Perhaps I missed something - why is it “SO STUPID?” And is it Snake Oil? Titles like this cheapen your channel imho. Why not “Ozone 10 might SURPRISE you!” Or “Will Ozone 10 change how YOU master?” I don’t know. I just don’t like click bait, but I like your channel a lot. This is a good vid. Thx.
RUclips algorithm has a negative bias. You get promoted more quickly by leading with negativity. That’s why the channel “Bad Gear” has done so well. (He rarely actually uses “bad gear.”)
Truthfully, I think its a great plug-in. A couple of things I'm noticing. For me, at this point, until i gain more experience with Izotope, I'm still better off setting up a mastering chain that I perceive suits the needs of my track. Certain chains, for certain things. I'm not a top-down guy, I'm a bottom-up guy. This means that when I cross into mastering, I'm looking for 5%. If I need more than that, I missed the purpose on the mix. Period, no debate. And aside from loudness maybe sometimes 3% or 2% of my production comes from mastering. . Because all the heavy lifting to make a track sound great happened from the very first note of the very first part of the production. And the mix that followed. These days, plugins like this encourage more of the "mix into the master bus compressor with the first track" thinking. (top-down) Which is fine, but ithat's a technique that would ruin my style. I get that's what some people do. That's not me. The first thing I have to do when I'm mastering with izotope, is eliminating 90% of what Izotop suggested lol. And bypass all of the modules. Their mastering compressor doesn't blow me away either. Not a whole lot of character. I get way more out of Elysia alpha... or Iron, or BX Master desk, or For character, they are hoseing a track down with saturation and transient shaping. But in their defense I don't think Izotope thinks that this is a one-click walk-away thing. The auto helper feature is simply a suggestion as a starting point based off of a glimpse of your track. A glimpse. It doesn''t even listen to the whole thing. It suggests the loudest part for its 5-second listen, it spits out a half dozen plugins and slams it with a limiter. so why would anyone expect it to nail it? Try neutron sometime. It's mix helper hits a track like a nuclear bomb. Again, its only a starting. point. Let it give you some suggestions, but zero them out and. u s e y o u r e a r s. (spoken in obiwan Kenobi voice with 6 seconds of church reverb). One great thing about neutron is that it will give you an alternate way to randomly hear your creations in a different light. Thats discovery, and discovery is gold. Plus one more thing- ya gotta be careful getting too far down a tinkering rabbit hole. I mean seriously. Finishing tracks is about the most important thing. And spending 6 hours on tweaking .004 seconds of a transient is a good way to lose 10 years of your life.
Most definitely try Neutron. It listens to your whole song and gives you a nice starting point from your mix. I agree, if your mix is good then mastering will be more for loudness and fine tuning.
If you're not mixing into a mastering chain, whatever you're doing is probably irrelevant mate. You'd think you're done with the mix and would then bump it to appropriate loudness levels and probably destroy most of your mixing decisions. If you're already mixing at appropriate loudness levels then you're already mastering from the get-go (yeah: gain staging at target loudness levels is basically limiting)
@@taxmoneyyy yea I disagree. I switch the mastering chain on and off at will. I make much better decisions on a track and submix level when I don’t have a mastering chain inflating things with various types of mastering chain plug ins. The method you are referring to is called “top down” - some prefer it, some don’t. I also mix in mono this way. Being able to switch the mastering chain on to check inflation in the signal and elevation of all the added flair of mastering and than switching it off at various stages is how I and many other professionals I’ve worked with work. Of course when the mastering phase begins, than yes, the mastering chain is default “on” always
I am not against adding transients and then clip them again. It gives the song a kind of pseudo dynamic. It works because the amplitude get translated to harmonic content. But yeah definitly depends on style of music
Still, this has nothing on Newfangled Audio Elevate. By far the most natural and impressive transient shaper + limiter + eq+ limiter plugin i ever heared (and a CPU killer too).
Right, like I totally get what Wytse's saying but I don't think it's really a knock against iZotope to include a soft clipper in Ozone. It sounds pretty good.
I love Ozone’s individual elements. I forget what version I finally got advanced, I think it was 5, but it really opened up my ears. I’ve been with them since v3 and I’m a fan. They make a very musical EQ.
It's crazy how Izotope always pushes the line when it comes to plugin innovation. There's definitely some unnecessary stuff but all in all it's an amazing package just like it was last time.
I'm glad to see they added a separate clipper. Before, I would use an instance of a clipper plugin followed by a more conventional limiter. I'm shocked they didn't add that sooner
I bought the Ozone 10 advanced and have already used it today for mastering. It is a serious upgrade from the 9 version and it gives an excellent starting point for tweaking and finishing up. I have many Izotope plugins, but only the Ozone really delivers for me. And the limiter has always sounded great, quite underestimated in various comparisons, in my opinion. The new features in the stereo imager - not mentioned here - are great, especially the compensation of lost signal at narrowing towards mono - well done.
I used 9 for mastering and was a little nervous given the UI change for 10,..I thought maybe the "candification" of the UI meant it wasn't really that different. Though I liked 9 so much I wanted to try it. I purchased the advanced and A/B tested on tracks that I had already used 9 on. The difference was significant. 10 preformed, imo, much better. Louder, brighter, and significantly more "automatic." By automatic I mean I would have had to tweak a lot more in 9 to achieve the leveling 10 did automatically. On the CON side the compression was way more dramatic and I think you'd need to be careful and dial the auto function back a bit if you want a cleaner track in terms of leveling. Would recommend to anyone who really liked 9!
