaks button to effectively suppress the spurious peaks in the noise shaped dither Auto blanking Selecting this option will completely mute dither output i e dither noise when the input signal is completely silent O bits of audio for at least 0 7 seconds Noise Shaping Click here to choose the amount of noise shaping that is applied during the dithering process Noise shaping pushes the noise necessary for dithering into less audible frequency ranges allowing for greater dithering with less perceived noise You can control the aggressiveness of this shaping ranging from Off no shaping through Max roughly 14 dB of audible noise suppression Different amounts of noise shaping will have subtle effects on the sound quality of the dither process so experiment with the different settings with your particular program material ee _ OZONE MASTERING SECTIONS 60 OZONE Bit Meter This can be an invaluable res
78. icking on the ear icon underneath the master I O meters activates the Automatically Match Effective Gain When Bypassed feature When Ozone is on there are many modules such as the multiband dynamics and loudness maximizer that can affect the overall or perceived loudness of the mix This makes it very hard to compare Ozone on to Ozone bypassed The Automatically Match Effective Gain When Bypassed feature solves this problem Ozone determines how much perceived gain is being added by all of the active Ozone modules and then automatically adds this amount of gain when Ozone is put into bypass mode You can bypass Ozone and the gain is automatically adjusted so that when you A B Ozone on and off the apparent volume is the same This gain processing is the only processing that is applied when Ozone is bypassed and it is of course only applied when Ozone is actually bypassed Note In the plug in version of Ozone this may not work if you use the host application to bypass Ozone If the host application reports that it is bypassed it will work and the Bypass button in Ozone will automatically depress accordingly If the host does not report that it is bypassed Ozone doesn t know and therefore cannot apply the gain when bypassed Mono Click on the Mono button to have Ozone collapse the stereo signal to mono allowing you to check your song for mono compatibility It is always important to check any stereo materi
79. ies Analog Digital Click on the Analog or Digital labels to select which type of processing you wish to use for the Dynamic EQ module The analog algorithm is a minimum phase FIR filter which is useful in most circumstances The digital algorithm is a linear phase IIR filter which retains the phase of the original signal but uses more CPU Filter Type Click the label to select the type of filter you wish to use for the currently selected band The filter choices are the same as the bell shapes in the regular EQ module with the addition of a Baxandall shelf shapes Adjustment for Frequency Gain You can adjust an EQ band by clicking on a node and dragging it horizontally to change the frequency and vertically to change the gain of the band Adjustment for Q Bandwidth You can adjust the Q or bandwidth of any band by dragging the handles on the side of the node If you have a wheel mouse you can use the mouse wheel to widen narrow a selected band while hovering over the node Oo _ OZONE MASTERING MODULES 48 OOS 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 Howev
80. image triggers two independent channel limiters Values less than 50 favor the stereo image s channels gain and values higher than 50 favor the individual channel s gain Oe OZONE MASTERING MODULES 64 OZONE 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 The outer two meters display the levels of the incoming signal as gain reduction begins to take place a gain reduction meter appears in red between the two level bars Visuals V The display at the top of the Vintage Compressor module offers two display modes e Detection Filter e Gain Reduction Trace To view a given display mode click on its icon on the left side of the display Gain Reduction Trace Also found in the Dynamics module the Gain Reduction Trace is a scrolling meter that displays the incoming signal s waveform with a superimposed tracing that illustrates the amount of gain reduction taking place in real time The Gain Reduction Trace can help you to set attack and release controls appropriately and monitor the envelo
81. in the Dynamics module s crossover section 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 OZONE 7 OPTIONS 91 OON E Options Imager Options General Spectrum Equalizer Dynamics Imager Dynamic EQ Exciter Wo Plug in General Feak kra Hybrid wt wt Ozone 7 0b127150zone7 App 7 0b121503 10 8 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 e Peak When this option is enabled Ozone s detection circuit looks at peak levels of the incoming signal In general this is useful when you re trying to even out sudden peaks in your music e RMS When this option is enabled Ozone looks at the average level of the incoming signal RMS detection is useful when you re trying to increase the overall volume level without changing the character of the sound e Envelope Envelope mode behaves much like RMS mode but with some key advantages Unlike RMS True Envelope mode produces even levels across all frequencies OZONE 7 OPTIONS 92 OON Options Crossover Type Selects between a digital linear phase crossover an analog crossover and Ozone
82. ination when you re mastering and each processing module is complemented with useful spectrums phase meters and level histograms Each module also employs switchable views that highlight different aspects of how your mix is affected throughout the mastering process We also wanted to make it easy to get comparative audio feedback by providing extensive solo and bypass controls as well as histories with functions for A B comparisons Wherever possible we wanted to give you new ways to really hear what you are doing Intuitive Easy to Use Design We made Ozone as intuitive as possible from including a complete set of mastering modules in a single plug in system to the little things like mouse wheel support While there is a lot of power in Ozone we think that in no time at all you ll be making the most of it and getting great results with ease Whether you re a seasoned professional or simply ready to take your productions to the next level Ozone is the complete solution you need Your mix isn t finished until you put it through Ozone This user s manual is a quick reference for basic Ozone functions and controls We have written a separate Ozone Mastering Guide that provides tips and techniques for mastering with Ozone 8 OZONE INTRODUCTION OAOE 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 ch
83. inpointing the location of a frequency in the mix without changing your actual EQ bands Releasing the mouse button returns the sound to the actual EQ You can set the default bandwidth of this filter in the EQ Options screen under Alt Solo Filter Q Once you ve pinpointed a particular frequency using the Alt Solo feature you can double click that area to activate a new node in that exact location Component Equalizer Plug In If you are using Ozone 7 Advanced you will also have the ability to instantiate Ozone 7 s Equalizer module as an individual component plug in Ozone 7 Advanced includes component plug ins for all six of Ozone s modules complete with all the same features as the module within Ozone Oo OZONE MASTERING MODULES 47 OZONE 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 E Inverse Mode Auto Scale 30 0 dB 0 0 dB 10 ms 8 ms 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 You can set the frequency gain and bandwidth Q for each of the six nodes and then apply an individual level of compression to each of the six selected frequenc