After 2-3 hours of using Ozone 10, I have advice for anyone who bought it as an upgrade: Keep V 9 installed on your machine. While I understand the additional power granted by using it as a plugin within a DAW (automation, etc), there was a lot to be said for Ozone 9 working as a standalone. It allowed you to modify your mastering chain using any VST plugins you had on your computer, so I (being a UAD user and having access to reasonably accurate emulations of hardware like Manley Massive Passive Mastering EQ and Fairchild 670 compressors) would frequently do just that and get some really nice results. V 10 only works as a plugin in and doesn't allow you to nest plugins within the plugin, so... unless you use the separate modules and build your chain manually, you can't really get the same result, at least not as quickly. There is good news though... you can run V 9 as a standalone and then, within that, run any of the V 10 modules as VST plugins; works like a charm... just tested it. SO, yes, it's a cool new set of tools, but if you can... hang on to V 9 for added functionality.
As a Ozone 9 user I have the same feelings. I am actually disappointed they dropped the standalone app. You could do a lot from within the app without the need to constantly going back to DAW. And like you pointed out, having the option to load additional plugins was really great. I upgraded but I think I'll be still using my 9 version.
Every Ozone module is still a seperate plugin. You can still put 3rd party plugins between Ozone modules. I have been an Ozone user for years myself and really felt no need for the standalone app. From a developer perspective I understand that they wanted to discontinue the standalone app. It unnecessarily consumes development resources.
@@monsterbroccoli884 It's actually a really shitty thing to drop tbh. Izotope claims they want Ozone to be a great tool for advanced users like mastering engineers but also good for novices. For novices the Assistant tool is a MAJOR feature. Even for more experienced guys it can be a good starting point. With the removal of the standalone you cant add third party plugins in the chain unless you copy settings and migrate them to each individual plugin in a DAW which is very time consuming. I don't really care because I don't use the assistant but it's definitely a big downgrade.
I have Ozone 9 Advanced but I have slowly moved away from it for two reasons. Firstly, using a lot of their embedded tools as a mastering change sucks CPU power adding latency and distortion. Two, some of their automation for a novice or intermediate tempts you to take your hands off the steering wheel and you can get led into an exaggerated mess. Apart from this I wasn't happy when they moved towards a subscription service. I tend to use Tokyo Dawn Records products now mainly. This has made me use my ears more and forced me to learn and understand better what I am doing.
Q: Why would you care about latency in a mastering chain plugin? Are you also using analog stuff on a bus in parallel? I agree Tokyo Dawn stuff is fantastic. I think Ozone is more for people who aren’t professional mix and master engineers, in my experience a lot of these folks hit the AI mastering button and go ‘done, that sounds great.’ I’m not judging them, they’re usually younger musicians who haven’t yet dug down into craft.
I really do appreciate the scrutiny that you bring to these plug-ins. It definitely offers a different point of view from most of the other videos. However, it does seem like you can sometimes overreact to little things… I’m not sure if it is because you have gotten so many views over the years by throwing a fit over little issues and calling things “snake oil.” For example, yes, there are multiple modules in ozone 10 that allow you to affect the transients of your mix. I don’t see why this is a bad thing. There may be times where you don’t need to have several modules because you can just use one module with multiple parameters to affect your mix the way that you want. In other instances, you may want to add a little bit of transient processing differently in different parts of the signal chain. In any case, thanks for another interesting video!
Remember.. Some artists/lables don't have access to the original mix projects or pre-masters Especially when ur re-mastering material from the early 90s Unless u have the DAT your next step is vinyl Full restoration works etc There are many reasons to use a "de-clipping" tool and the same to reduce transients Not everyone is mastering great mixes. But ozone has some amazing tools to get the job done..
@@atetraxx he always does so that people like us leave comments. It's brilliant actually! Because the more comments a video receives it counts as an engagement even a thumbs down counts. The guy knows what he's doing when it comes to the RUclips algorithm.
What I love about iZotope stuff is that you can lease or you can buy. I used to buy and paid more than I do for the lease; and have the latest version of everything as soon as it’s available. Good review!
If you plan to live longer than the next 8 years you’ll pay more in the long run, but you do you. Personally i hate subscriptions unless they are dirt cheap (Roland can eff off lol). I subscribe to Kush Audio plugins because they are worth it and reasonable cost.
But it seems to goals are slightly different. Gullfoss always felt like a tool to help me get some air and brightness while removing some resonance. Looking at stabilizer it feels like it focusses more on just removing resonance and flattening the eq graph. Good to see different companies having a different take on a similar concept
TEOTE from Voxengo is closet to Stabilizer I think. But it 'only' has 64 bands and three target spectrum (Flat == pink noise, Flat + Loudness == well Pinknoise with more low and high, and EQL+Rock == pink noise plus loudness plus a boost uhm 3.5 khz?) But, yeah, I only use it so see what may be 'wrong' in the mix and fix it there, if I have the mix.
FWIW to clarify about transients, maximizers are basically limiters, so they take care of the "big" peaks that bump up against headroom. However, there are still peaks happening below the maximizer's threshold, like from hand percussion. Applying transient shaping *only* to lower-level signals can emphasize these transients. I don't know if this is what Ozone 10 is doing, but it's a valid technique. Of course, it's better to have used transient shaping while mixing, not mastering. That way you can focus only on transients for specific instruments instead of painting with a broad brush.