84. ion OZONE 7 OPTIONS 40 OON Tips and 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 While continuing to push the limits of high quality audio signal processing Ozone 7 offers significant improvements concerning CPU optimization allowing your sessions to run more efficiently If you do start to reach the limits of your particular machine here are some tips for optimizing your CPU e If you re not using modules for processing be sure to bypass them in order to conserve CPU power e If using Ozone s Digital EQ or crossover adjust your buffer sizes for optimal performance See Buffer Sizes for details e Try changing the buffer size and or latency setting in your host application plug in version When buffers are too high latencies are too large meters will update very slowly and performance may suffer As buffers become very small latencies are very low the EQ and crossover will consume more CPU power e You can disable meters in their option screens Right click on any meter to bring up the options screen for that meter e Using fewer crossover bands can save significant CPU power Try using one or twoband dynamics
85. ion 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 8 a When first prompted to authorize Ozone 7 click on Authorize Click on the option for Offline Authorization at the bottom of the authorization window You will be given a unique Challenge Code that is specific to your computer only Write down or make a copy of the exact Challenge Code It will look like this IZ OZONE7 KXXXXXXKX XKXKXX KKXKXK Next using a system with Internet access login to your customer account at the iZotope website https www izotope com en account log in iZotope Authorization Gzotope AUTHORIZATION iLok Authorization You may authorize Ozone using either iLok authorization or iZotope challenge response Please choose the type of authorization you would like to use and click Next Authorize with iLok _ Authorize with iZotope challenge response Cancel _ Back Have a question about iZotope authorization Please visit http www izotope com authfag Click on Activate Software with a Serial Number enter your full serial number then click Submit Select the Challenge Response option and click on Submit
86. ither Stereo or Mid Side operation See the Mid Side Processing section for more details Visuals The display at the top of the Dynamics module offers three separate displays e Crossover View e Detection Filter e Gain Reduction Trace To view a given display type click on its icon on the left side of the display Crossover View This view displays the multiband information and crossover points for the module For more information see the Using Multiband Modules section Detection Filter View This view allows you to specify the frequency response of the detection circuit used by the dynamics processor so that it is less sensitive to lower frequencies This is particularly useful when using the Dynamics module in single band mode You can choose between the following modes None No filter is applied to the module The detection circuit is equally sensitive across all frequencies High pass A high pass filter is applied to the module You can make the following adjustments to the filter e Click the slope label to cycle through filter slopes 6 12 24 and 48 dB e Click and drag the frequency node on the high pass filter display to select the frequency of the high pass filter Tilt Similar to the THRUST circuit found on API compressors Tilt mode preserves low frequencies using a high frequency weighted filter curve You may adjust the amount of slope in the filter curve by adjusting the Amount value Oo _ OZONE
87. les 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 Component Stereo Imaging Plug in If you are using Ozone 7 Advanced you will also have the ability to instantiate Ozone 7 s Imager module as an individual component plug in Ozone 7 Advanced includes component plug ins for all six of Ozone s modules complete with all the same features as the module within Ozone Oo _ OZONE MASTERING MODULES 69 OZONE 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 Triode Key Features e Choose from six different saturation types Warm Retro Tape Tube Triode and Dual Triode e Adjustable amount and mix controls for each band e Mid Side processing lets you add color to different parts of the soundstage separately e Saturation meter highlights affected frequencies and a post filter sculpts the frequency output of
88. lick the Crossover View icon on the upper left hand side of the module interface The upper portion of the module interface will display the crossover points and frequency bands and the following controls will be accessible Selecting Crossover Points Click and drag any of the three vertical white lines in the crossover display to select the frequency range for each of the four bands Soloing a Band Click on the S button on any of the frequency bands to hear that specific band only Bypassing a Band Click on the graphical power button on any frequency bands to bypass the Exciter processing on that specific band only Processing for the other bands will remain enabled Post Filter View Click the Post Filter View icon on the upper left hand side of the module interface to switch to the post filter view The upper portion of the module interface will switch to a display showing a single high shelf filter Drag the filter node to adjust the frequency and gain of the high shelf filter This filter will be applied to the entire Exciter module allowing you to further adjust any high frequencies that have been generated by the Exciter module Not only does the post filter view display the spectrum of the incoming signal but it additionally highlights particular frequencies being affected by the Exciter Exciter Controls These controls are available for each band of the eggs cider Amount This slider controls the amount of
89. ll only indicate clipping which occurs within the digital domain To accurately measure the signal that will result from digital to analog conversion select Detect True Peaks OZONE 7 OPTIONS 96 OON Options Meter Type Ozone 7 allows the I O meters to display peaks according to several different audio monitoring types including e 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 The RMS meter readout will typically be lower than an equivalent PPM meter Digital Analog since it is averaging peaks into the overall loudness e Peak The Peak meter is a fast meter that measures instantaneous maximum sample value or peak analog waveform values depending on the detect inter sample peaks checkbox If you are tracking the peaks for possible clipping the Peak meter is appropriate e RMS Peak This is a combined RMS and Peak meter This meter displays a lower bright bar representing the average level RMS and a higher dimmer bar representing peak level There is also a moving line above the bar representing the most recent peak level or peak hold e K System Ozone 7 supports Bob Katz s K System metering with simultaneous peak and RMS displays e Momentary This measurement is a calculation of loudness over the course of 40
90. ly represent the sound quality changes introduced by AAC and MP3 compression it may be necessary for real time resampling to take place when Codec Preview is enabled If your session sample rate is set to a value other than 44 1kHz or 48kHz Ozone will perform high quality real time resampling when Codec Preview is in use Real time resampling uses a lot of CPU most noticeably within high sample rate sessions that utilize small buffer sizes To avoid any discontinuities or performance issues when using this feature within high sample rate sessions we recommend adjusting the buffer size to a larger value Additionally real time resampling is mathematically intensive and may cause significant latency Most hosts should be able to compensate for this latency but you may notice a slight delay in playback when Codec Preview is enabled Signal chain Codec Preview is at the very end of the signal chain within Ozone When you are using Ozone as a plug in it is important that Ozone is placed after all other inserts if you are using Codec Preview This will ensure that the signal going into Codec Preview includes all of the processing being applied to the mix Codec Preview is intended to be used for previewing only and will not apply actual MP3 or AAC compression when exporting from the Ozone application or a DAW You can use the Codec Preview feature to help inform the export settings of your host application but be sure to disable the feature pri
91. miter Glue a mix together and add character with the Vintage Limiter s warmer analog sounding final stage limiting while retaining the ease and precision of digital maximizing Bring a natural feel to harsh and digital sounding masters Get a silky warmth and body and the nostalgic vibe of the classic records you grew up with Export Formats Specify the file format for export from a variety of compressed or uncompressed popular choices like MP3 WAV and AAC You no longer need to output to wav and then use a separate MP3 converter Now you can export your digital formats directly from your source files and add metadata before export including track name band name album name and more Upgraded Maximizer with IRC IV Ozone s legendary mastering limiter features a new algorithm IRC IV with multiband and frequency specific operation so that the limiter doesn t have to work as hard Get even more transparent mixes with less pumping at higher volumes ideal for when you need to tame the kick drum peaks without causing vocals to pump 8 OZONE INTRODUCTION amp OOS 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 e A standard version with the most commonly used tools e An advanced version that includes an extra set of tools used in the most high end professional settings These include o The separate Insigh
92. n allows you to quickly turn on off all meters Show Tooltips When enabled this allows informational notes to appear when the cursor pointer is hovering on top of the features controls OZONE 7 OPTIONS 85 OON 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 On the other hand if you are running Ozone on slower hardware or notice graphics performance problems in your host application you can set the FPS value lower to limit the amount of CPU Ozone uses Dim Controls When Bypassed When this option is enabled each module s controls will be dimmed when the module is bypassed This feature helps to remind you when a module is bypassed so that you don t make adjustments to a bypassed module unintentionally Module Preset Manager Changes with Module selection When this option is enabled the Module Preset manager will display the presets for the currently selected module If disabled the currently displayed Module Preset manager will not change when different modules are clicked on General Enable Analytics Click this box to allow Ozone to upload data on your usage patterns of the application to iZotope s servers This info is completely anonymo
93. nd by constraining its release behavior To achieve the best results start with the style set to balanced then try the various styles to see which best suits your mix The style choices include e Clipping This is the most aggressive style setting of IRC Ill and may be used if you wish to slightly colorize your mix with distortion or achieve the highest degree of loudness with the greatest risk of clipping e Crisp This setting aggressively constrains the limiter s release behavior and will favor distortion over any pumping e Balanced This setting constrains the release behavior of the limiter in a generally transparent way and should be suitable for most material e Pumping This is the least aggressive style setting for IRC III and does not constrain the limiter s release behavior It can tend toward a slower release behavior and may result in pumping This is the legacy setting and is the behavior used in Ozone version 5 01 and earlier IRC IV This mode builds upon our existing IRC technology by shaping the spectrum to further reduce pumping and distortion As the signal goes farther over the threshold the IRC IV algorithm limits frequency bands that contribute most to these peaks This reduces intermodulation between different signal components For example given vocals and drums this algorithm can be more selective about limiting the transients from the drums without causing the vocals to duck as much When no limiting
94. ne s mastering modules works is key to getting the best results You won t regret it your masters will sound better than ever before Setting Your Input Level Setting the input level in Ozone can make a huge difference in how the Dynamics modules in Ozone behave Setting your input level is also important when selecting presets as the presets will sound drastically different if your input level is too loud or quiet As a starting point try setting Ozone s input level so that the input meter is peaking upper half to upper quarter of the meter It is OK if the input meter peaks close to the top when Ozone s Maximizer module is enabled since it will keep the audio from clipping Choosing a Starting Point Start by listening through several of Ozone s presets The presets contain helpful descriptions based on the outcome they will produce on your audio Alternatively you can start with a genre based mastering preset or simply use the general purpose mastering presets Because every mix is different we ve aimed to give you a lot of starting points so that you can choose the best one for your project When you ve found one that sounds like it has what your mix needs you can start tweaking that preset to your liking _ iii OZONE 7 GETTING STARTED 10 OON Getting Started Getting to Know Ozone Interface i j i Ih j _ AUNI d a Lo tit a det STATA Md te kta i NY Vive AE YE w WT Mey
95. ng of 0 3 dB when dithering or a more dramatic setting 0 6 to 0 8 when mastering audio to be converted to mp3 or aac later in order to prevent clipping in the future Other Controls True Peak Limiting Enables true peak limiting by examining not just the levels of each digital sample but the levels of the analog signal that will eventually be produced by D A conversion This is sometimes necessary since an analog signal s peak level can exceed its corresponding digital signal s peak level by more than 3 dB This option will increase CPU usage slightly but if your mixes are running very hot you may want to enable it to ensure that no distortion is introduced when your audio is finally run through a D A converter Many modern broadcast loudness standards impose a limit on true peak levels so use this option to ensure compliance of your peak levels Character Adjust the character slider to customize the overall response time and thus the sound of the maximizer process The slider allows a continuous range through the following four characters Slow e Transparent e Smooth e Fast Stereo Unlink The Ozone Limiter defaults to 0 stereo unlinking which imposes one limiter across the stereo image With the Stereo Unlink fader you can control the amount that the left and right channels are limited independently At values from 1 to 100 a level envelope generated by a ratio of the individual channel and the entire stereo
96. nstall first 8 OZONE INTRODUCTION GAON 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 critically acclaimed 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 Plus both versions of Ozone include the Maximizer Dynamic EQ the new Vintage Limiter Export Formats and more Use Ozone as a plug in or as a standalone application 8 OZONE INTRODUCTION amp OAOE Introduction Key Features in Ozone 7 e 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 e Build a high tech new mastering chain when you mix and match components going from fully modern to fully vintage to anywhere in between e Quickly achieve authentic sounds for any genre and style with a comprehensive bank of presets e Master within your audio editing software with Ozone as a plug in or in its own environment with the standalone options Transparent and Dynamic Masters The highly regarded Ozone Maximizer helps you achieve transparent mixes with less