Well, it is only natural once you have been working with all the standard music production processes for years. But there is fascination in learning indeed!
@@joanna439 Teach myself via reading..? How dare you! I am, of course, joking. I know 100% I have never read a manual for audio software. That might be why my mixes sound like shite! 😂
I'm just disappointed they dropped the standalone app. It was my go to with Ozone 9 when I needed to do few tweaks or test/do a quick master. Now you have to do the extra step and load a track into DAW. If I have to do it from within my DAW then I don't really need Ozone anymore.
Even though some things should be fixed at the mixing stage (in an ideal world), the reality is that we don't live in an ideal world, and unless you're doing mixing and mastering yourself, a mastering engineer may have to deal with a not so good mix. So tools like transcient recovery (Impact) may be very useful to help making the track sound better. If the AI adds this component in the mastering chain, it is because based on analyzis/references, it could be better, and it assumes that you can't go back in the mix and fix it properly. Would you call the client/mixing engineer and tell him that he sucks and that he has to fix the track? No, obviously you have to deal with it and do your best to make the track sound as good as possible. If you are doing both mixing and mastering, then the Impact tool should only be used as an indicator that you should go back into your mixing session and fix the transcient before thinking of mastering the track. Don't forget that aspiring mixing engineers, wether they're using scopes on not, will rely on ''mastered'' reference tracks and may cut too much transcient off their track before going to mastering. So that kind of tool falls into the ''track saving'' category.
Mastering engineers will ask the mixing engineer to go back and fix stuff if they can? If it’s not too big of a deal and is going to guarantee a better final result, yes they will tell them to go back and fix the mix lil bro
@@cmili4039 like he said we don't leave in an ideal world, not every mixing engineer would like to go back and fix a mix cause you told them to lil bro
One man's reality is another's dream or nightmare. it's just another tool box in the end. Given the absurd abundance we have now, your creative and logistic priorities matter 1000x more than the tools do.
Why wouldn't you go back to the mixing engineer / producer / artist, and give them constructive feedback on the mix? If it's a few things it's probably worth it. If you are going back to ask for stems, maybe that's too far.
@@fraserbrowne1685 The mastering engineer’s job is to take a given mix "as is” (assuming it’s already as good as it can get, considering the mixing engineer’s skills) and make it even better/compliant with industry standards… that’s it. By the way, a good mastering engineer isn’t necessarly a good mixing engineer. This is 2 completely different jobs and skills. Just because both have trained ears and use plugins to make a song sound good doesn’t mean they could do both jobs. So no man, a mastering engineer would never do that. In fact, it’s a lot more commun to hear about a mixing engineer pissed off at the mastering engineer because he changed the sound too much. This happens all the time!
I saw a video of somebody comparing ozone 10 AI mastering against a 15, 50 and 100 dollar mastering engineer. I really liked the Ozone version and the 50 and 100 dollar versions were actually good. When the guy used the 100 dollar version as a reference track, Ozone mastered it perfectly. So I guess using a reference track to master with Ozone is really a golden feature..
The soft clipper seems to work great on those "cinematic/orchestral" drums there! Would be super interesting to try on a group-channel for those elements..
Convoluted. I won't be upgrading, especially since their upgrade prices are ridiculous, even on sale. I really only use their maximizer plugin and occasionally throw in the imager. The assistant EQ is almost always way too much in the highs. I feel like if I have to go back and make adjustments I might as well spend the time to think ahead what I want to do. I have Sonible, Gullfoss and Fabfilter and often times find myself gravitating towards these. If I want a transient designer I'll probably just buy the best: Punctuate. If I want to "recover sides" I'll go back to my mix and address something with a mid-side EQ. If I want to clip something I'll use something with soft and/or hard clipping options, in the mix or master depending. The more I design and shape audio the more I realize that you really need to have good ear and a vision for the final product as well as a willingness to experiment to get great results. You can't rush a good thing. The problem I have with Izotope is they are trying to make mixing and mastering accessible by dumbing it down. Basically, if you don't know what you're doing to the sound then why do it? One example, if you want to mess with the transients why not use something like Punctuate (or SplitEQ or Physion), a plugin that isn't dumbed down and makes you think before you tweak?
Thanks for your videos, like them:) Comment to transients and limiting… if you limit transients with preview and releasetime, they will always stick out, because the sound around them gets pushed down. So push the transients in mastering can make sense, even if in the end they won’t be louder, but they will seem louder.
I used 9 for mastering as well and was a little nervous given the UI change for 10,..I thought maybe the "candification" of the UI meant it wasn't really that different. Though I liked 9 so much I wanted to try it. I purchased the advanced and A/B tested on tracks that I had already used 9 on. The difference was significant. 10 preformed, imo, much better. Louder, brighter, and significantly more "automatic." Would recommend if you liked 9! Cheers!
To me an expander + soft clipper makes a lot of sense. Expander can emphasize a snappy transient lasting for example 15ms and then the clipper just shaves off less than 1ms. Also I’m shocked that more limiters don’t support hybrid limiter + clipper, most modern music uses clippers and they can sound more natural and less flat than limiters. One can always use separate plugins and tweak them separately for more control, but if they are designed to work together, possibly the result can be better? Also, more convenient for homemade “DIY masters” that are for a quick preview or sharing track sketches (target audience of Ozone I believe), not the final professional expert master.