97. o 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 e Cancel Cancels out of the close operation the current project will stay loaded e Don t Save The current project will be closed and no changes will be saved since the last save operation e Save All of the latest changes will be saved before closing the project Create New Project Click this menu item to create a new Ozone project If a different project is currently loaded Ozone will close out the current project offering the options described above Open Project Click this menu item to open up a previously saved Ozone project A dialog box will appear allowing you to navigate to the saved project you wish to open OZONE STANDALONE VERSION OPERATION 0 GAOS 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 512 you wish to monitor Ozone s audio playback from as well as the buffer size of the device Built in Output Options will include e The onboard sound circuitry of your Windows or OS X computer e Any CoreAudio compatible audio hardware OS X e Any ASIO compatible audio hardware Windows If working in sample rates or bit
98. of the bit meter is to look for problems or discontinuities in the digital signal Some examples of problems are shown below e Headroom You may have a 24 bit audio file but aren t using all of the bits e 16 Bits In a more extreme case you are only using 16 bits If you re dithering to 16 bits this is what you want to see However if you re not dithering this would suggest there is a problem somewhere either an A D converter that is only putting out 16 bits a plug in that s truncating the signal down to 16 bits etc e Stuck Bit One bit in the middle of the signal isn t being exercised possibly due to a faulty A D converter or bug with a software plug in Why the Top Bit Will Never Light Up When samples are stored as a binary number negative samples are specially encoded Since the binary representation of negative numbers is not intuitive Ozone takes the absolute value of each sample before plotting it on the bit meter Since the most significant bit is only set when a sample is negative this bit will never light up We simply included the top bit as placeholder for completeness ee _ OZONE MASTERING SECTIONS oSA SA 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
99. om right The meter features individual nodes for the Limiter L and Compressor C These nodes are linked to the Threshold and Ratio controls and can be used to adjust the curve in a visual way rather than setting them with the standard controls Component Dynamics Plug in If you are using Ozone 7 Advanced you will also have the ability to instantiate Ozone 7 s Dynamics module as an individual component plug in Ozone 7 Advanced includes component plug ins for all six of Ozone s modules complete with all the same features as the module within Ozone oe _ OZONE MASTERING MODULES 65 ooN Mastering Modules Imager Ozone s Imager module allows you to adjust the stereo width of your mix using a multiband stereo imaging module Polar Sample 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 e Provides up to four bands of widening perfect for adding space to your mix e Visualize the stereo image with Vectorscope and Correlation meters Width Spectrum View and Correlation Trace View helping you troubleshoot potential phase problems The Imager module contains the following controls and displays Vectorscope The Vectorscope provides a view of the stereo image of the signal Note that it monitors Ozone s final output regardless of the Imager s place in the sign
100. onal vertical set of Mid Side controls appear in the left hand side of the interface allowing you to customize certain aspects of the Mid Side operation OO OZONE MASTERING MODULES 89 CONE 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 Mid Side Link Click on the chain link icon to link the Mid and Sides together This allows you to make changes to both the Mid and Side channels at the same time This tool helps improve workflow because you can make changes to both channels simultaneously you don t need to switch back and forth between modes Solo Click on the small s to the left of the Mid or Side icons to solo either the Mid or Side of the audio Bypass Click on the power icon to the left of the Mid or Side icons to bypass the audio for the Mid or Sidebands Mid Side Metering 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 l
101. op right of the window When you click on a specific band the settings for the controls as well as the dynamics meters will be Oo _ OZONE MASTERING MODULES 50 ooN 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 e Limiting e Compression e 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 The combination is such that you can tighten the dynamic range by compressing from the top by expanding from the bottom or a combination of both Global Dynamics Controls Click on the Band or All labels to choose between Band Display 00a 7 See 12 0 p 10 0 1 2Oms 100 ms 10 0 S P 20 ma 60 ms Displays controls for one band at a time and uses the rest of the module s display for comprehensive metering In this mode you can switch which band to adjust by e Tapping on the desired band region in the display at the top of the module e Using the left right arrows on either side of the band label to toggle which band s controls are displayed OZONE 7 MASTERING MODULES 51 OZONE All Display Displa
102. or to exporting Headroom amp Clipping Any lossy encoder introduces an approximation error a noise which can increase peak levels and cause clipping in an audio signal even if the uncompressed source audio file appears to peak under O dB Therefore when mastering for compressed audio formats like AAC and MP3 it s a good idea to leave between 1 dB and 1 5 dB of headroom to prevent clipping due to file compression Codec Preview can help you tailor your processing to avoid clipping that might occur as an artifact of lossy codecs The clip indicators above the Ozone output meters will help inform you of clipping caused by a codec before you export your audio ee _ OZONE MASTERING SECTIONS OON Options Options Ozone contains a comprehensive user settings section that allows you to configure various settings for the program The options page which can be reached by clicking the Options button in the lower right hand corner contains separate tabs for the following nine areas of the program e General e Imager e 1 0 Input Output e Spectrum e Dynamic EQ e Plug in standalone only e Equalizer e Exciter e App standalone only e Dynamics General Options General Spectrum Equalizer Dynamics Imager Dynamic EQ Exciter lO Plug in Graphics Authorization amp Updates Other al Ozone 7 0b12150zone App 7 0b1215035 10 8 Graphics Enable Meters Although each module s meter has its own options this optio
103. ositioning the cursor over the control and scrolling e Hold Ctrl Windows or Command OS X to move in smaller increments e Hold Shift to move in larger increments If the scrolling action has no effect try clicking on the plug in to make sure Ozone has keyboard focus e Inthe numerical readout of the EQ bands you can adjust a value by holding the pointer over the value and then scrolling e Inthe Undo History screen you can use the wheel to scroll through the History list Copy Paste Support Right click on any slider to bring up a context menu allowing you to copy and paste its value You can copy paste between sliders even if the sliders are in different instances of the plugin You can also copy paste between a slider and a text editor Such as Notepad or TextEdit in order to see the slider s value at a much higher precision than the plug in displays Mouse and Meters You can zoom in and out on level meters and level histograms by holding down the Ctrl key Windows or the Command key OS X and clicking with the left mouse button to zoom in or the right mouse button to zoom out Under OS X you can also Command Ctrl click to zoom out You can reset the peaks or averaging of the spectrum by clicking on the spectrum You can reset a meter s peak indication by clicking on it You can also reset a level meter s clipping indicator by clicking on the clipping indicator the red over light at the top OZONE 7 TIP