Darude by sandstorm. Nah but fr tho, the tracks in his video are given to him by artists he’s personally worked with so you’d probably not find them online.
There are scammers active in the comment section. There is no giveaway, don't share your personal details. White Sea Studio only communicates over e-mail from the whiteseastudio.com domain.
i'm personally not a fan of transient shapers and i'd especially not use them in mastering, because wether they correctly detect a transient or not can be a bit random. first of all the timing can be imprecise, but on top of that even the entire triggering can be imprecise and you might have it sometimes pick a transient where there is none. i have not tested this particular plugin's transient shaper, the impact module, but every single transient shaper i ever tested was like that, even oeksound spiff, so i just don't think it can be used a lot of times. these kinda things work well on little drum loops, to spice things up, but not on a full master, where dynamic things can happen, unless this transient shaper has some secret trick that prevents it from making these types of mistakes. gotta say tho, i like that ozone plays with the transients in general. like crushing them, then bringing them back a bit again and then crushing them again, but in different ways. it's not just a question of more or less transients, but every one of these stages forms the character of the transients, their shape and colour. so even if it's a lot of back-and-forth, it can make sense in the end (ignoring that there's a transient shaper in it).
The best sounding multiband transient designer is Elevate from Newfangled Audio, but very, very CPU intensive. 24 bands, you can mix between single band or multiband, and the character for the transients (faster high frequency transients or slower high frequency and faster lower high frequency). Ridiculously good on drums, more natural than Split EQ.
@@saricubra2867 and a mix alternative to that would be Boz Transgressor where you can manually set the rate at which it detects transients. Ozones impact module also has the ability to change the detection rate and even sync it to tempo if you want. but impact is more subtle and about matching dynamics rather than bringing out the quickest transients.
Amazing! But... this mastering bundle (it definitely is NOT a channel strip) can send you down the rabbit hole before you take your first break from tweaking. I think it is aimed at PRO studios that have to work lightning fast, just not the way i organize my workflow.
The Ozone hype! Understand me, it's a good program but mastering is possible with other good software. Besides, I like to do mastering stand-alone so it's a shame there's no stand alone version anymore. The new version has no Impact on me, so I stick to what I have.
Thanks brother i always enjoy watching your straight forward point of view on your channel , so i thanks to you i decided to upgrade from Ozone9 Advanced to Ozone10 Advanced 🍻♥️
The huge emphasis on multiband processing (and Ozone in general) is a bit like fast food. It's quick and instantly gratifying, but in the end, it will never have the same nuance and depth as a five star restaraunt. I could definitely see it being useful for underground musicians wanting to play WIP tracks at clubs or send demos to labels, but the "flatten everything with flashy multiband processers" approach will never substitute for a proper master.
You're making it sound like every mastering engineer masters to a set goal, one that will always be better than software. That's just untrue, it's about the ear and not so much the tools used. Anyone not experienced - Don't listen to this daft gate-keeping rubbish.
MB is to fix specific problems....it should never be a standard Go to...It ruins a good mix easily, phase issues,. Great for trailer music, and commercial turnaround where quality doesn't mater so much. AS for music release, not so much.
It’s not the same as the mastering services. After you run Ozone 10 you can continue to make adjustments to your track. That makes it almost nothing like the mastering services where after a couple of tries at mastering, you get what you’ve got. MaSsive difference.
Sometimes your channel is really on the money and other times it’s so out of pocket it’s not even funny, look into how impact works, as for the mastering assistant it’s not for an instant mastering, it serves the purpose of an ASSISTANT, a fresh pair of ears to maybe give you an idea or point you in a direction you weren’t thinking about. The ozone soft clipper is a really cool algorithm with rolled off harmonics in the high end
-1dB is total nonsense. The -1dB streaming Spotify thing is out of date and a misunderstanding from an AES whitepaper written back around 2012 for the development of the AES EBU broadcast standards etc and is not something that needs be considered outside of classical music. The reasons for what Spotify are saying come from the work done by Thomas Lund which formed the basis of the ITU/EBU/ATSC standards that inform the current recommendations. However they are an oversimplification: From the Technical Document - AES TD1004.1.15-10Recommendation for Loudness of Audio Streaming and Network File Playback "A maximum of 1 dB of limiting prior to final encoding is recommended as a starting point. Do this only if frequently-occurring peaks cause audible distortion or artifacts at the decoder. Use the ear as the final judge, since limiting more than about 1 dB may produce more audible artifacts than simply letting the program clip on occasional transients." Let me know if all that makes sense to you. Full time professional Mastering Engineer here.
I go -2TP because the streaming services' Codec (not every service is the same in how they encode either) will make it "louder" and can easily eclipse even beyond the -1TP depending on material. Glad to see they got that right on the tool! I just got Ozone 10 Advanced as well but haven't taken a look yet, looking a little better than the last already! I just wish I had RX Advanced, I only have Standard :( I'd love to see someone cover that "Spectral Recovery" feature of RX 10 Advanced, where you can take a thin recording and expand it? For example, a mobile phone recording, you would use this tool to get rid of the thinness. Neat!
I have not been able to get comfortable with these assistants. If I understand what they are doing, I can do it myself; if I don't, then I don't know how to fix the mess that the assistant has made of my mix. A bit like quantising a rhythm - it's great if you want a certain kind of rhythm, but it can ruin other kinds. For those who know how to use these assistants to their advantage, I imagine it can be a great time saver. And with certain kinds of process, you need to be led somewhat by a computer analysis as there are too many factors. More importantly, it looks like the additional effects here make this a significant upgrade that could well be very good value for money compared to buying separate plugins, and will certainly have the workflow advantage of a unified, contained system.