104. ource for monitoring the digital activity of your program material including viewing e Whether the full range of bits dynamic range is being used e The output word length e Faulty A D converters e 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 e The inner two columns show the real time activity of the bits of audio for the left and right channels e The outer two columns remember the real time activity in a sort of peak hold way e Ifthe inner columns toggle a bit i e light up the outer columns will show that bit as being used In general you want to see activity on each of the bits except the top one see below for explanation meaning that over a period of a few seconds each of the bits in the outside columns should be lit You should also click on the meter periodically to reset the peak hold of the outside columns as something like DC offset would toggle a lower bit once lighting the outside column but would never toggle it after that since the bit is being held If you re dithering down you only want to see 16 12 or 8 bits lit corresponding to the output bit depth of the dither Note that the bit meter is not a level meter Instead it shows which bits are being used If a bit is used goes from 1 to O or vice versa the position for that bit is lit The main use
105. pe of gain reduction Spectrum Analyzer Graph The Spectrum Analyzer Graph displays the incoming signal s waveform as a detailed spectrum Note For both types of metering you can adjust the vertical scale on the left side of the meter by hovering over it and using your mouse wheel Component Maximizer Plug in If you are using Ozone 7 Advanced you will also have the ability to instantiate Ozone 7 s Maximizer 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 Oo OZONE MASTERING MODULES 65 CONE 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 Ceiling 0 1 Analog Tu b Threshold 7 0 Modern Character Fast 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 limiter is then applied after the tube processing to transparently prevent clipping Like the Maximizer the Vintage Limiter is applied to the entire bandwidth of the mix it is not a multiband effect The Maximizer s Tube mode in Ozone 6 1 has been moved to the Vintage Limiter module in Ozone 7 Presets and sessions
106. playback controls will control playback for that audio file Note that any audio processing that is applied for an imported file affects the audio for that file only it does not affect the audio of the other files represented by the other tabs This allows you to apply separate audio processing settings to each separate audio file in a session This is crucial in a mastering session since you will apply different processing to each song within a larger collection of work unique to the needs of that specific song This also allows for the different songs to all fit together nicely as a cohesive album To re order the layout of the audio files tab within a session simply click and hold on any tab ina project then drag it to the left or right To delete an imported audio file in a session you can either e Right click on the audio file s tab and select Remove Track e Click on a tab to highlight it then click on the X button When deleting a file a dialog box will appear offering you three different options Keep the project s copy of Track 2 aif on disk e Click the Cancel button to cancel out of the delete operation e Click the Delete button to delete the original file that was loaded into the session You would normally not want to do this since you would be deleting your original audio file e Click the Keep button to delete the track from the session but keep the file in the Imported Audio Files fold
107. pression formats e Compensate for sonic changes due to codec compression without leaving your DAW e Solo Codec Artifacts allows you to hear only the audio data that is being removed from the mix as a result of the lossy compression To enable disable the Codec Preview click on the speaker button underneath the master I O meters The Codec speaker button will illuminate when previewing is active and affecting the audio To access the settings for the Codec Preview section click on the Codec button in the lower right hand corner of the interface The Codec Preview section contains the following controls MP3 AAC Select the codec format to preview MP3 or AAC For AAC Ozone uses Fraunhofer s codec For MP3 the LAME codec is used www mp3dev org Bit Rate Constant This control allows you to set what constant bit rate value to preview from 96 kbps generally used for low quality streaming to 320 kbps the highest bit rate supported by MP3 For mono files streaming through the Codec Preview module the highest Supported bit rate is 256 kbps ee _ OZONE MASTERING SECTIONS ooN SA 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 amp Latency AAC and MP3 files don t support sample rates greater than 48kHz In order to accurate
108. r Baxandall filters e Fully configurable spectrum analyzer with the ability to highlight Mid Side and e stereo spectrums e Matching Mode lets you use spectrum snapshots of recordings to create automatic EQ curves with an intuitive interface e Powerful Mid Side and Left Right processing modes give you unprecedented control over the stereo soundstage OZONE 7 MASTERING MODULES 41 CONE 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 e Spectrum View e Main View e All Bands View To view a given display type click on its icon on the left side of the display Spectrum View This view offers a simple overview of all eight bands of EQ allowing you to work with key parameters of all eight bands at the same time including frequency gain bandwidth Q and individual band bypass The node circles on the EQ display mark each of the eight EQ bands You can adjust an EQ band by clicking on a node and dragging the crosshairs e Horizontally to change the frequency of the band e Vertically to change the gain of the band Move the mouse over the handles on each side of the band to adjust the bandwidth Q of the EQ band by dragging with the mouse and widening the band You can also use your mouse or tra
109. s In both Analog and Digital modes Ozone provides the ability to set the type or shape of any of the eight EQ nodes Any node can be set to any of the following types of EQ filter types Highpass Low Shelf Bell High Shelf Lowpass Filters Filters Filters Filters Filters Flat Analog Peak Analog Flat Resonant Vintage Proportional Q Vintage Resonant Brickwall Baxandall Band Shelf Baxandall Brickwall Resonant Resonant e The Low Pass and High Pass filters are Butterworth filters optimized for maximum flatness without ripple or resonance in the passband or stopband e The Brickwall Low Pass High Pass filters are elliptic filters optimized for steepness with minimal ripple in the passband and stopband e The Vintage type filters exhibit a complimentary frequency dip modeled after the renowned Pultec analog Equalizer creating a complex slope with one node Frequency Gain Bandwidth Individual parameter adjust mode also lets you adjust the frequency gain and bandwidth for the currently selected band You can adjust them graphically as with the Spectrum View but in this view you can also adjust them by clicking and dragging on the numerical parameters frequency gain and the numerical parameter bandwidth aka Q oO OZONE MASTERING MODULES 48 OOS Mastering Modules Matching EQ 0 Matching While in the main view click on the Matching button to switch the interface panel to Matching EQ mode Ozone s Matching EQ featur
110. s section for details on the different available metering scales Options You can set the I O meter options by opening the Options Dialog and selecting the I O Options tab You can also right click under OS X you can also Ctrl click the I O meters to bring up these options directly IN Ol OZONE 7 MASTERING SECTIONS 78 oSA SA 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 OM enn Higher Auto Blanking AF Filter DC Offset Key Features e Includes iZotope MBIT Dither for exceptionally transparent conversion to different bit depths This is a proprietary iZotope word length reduction technology that reduces quantization distortion with minimal perceived noise While this might sound like a paradox MBIT is a very smooth quiet and almost analog sounding technology e Unique set of bit meters and DC offset direct current offset meters provides a complete view of the digital bitstream and conversion process To enable disable the feathering algorithm and compare its effect on the audio signal click on the Dither button underneath the master I O meters The dither power button will illuminate when dithering is active and affecting the audio To access the set