I once tried ozone 3 and i didnt like it. then i got back into ozone in version 8, then 9 and i can say with a clear concience that ozone 10 is a huge upgrade. It sounds so much better than the previous versions as far as the assistant goes. This time around you can pretty much run the assistant and leave it at that as a final master and it will be release ready if the mix doesn't have too many problems getting in the way of the assistant doing its magic. But ofc dial things into taste because that what its all about. but the assistant may very well fix some problems for you so you can get to the creative part of mastering right away. all the new features is ofc useful for mastering completely manually too. But i would still consider using eventide elevate limiter for its many bands if you want to get louder without sounding squashed. some of ozones maximizers limiter algorithms have spectral dynamics but you don't have the same control over it as you do with elevate. Another thing i do sometimes is att slates mo-tt before ozone to add touch of extra glue going into the rest of the mastering with ozone 10.
Could be useful to treat the assistant like a second opinion. That way you can shoot it out against your master and even if there's just one move that the assistant made that's an improvement it could be worth it.
@@billpodolak7754 I'm sure you're right; but it is important to understand what they are doing to get the full benefit. So you might need quite a lot of understanding to make good use of them in that way.
So I have been playing with a lot of mastering plugins over the last year. Honestly although it seems like we are bouncing back and forth with transients, what we are doing is throwing loads of precise control in mastering. As someone who has been at this for some time, here is my perspective. Ozone is probably all you need along with maybe a few master bus compressor types for mixing into, thats the first thing. Second, if you find yourself pulling your mix apart, look at what you are doing and go back to the mix to achieve as much as you can until you literally use this plugin to do no more than 5% at the end. Once you can do this, I say you can run free. Problem is to get this good, you'll be over 40 and past it.... but anythings possible lol😄
I love your videos and insight most of the time, but do you mix/master anything other than light pop rock and Darude? Ozone 10 (and every prior version) is a pretty powerful suite of plugs/modules, but you gave it about 5 minutes lol It may not be the be all end all, but what is?
Not good advice on the limiting :( make sure the track is as oud as you can get it whilst sounding good, don't worry about -14. The browser version of Spotify does not loudness normalise.
yeah, I see this BS about -14 and -1dB TP all the time - the song sounds best at the level it sounds best no matter if it's -14 or -6LUFS and true-peak limiting always sound pretty bad tbh. I always prefer the sound of clipping or PCM limiting vs true-peak limiting.
@@DerSilvano Not only hearing loss, but speakers or headphones that don't have very high sensibility (maybe struggle on transient response?). I target between -24LUFS and -14LUFS. My headphones are 16ohms with a sensibility around 110dB. -14LUFS is too much for me for an entire song, but for a chorus or something like that is fine.
@@saricubra2867 i get to about -9db in the mix and then i aim for -7db in the master if i want keep up with the loudness standards for dj use. i usally go no louder than -6.4 short term for EDM. for steaming i just go as loud as i need to get the energy i want out of the mix. and its usually around -9lufs short term i don't care too much about integrated lufs unless i master an album.
2 года назад+1
I'm sorry if I missed if you've already made a video about this, but I would love to hear your thoughts about perceived loudness, such as even when two songs have the same avg. LUFS either sounds louder, and how you'd approach to achieve the maximum loudness while keeping LUFS at around -14.
Hey Leiki, in short: Perceived Loudness for us humans can be described as hearing more loud noises in a given time. Imagine shutting a door with force and a Jackhammer. In both cases you hear a snippet of, let's say 5 seconds. The jackhammer will sound louder, but the peak level is quite the same as with the door. Why is the jackhammer perceived louder, you may ask? Well it seems that our brain integrates loudness over a given time. If in that time the jackhammer made, let's say, 10 peaks, the door has only one peak. On the other hand we perceive sounds with a shallow dynamic range (difference between quieter and louder sounds is small) as louder as well. LUFS for streaming services is measured over the entirety of the whole song. This means, if you, arrange the track with an appropriate amount of silence in between sections with a short term LUFS reading of -6 you can still end up with a -14 LUFS integrated. What you can't really do is write a song with a lot of distortion and many loud transients and have a short term LUFS of -6 and an integrated LUFS with -14. But this song will be perceived louder than an ambient track with the same LUFS, since the dynamic range of the distorted sound is much smaller then the range of the ambient track. You may want to look at some very good videos from Dan Worral about loudness and Dynamic range, and maybe the response to those videos from @Baphometrix. The latter one has a great in depth tutorial for Loudness in mixing. Crazy stuff and pretty technical. ;-) So long T
Soft clippers are really popular in hip hop. IK multimedia has a soft clipper that a lot of hip hop producers use. Fl studio is also infamous or famous for having a limiter on the master chain and that kinda influenced the hip hop clipping sound. I can see why isotope has it. For most conventional mastering requirements it’s probably not as important, but one of isotopes bread and butter customers are hip hop producers that can’t afford to have a track professionally mastered. But for bedroom hip hop producers that slap ozone on their master channel, having a soft clipper is probably essentially.
The impact section you need to click on the block to select which bit you are editing - you left it on lows whilst soloing/muting the other bits. At least how that UI works elsewhere
I own ozone 9 but I have not used it a long time because I need low latency limiting to produce through. My limiter of choice is TDR Limiter 6 GE because I can produce at low latency with the clipper before the limiter and then render at high quality mode without needing to change it before bouncing the track.
The ozone maximizer has different limiter algorithms to pick from. and the top one "IRC LL" has the lowest latency. with that said. ozone 10 is a very big upgrade from ozone 9. its a night and day difference in how good the new modules are together with the assistant.
Elevate is a different beast in terms of limiting. might be a patent keeping others from doing the same it does. But a bit of squashing can be good for the sound too. while it may be less transparent, it does add some energy to the mix.
For producers ozone is just awesome tbh I personally only use imager + mid side EQ & maximizer but having it all in just one plugin makes the whole thing fast and good enough
I’m probably somewhat ignorant of something here but I find it very difficult to trust the mastering assistant to make decisions other than loudness. The adaptive EQ looks very useful with problem areas.
Sounds like a worthwhile upgrade if you don't already have this chain as separate plugins or need a bit of assistance from the "AI" to start you up. Thanks for sharing you view and great nails :)
If you’ve ever done any work supporting musician friends who aren’t professional mix engineers you’ll be familiar with needing tools to fix bad mixes. I’d love to be able to stop people who bring me a bad mix every time and make them all redo their mix. Unfortunately i do this type of work for low-fee or in some cases free to support people who in many cases are struggling financially, and in those cases it’s best to just get as good a master as possible then get it off the desk to do higher paying work. In many cases i will tactfully mention to the artist what the shortcomings were and in some cases i have been hired later as a coach to teach them things they aren’t aware of. But honestly we no longer live in a world where only professionals make musical mixing choices, and i don’t fault Ozone for being clear on what tools may be needed to fix mixes that are flawed.
I like Ozone because it easily helps beginners to master a project fast and learn what mastering is. While you’re getting better you’ll become less using it.
Ok. Just because people expect you to be over-critical doesn't mean you are always right by definition. Starting of by saying "I don't use Ozone", already said it all. After using the master assitant you have tons of ways to tweak your track further.
i think how they mixed music back in the day which was not for loudness and for dynamics via Analog is really the way to go and emulate be nice to use digital in that manner
compared to gullfoss the stabilizer specifically target different genres of music rather than simply flattening the frequency spectrum. Ozone 10 is a huge upgrade from the previous version. 8 to 9 meh, 9 to 10 whoaa!
Not worth the upgrade for me. I only use Ozone 9 as a final step and get the bulk of my processing done beforehand. I also typically only master my own music so I have no need for most of this. I find that for certain styles, Ozone's limiters can massively overdo it or change the character of the song, but using subtle settings to get the last little bit is really nice. I also quite like their multi-band saturation module. The compressors just don't do it for me though.
Just been playing with it for a few hours myself. it's ok but the same old thing with the assistant, though- The results can vary wildly if you put the exact same piece of music through it more than once. I trust my ears and I think that often, the simplest approach is best when it comes to mastering. I'll stick with equilibrium and the ds1.
It’s designed to give you different results when you reprocess the same audio. The AI is a learning AI, and so it assumes it got the processing wrong the first time if you choose to re-parse the music.
@@gooshie3 Well, I'd agree with you there to be honest, however the modules themselves (ignoring the AI assistant entirely) are actually extremely powerful, and it's quite useful having them all packed into a single host. Personally I tend to use Softube's Weiss series of plugins because I absolutely adore the creaminess of the sound that I'm able to get out of them, but Ozone is extremely powerful and a solid tool nonetheless.
@@nicholassturgess-monks4458 Can't go wrong with Weiss. I always thought the Izotope maximizer and RX were among the best software available. The new stablizer in cut mode seems to be excellent too. It's just that I don't think the ai will be there for a few years yet.
@@gooshie3 Yeah, I certainly don't see anything that makes me want to pay to upgrade from Ozone 9. I might be cheeky and email Izotope to see if I can get a free upgrade out of them though hahaha.
I have been using ozone since version 4 but I feel like this will be the first major update I am not upgrading to. I found myself lately making kind of a pre-master with different plugins, like the sonible smarteq and finish it with the tc finalizer. I feel like I am getting better results more easily. I am a hobbyist and my skills as a musician, engineer as well as my hearing is limited.
Yes, Ozone’s mastering assistant tool is really more for home producers, or for professional mastering that needs to be done quickly. If you know what you’re doing, you will almost always get better results yourself, but it will likely take you a bit longer to get there. I generally use it as a kind of pre-master state, but then take the time to do an actual mastering run by hand, treating the settings it gives me as suggestions and using my ear to get things where I want them so that the important elements are allowed sufficient space in the mix. But that part can be quite time consuming sometimes 😅
@@nicholassturgess-monks4458 I was surprised by the tc finalizer. it is standalone and self contained, which is a pro and a con, but with its limitations it still gives you quick very good results. It's been featured on this channel like 2 years ago or so. It came out very quietly and seemed avoided everybody's' attention.
@@repasiv Yeah I vaguely remember the snake-oil video (very vaguely). It was a bit over my head at the time, so I've not actually checked it out. Maybe I should give it a look!
Does the stabilizer work like Gullfoss? I was going to get Gullfoss soon, but I almost wonder if upgrading to Ozone 10 would effectively give me the same sort of thing for a cheaper price.