111. saved with Ozone 6 1 s Maximizer Tube mode will open in Ozone 7 s Vintage Limiter Tube mode Key Features The Vintage Limiter represents the best of both worlds by providing a warmer more analog sounding final stage of limiting while retaining the ease and precision of digital maximizing e A character control helps you fine tune the Vintage Limiter s response to perfectly fit your source material e Again reduction display provides valuable visual feedback of gain reduction e An interactive threshold ceiling control allows you to adjust the amount of limiting in relation to the level of the incoming signal Limiting Modes Three separate limiting modes are available each with unique characteristics and sounds Analog With a fast attack and variable release time this mode provides a tight bass response with a thick limiting quality This brings out the low end transients while still providing the smoothness that is characteristic of analog circuitry Oo _ OZONE MASTERING MODULES 66 CONE 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 Despite its non linearity it still allows for modern precision in preventing any clipping or peaks Modern A true hybrid of old and new this mode blends thicker vintage characteristics and wide range of non
112. specific fader will reset it to O dB If the left and right faders are locked but had been previously been set to different levels doubleclicking on a fader will reset it to match the level of the other fader Another double click will reset both faders to O dB Setting the Scale of the Meters You can further customize your metering by adjusting the scale of the input and output meters e Clicking the sign below the meters will increase the zoom or resolution of the metering scale e Clicking the sign will decrease or zoom out the resolution of the metering scale ZN ny OZONE 7 GENERAL FUNCTIONS 23 NY GONS 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 The bypass control provides a handy one click comparison tool where you can quickly compare how your song sounds with and without the processing that you have added using Ozone You can always make Sure with a single click that the processing you have added is improving your audio as desired Auto Match Gain Cl
113. t plug in o The Dynamic EQ processing module o Individual component plug ins for each Ozone 7 module OS OZONE OZONE 7 STANDARD VS OZONE 7 ADVANCED GAONA Getting Stated 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 In this mode you can e Launch Ozone as its own executable application e Load existing audio files into the application e Apply Ozone s processing tools to the loaded files as desired while monitoring their effects in real time e Export the separate processed audio files saved with all of the processing applied Using Mastering Presets in Ozone 7 Ozone s presets are designed to give you a quick starting point for mastering your own projects Every mix is different so no preset can perfectly master your project However we have attempted to provide a wide range of presets that will help you find a good starting point for mastering your own material By starting with a preset you ll be able to tweak these presets to make them more closely fit the session you re working on We recommend you download the Ozone Mastering Guide to learn the basic principles of mastering with Ozone Presets can take you a long way but learning how each of Ozo
114. t to export These choices include Current Track vs All Tracks Click on Current Track to only export the audio file in the currently highlighted tab Click on All Tracks to export separate audio files for each audio file loaded into the current project OZONE STANDALONE VERSION OPERATION 46 GAOS 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 This function is useful for tagging the titles of a group of audio files with a common label for example you could append a group of files with a label such as January 18th 2014 session Add Track Numbers Available on All Tracks Only You can add track numbers to your exports in the All Tracks section of the Export dialog Select the Add Track Numbers checkbox and your exported files will be numbered in the order they appear in your Ozone project Format Select the format of the exported file s WAV AIFF MP3 or AAC For AAC Ozone uses Fraunhofer s codec For MP3 the LAME codec is used www mp3dev org Bit Rate Available on MP3 and AAC Only Set the bit rate for compressed file formats
115. th up to four bands of analog modeled compression limiting and expansion 7 100ms 10 0 y 7 60 ms 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 Automatic gain compensation only available when all bands are selected provides automatic makeup gain and also allows you to easily compare your mix with and without dynamics processing applied Metering features including interactive threshold control with input output gain reduction and histogram options as well as the Gain Reduction Trace Meter Detection Filter with high pass and tilt modes for fine control over how the Dynamics module responds to incoming audio especially useful for single band operation Advanced detection circuit modes with Peak RMS and True Envelope detection as well as variable Look ahead time Variable knee for detailed control over hardness or smoothness of gain reduction Adaptive Release automatically and intelligently adjusts compressor release times based on the peak factor of the incoming signal How to Use Ozone Multiband Dynamics Each band has its own controls for controlling the dynamics There can be up to four bands as shown by the sections in the multiband display at the top of the module To select a band click on its corresponding section in the multiband spectrum or its corresponding band number in the t
116. the vectorscope leaving the outer portion of the display for real time analysis Lissajous Vectorscope Like the Polar Sample vectorscope the Lissajous Vectorscope plots per sample dots on a traditional oscilloscope display Typically stereo recordings produce a random pattern on a Lissajous Vectorscope that is taller than it is wide Vertical patterns mean left and right channels are Similar approaching mono which is a vertical line lt 4 gt Lissajous Horizontal patterns mean the two channels are very different which could result in mono compatibility problems Correlation Meter The correlation meter indicates the degree of similarity or correlation between the left and right channels displayed a 1 0 1 vertical meter When the audio in the left and right channels is similar the meter draws towards the top The extreme case is when the left and right channels are exactly the same in which case the correlation is 1 and the meter would be positioned all the way at the top When the left and right channels are different the meter draws towards the bottom The extreme case here would be for the left and right to be exactly out of phase in which case the correlation is 1 and the meter would be positioned all the way at the bottom Oo _ OZONE MASTERING MODULES 587 CONE Mastering Modules In general most recordings have phase correlations in the O to 1 region A brief readout towards the bottom half of
117. thi Loy Fa kn j a al Oeste 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 Click on any spot in the waveform with its accompanying timeline counter to play back the file from that location 4 Processor Module Display This main part of the Ozone 7 interface contains all of the controls and displays for the currently selected processor module 5 Processor Module Browser Click on any of the modules in this section to view and adjust the controls for that module in the processor module display 6 Presets Click here to load a signal chain preset giving you a head start in processing your audio for a wide variety of situations 7 Master Input Output Section This section contains detailed input output meters as well as handy master controls such as master bypass mono check L R stereo swap and a full featured dither processor OZONE 7 GETTING STARTED 41 GAON Standalone Version Operation Standalone Version Operation Ozone 7 s standalone version allows you to use its mastering tools as a standalone application no external