Re: the DJ and Streaming button. Which is the way to go for Music Publishers, Music Libraries and Sync etc, briefs and submissions for Film and TV? Cheers
I understand what ur saying about the impact module but i think it’s inception came from the fact that some mastering engineers are better at mixing than the mixer who mixed the track they are mastering…which allows the mastering engineer to act as a pseudo mixing engineer and bring back the dynamics of a track that a mixing engineer may have lost (i don’t even know how to say exactly what I’m tryna say but i pray you understand the gist)
The subscription at izotope does only include tools more targeted at vocal mastering/treatment :) as for now it is included: Ozone 10 advanced and RX10 standard and some other tools
Love that intro transition of let's get started...(fades into intro) lmao Also I am loving the new Izotope Ozone 10. I have the annual subscription, and to me, it's worth it.
I invested in Alloy 2 as a channel strip and it did amazing things to my trained ears. So yes, iZotope does amazing things for mixing. Mastering, still don't now from some introductory demo's
Generally, from more an artist, musician perspective, which is where my experience leans. Once the mix is straight, which for the artist's is more about finding a mixer that mixes the way the artist's prefer, for us anyway, then the mastering is usually about finding different ears to apply a different perspective to the mix. We always felt that was money better spent, getting potentially more for the money, but have had mix and master from the same source as well, because of cost's. The plus side to the Izotope Mix and Master line imo is for the bedroom producers and or those looking for solid quick results, with little experience, especially if a high volume of art is being created, which is more the case these days. Not to mention the average lower quality listening experience these days as well, many listeners not being flamed because its not radio ready standards. It seems to have a lot to offer in that regard, far less in other regards.
Demonstrating a mastering plug-in on pre-mastered audio is what's stupid (title reference). To really appreciate Ozone, use it on something that requires mastering. Then listeners could better hear what it's doing. Next complaint: he doesn't seem to understand the plug-in has a logical flow and he doesn't really understand the modules. For instance, the purpose of the Impact plug-in is not to recover the transients that you squashed on the previous screen. It's to affect the feel of the track by letting you sync compression or expansion with your beat. And he acts like having tools to either expand or reduce transients is a conflict ("come on, decide, decide!") like we should only ever do one or the other, which is obviously silly. You might want to do either. Your EQ both cuts and boosts, is that a conflict too?! Usually a great channel, but this was disappointing.
I was really hoping you'd take a swing at the "Recover Sides" function of Imager, which is the only interesting feature for me compared to 9 Advanced (apart from being happy about the clipper, but that's nothing special really, and was easy to work around in 9 as well)...
I can attest 100% to the analyzers being good tools but still can’t replace the ears. My buddy sends me beats to mix, and his style is very unique in the sence that he likes dark stuff and tends to make all of his sample sounds low mid heavy, and every sample has sound in the 400 to 800 range, that he specifically wants to hear. So my analyzers always tell me there’s a bump there, but any time I start cutting stuff in that range(even on the master, he’ll notice and say “something feels missing from this.” 😂 So I just keep it and attenuate as much as I can get away with without it being noticeable, and guess what, the beats still come out great, even though there’s always a slight boost in those low mids.
Strangely I never use the master assistant. I prefer to make my own decisions and really don't need it at all :D I m most insterested in all the other regular tools and massively interested in the maximizer which is a must to have. Personally I own version 9 but i am not sure to migrate toward version 10. Regarding how much it costs and what I get in addition... i can continue mastering with 9 where there is actually all the tools to get the job done
I've had ozone for a long time. This looks pretty good. Some things of course you may not need for every mix, but it's cool to know it's there in case. I thought the -1 db trick was cool. My biggest concern is the streaming services seem to squash the mix a bit as well. Not sure what systems they go through either..that would be a good episode. What are they using? It just can't be a blank channel. Thanks for this though. I always come here for the correct review! Trusting your judgment for a long time and it never fails me. :)
The streaming services don't do any dynamic range compression on the mix, they'll only adjust the level with simple gain. They do data compression, but that shouldn't really "squash" it unless someone is listening with really poor connection
Have using Ozone 10 now for 8 months and before that I used 9 but not that much , it's amazing and a really a good tool for mixing and mastering, probably one of the best out there. now watching this video again, its amaze me how "stupid" this "review" is. Don't really understand why they send it for you to review because you clearly don't take your time or understand some, or sometimes the important feature. This is not me hating on you in anyway, I have big respect for the time its probably take to do your videos ... but ... I kind of liked your earlier videos when you where more humble and didn't run around rolling your eyes at features in the plugin , that you in retrospect didn't understand :) hope you don't take this as "hate" because I am an old school musician and audio guy with many years of trial and error and love to see you young guys that are so passionate about audio engineering. you probably don't read this but I wish you the best in whatever you do. love from Sweden !!
I've been using Ozone Elements for quick mixes lately and I really appreciate how quickly I can get a consistent level and it also checks the tonal balance for anything really obviously wrong, though I mostly ignore the high and low shelving suggestions. The new modules - Impact and Stabilizer - seem really useful to me, but in moderation as Stabilizer could really suck the life out of the track. They do seem to fight each other a bit, but I'm sure it's fine.
Perhaps I missed something - why is it “SO STUPID?” And is it Snake Oil? Titles like this cheapen your channel imho. Why not “Ozone 10 might SURPRISE you!” Or “Will Ozone 10 change how YOU master?” I don’t know. I just don’t like click bait, but I like your channel a lot. This is a good vid. Thx.