118. tings for the dithering section click on the Dither button in the lower right hand corner of the interface The dithering section contains the following controls Noise Shaping Curve This graph shows the noise shaping profile curve as displayed across the frequency spectrum The graph displays the general frequency curve of the specific dither noise profile that is used depending on the algorithm Bit Depth This control allows you to set the target bit depth for the audio When mastering for a CD for example you would want this set to 16 bit ee _ OZONE MASTERING SECTIONS OXON 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 Harmonic Suppression If for some reason any dithering noise is undesirable simple truncation remains the only option Truncation results in harmonic quantization distortion that adds overtones to the signal and distorts the timbre In this case you can click the Harmonic Suppression button to slightly alter the truncation rules moving the harmonic quantization distortion away from overtones of audible frequencies T
119. tionally Envelope mode will not produce the aliasing or artifacts that RMS detection can cause I I I I ee ee Threshold Adjust the threshold of the limiter and compressor to set the point where the dynamics processing takes place Ratio Both the Limiter and Compressor have their own ratio control Higher ratios will result in more extreme compression When the Compressor or Limter s ratio is set to a negative number they act as expanders Attack and Release Adjust the attack and release controls to set how quickly the dynamics processor reacts to audio that crosses the threshold e Attack determines how quickly the dynamic processor reacts when the threshold is reached e Release determines the amount of time before the dynamics processor returns the level to normal once the signal is no longer above the threshold Note Each section Compressor and Limiter of each band can have its own attack and release Settings Oo _ OZONE MASTERING MODULES 63 CONE Mastering Modules Knee Adjust this control to set the desired character of the compression e Higher settings result in a soft knee setting with a subtler natural sounding compression e 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 e
120. tions Frequency Resolution Selects the minimum resolution in Hz the Equalizer can be adjusted in Choices include e 48 Hz e 24Hz e 12 Hz e 6Hz e 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 OZONE7 OPTIONS 90 OON Options Dynamics Options Sait p oE Seg ference Imager Dynamic Eo Seale sic dls General Hybrid wt t a Wie 1 0 Ozone 7 0b12150zone App 7 0b121503 10 8 Crossover Type Selects between a digital linear phase crossover an analog crossover and Ozone s Hybrid crossover e The analog crossover option provides a natural analog character e The digital crossover option provides a more transparent sound e The Hybrid crossover is a perfect reconstruction IIR analog crossover designed to reduce phase distortion and frequency distortion found in other analog crossovers while maintaining precise crossover points and the warm characteristics of analog crossovers Crossover Buffer Size Determines how large of a digital audio buffer is used in the Dynamics module s crossover section Look Ahead Time Determines how far ahead the dynamics processor looks ahead within the loaded digital audio file in order to provide as transparent and effective dynamics controls as possible The look ahead time ranges from O to 10 ms Crossover Q Determines the bandwidth of the crossover points
121. ton has two different functions depending on the current position of the playhead within the audio file e Ifthe playhead is located more than two seconds into the audio file clicking the button invokes a return to Zero function moving the playhead back to the beginning of the current file e Ifthe playhead is near the very beginning of the file clicking the button acts as a skip back button skipping back to the previous audio file if there is one loaded Skip Forward Click this button to skip to the next audio file that has been loaded into the software If no other files have been loaded the button will have no function Playhead Follows Playback Clicking this button toggles the stop behavior for the space bar and Play button When unselected and playback is stopped using the space bar or Play button the play head will return to the last selected position When selected and playback is stopped using the space bar or Play button the playhead will retain the current position ee _ OZONE STANDALONE VERSION OPERATION 48 GAOS 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
122. ts 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 right click on that presets 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 The application and plug ins all have unique custom default settings and need to be set individually Adding and Removing Presets Add Clicking this button adds the current Ozone settings as a new preset You can type a name and optionally add comments for the preset Note that a few characters such as or cannot be used as preset names If you try to type these characters in the name they will be ignored Note This is because presets are stored as xml files for easy backup and transferring Their file names are the same as the name you give the preset for easy reference and therefore characters that are not allowed in Windows file names are not allowed in preset names Delete To permanently delete a preset select the preset from the list and click the Delete button New Click this button to create a new folder The New Folder option allows you to easily add custom named folders to the Ozone preset manager Change Click this button to chang
123. u will be prompted after attempting to delete a preset select Yes to delete and No to cancel Note that using the Delete button in the preset manager will remove that preset from your preset folder on disk and move it to the Trash Recycle Bin for permanent deletion OZONE7 PRESET SYSTEM 2 OONA 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 Presets C Users Documents iZotope Ozone 7 Dynamics Presets C Users Documents iZotope Ozone 7 EQ Presets C Users Documents iZotope Ozone 7 Exciter Presets C Users Documents iZotope Ozone 7 lmager Presets C Users Documents iZotope Ozone 7 Maximizer Presets OS X Module Preset file paths Users Documents iZotope Ozone 7 Dynamic EQ Presets Users Documents iZotope Ozone 7 Dynamics Presets Users Documents iZotope Ozone 7 EQ Presets Users Documents iZotope Ozone 7 Exciter Presets Users Documents iZotope Ozone 7 Imager Presets Users Documents iZotope Ozone 7 Maximizer Presets OZONE 7 PRESET SYSTEM NY
124. ude v wav v 16 bit v aiff v 20 bit v mp3 v 24 bit v flac Supported sample rates include v ae et oe ee 11 250 22 050 44 100 48 000 88 200 96 000 176 400 192 000 ee _ OZONE STANDALONE VERSION OPERATION 43 GAOS 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 Playing Back Audio Files The Transport Bar Ozone provides a handy transport bar located at the top of the screen that allows you to easily navigate the playback functions of an imported audio file The transport bar includes the following functions Play Click the Play button to play back the currently imported audio file Playback can also be initiated by pressing the space bar Playback will begin and you will see a playhead cursor move from left to right across the waveform To play back the file from a spot in the middle of the song simply click on any desired spot of the waveform then press the Play button Stop Click the Stop button to stop playback The cursor will always return to the last insertion point Return to Zero Skip Back Clicking on this but
125. up gain control that adapts to the mix over time This is also a useful tool for A B ing various settings in the multiband Dynamics module without having gain changes affect your perception Parallel Adjust this slider to control the dry wet mix of direct unprocessed signal to the processed signal for the module Oo _ OZONE MASTERING MODULES 52 GONS 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 Compressor Limiter Controls The Compressor and Limiter sections of the module each contain their own discrete set of controls per band that work as follows Detection Mode Three buttons at the bottom of the Threshold Control allow you to adjust which level detection mode the Compressor uses as follows Peak When this option is enabled Ozone s detection circuit looks at peak levels of the incoming signal In general this setting is useful when you are trying to even out sudden peaks in your music i z ry RMS When this option is enabled Ozone looks at the 120s EA R ane average level of the incoming signal RMS detection is useful when you are trying to increase the overall volume level without changing the character of the sound Envelope Envelope mode behaves much like RMS mode but with some key advantages Unlike RMS Envelope mode produces even levels across all frequencies Addi
126. us and allows us to better understand how users use the application in order to provide the best updates possible in the future History Depth Lets you set how many levels or steps are remembered in the Undo History module in order to control the size of the history log file Keyboard Support Available options include e Full full keyboard support e Minimal only TAB arrow keys and ENTER e None Keyboard shortcuts turned off The keyboard support option must be set to full for all keyboard shortcuts to be available OZONE7 OPTIONS 86 OON Options Authorizations and Updates Check for Updates Selects the frequency with which Ozone 7 looks for version updates You may choose between e Daily e Weekly e Monthly e 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 More Information Click this button to learn more information about the Ozone version and its legal information Spectrum Options The Spectrum options tab lets you control various properties for Ozone s spectrum analyzer meters General Spectrum Equalizer Dynamics Imager Dynamic EQ Exciter NO Plug in App General Linear 4056 Hann 500 Real Time c O of ro Ozone 7 0b12150zone7 App 7 0 b1215035 10 8 OZONE 7 OPTIONS 87 OON Options Fill Sp
127. use and play it through Ozone If you usually use Ozone in a multitrack environment then be sure to do the same here As the audio plays try adjusting the EQ buffer size and see what effect it has on CPU consumption Buffer sizes near the host application buffer size are a good starting point but the best choice depends on many aspects of your system and host application which are beyond Ozone s control Ozone s CPU consumption for this setup should now be optimized If you change the way you use Ozone for example if you move from 44 1 kHz to 96 kHz or you move from a single track setup to a multitrack setup then you may want to repeat these steps to make sure your buffer settings are still optimal We ve gone to great lengths to optimize Ozone s internal DSP without compromising sound quality We hope these steps help make Ozone useful in a wide variety of setups These steps should help you address those variables which are beyond our control and quite often very different for different users OZONE 7 TIPS AND SHORTCUTS 102 OON Tips and 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 Using Automation in Ozone The implementation and specifics of automation are depen
128. ve also designed Ozone to be optimized for any host application setup If you are using Ozone at low latencies and rely heavily on these DSP modules you will want to adjust the buffer sizes to get Ozone s CPU consumption as low as possible At first it may seem unintuitive but if you follow the tips here then you should be able to tweak your buffers very quickly and easily Optimizing Ozone To get the best buffer settings for your setup first you should have an idea of what kinds of buffers your host application is sending You can use Ozone s Buffer Size Viewer to do this in the plug in version of Ozone but not the standalone version To do so in the plug in version navigate to Settings gt General gt Host gt View Buffers Once you know what size buffers your host application is sending try the following e Place Ozone s Equalizer in digital mode and bypass all modules except for the Equalizer Set the EQ filter size to the size you most commonly use e Set the EQ buffer size to the number that s closest to your host application buffer size e Open a CPU meter Many host applications have a CPU meter built in but if you re running Windows you can also press Ctrl ShifttESC and select the Performance tab Note that CPU meters are usually somewhat inaccurate but we re just looking for relative changes in CPU usage e Open an audio file with typical settings sampling rate bit depth number of channels for your
129. 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 Enable Dither When exporting to a bit depth lower than 32 bit checking this box will apply high quality dithering to the exported file This allows you to preserve the sound quality and dynamic range of a higher bit depth when exporting the audio file to a lower bit depth For example a common workflow is to record audio at 24 bit resolution then import and process the audio in an application such as Ozone which will process at a higher resolution of 32 bits However if you are releasing the audio material on a commercial CD the audio content must at some point be converted to 16 bit audio since that is the required bit depth of the Red Book CD audio format By applying iZotope s dithering to a 24 bit file you can preserve the sound quality of the 24 bit file when exporting it to a 16 bit file that can be burned to an audio CD Help Click this button to launch the help documentation for Ozone 7 Cancel Click this button to cancel out of the export process and return to the main interface Export Click this
130. ys 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 If a transient signal is detected the Release time is scaled to be shorter for less pumping If a sustained note is detected the Release time is scaled to be longer for lower distortion The Release time is scaled in relation to the Release value set by the user For example if you are using the Compressor with the Release time set to 100 ms the Release time will be automatically adjusted to a value within a range of 20 ms to 200 ms depending on the type of signal that is being processed Gain The gain slider adjusts the output gain of the entire Dynamics module This is useful for example after compressing or limiting 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 Compressor for each crossover band and then applies the appropriate gain to the output signal to compensate for the difference This automatically brings audio levels to a level comparable to the unprocessed audio and acts as a smart make
131. zone 7 s Vintage EQ 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 I OZONE 7 MASTERING MODULES 71 NAI GONS 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 Mode sharp 9 Balanced Threshold 19 6 Ratio Attack Release Smooth 5 4 1 41 3 ms 86 5 ms The Vintage Compressor is a feedback compressor A compressor detects the signal level and reduces the gain when the signal goes above the threshold In a feedback compressor the level detection is done on the output of the compressor as opposed to the input This design is common for older analog compressors but very uncommon for digital compressors which usually use a feedforward topology Feedback compression is natural for analog circuits but difficult to implement digitally Due to the feedback the output of the compressor instantaneously depends on itself which computers are not well suited to resolve Our algorithm uses some sophisticated techniques to solve this avoiding a fictitious delay in the feedback loop for an extremely accurate analog emulation The attack and release ballistics are an

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