I agree. the only 'stupid' thing seems the title of this video
Yea agree….gets over excited then praises it - so the title is super misleading? I bought it a few weeks ago and its amazing…..🧐
Clickbait lol
RUclips algorithm has a negative bias. You get promoted more quickly by leading with negativity. That’s why the channel “Bad Gear” has done so well. (He rarely actually uses “bad gear.”)
We’ll that really is stupid then….
Truthfully, I think its a great plug-in. A couple of things I'm noticing. For me, at this point, until i gain more experience with Izotope, I'm still better off setting up a mastering chain that I perceive suits the needs of my track. Certain chains, for certain things. I'm not a top-down guy, I'm a bottom-up guy. This means that when I cross into mastering, I'm looking for 5%. If I need more than that, I missed the purpose on the mix. Period, no debate. And aside from loudness maybe sometimes 3% or 2% of my production comes from mastering. . Because all the heavy lifting to make a track sound great happened from the very first note of the very first part of the production. And the mix that followed.
These days, plugins like this encourage more of the "mix into the master bus compressor with the first track" thinking. (top-down) Which is fine, but ithat's a technique that would ruin my style. I get that's what some people do. That's not me. The first thing I have to do when I'm mastering with izotope, is eliminating 90% of what Izotop suggested lol. And bypass all of the modules. Their mastering compressor doesn't blow me away either. Not a whole lot of character. I get way more out of Elysia alpha... or Iron, or BX Master desk, or For character, they are hoseing a track down with saturation and transient shaping.
But in their defense I don't think Izotope thinks that this is a one-click walk-away thing. The auto helper feature is simply a suggestion as a starting point based off of a glimpse of your track. A glimpse. It doesn''t even listen to the whole thing. It suggests the loudest part for its 5-second listen, it spits out a half dozen plugins and slams it with a limiter. so why would anyone expect it to nail it? Try neutron sometime. It's mix helper hits a track like a nuclear bomb. Again, its only a starting. point. Let it give you some suggestions, but zero them out and. u s e y o u r e a r s. (spoken in obiwan Kenobi voice with 6 seconds of church reverb). One great thing about neutron is that it will give you an alternate way to randomly hear your creations in a different light. Thats discovery, and discovery is gold.
Plus one more thing- ya gotta be careful getting too far down a tinkering rabbit hole. I mean seriously. Finishing tracks is about the most important thing. And spending 6 hours on tweaking .004 seconds of a transient is a good way to lose 10 years of your life.
Underrated comment
Great comment
Most definitely try Neutron. It listens to your whole song and gives you a nice starting point from your mix. I agree, if your mix is good then mastering will be more for loudness and fine tuning.
If you're not mixing into a mastering chain, whatever you're doing is probably irrelevant mate. You'd think you're done with the mix and would then bump it to appropriate loudness levels and probably destroy most of your mixing decisions. If you're already mixing at appropriate loudness levels then you're already mastering from the get-go (yeah: gain staging at target loudness levels is basically limiting)
@@taxmoneyyy yea I disagree. I switch the mastering chain on and off at will. I make much better decisions on a track and submix level when I don’t have a mastering chain inflating things with various types of mastering chain plug ins. The method you are referring to is called “top down” - some prefer it, some don’t. I also mix in mono this way.
Being able to switch the mastering chain on to check inflation in the signal and elevation of all the added flair of mastering and than switching it off at various stages is how I and many other professionals I’ve worked with work.
Of course when the mastering phase begins, than yes, the mastering chain is default “on” always
I am not against adding transients and then clip them again. It gives the song a kind of pseudo dynamic. It works because the amplitude get translated to harmonic content. But yeah definitly depends on style of music
Still, this has nothing on Newfangled Audio Elevate. By far the most natural and impressive transient shaper + limiter + eq+ limiter plugin i ever heared (and a CPU killer too).
@@saricubra2867 yeah but split eq is much better for sound design type of edits (especially in classic breakbeats ect)
@@Adam-g-uk I can use split EQ for mixes without compressors. Then Elevate for drums.
@@saricubra2867 you know what, I never actually thought about that! It can be used as a multi band compression, I love that plugin
Right, like I totally get what Wytse's saying but I don't think it's really a knock against iZotope to include a soft clipper in Ozone. It sounds pretty good.
I love Ozone’s individual elements. I forget what version I finally got advanced, I think it was 5, but it really opened up my ears. I’ve been with them since v3 and I’m a fan. They make a very musical EQ.
It's crazy how Izotope always pushes the line when it comes to plugin innovation. There's definitely some unnecessary stuff but all in all it's an amazing package just like it was last time.
The biggest new module in this one is their version of Gullfoss
@@sub-jec-tiv Yeah their sculptor is great, I love it
I'm glad to see they added a separate clipper. Before, I would use an instance of a clipper plugin followed by a more conventional limiter. I'm shocked they didn't add that sooner
God Particle (limiter off) > Sir Audio Standard Clip > Ozone maximizer only
@@_thevaporz you should compare the harmonic profile of the ozone soft clipper against standard clip using a sine wave. Ozone is way better
@@billpodolak7754 @William Podolak Cool, thanks. I'll check it out!
you can make the maximizer module to act as a clipper. Look at the left where you can choose the limiter type. Works very well
@@miquelmarti6537 Yeah. I've done that before, but when using Ozone as a stand-alone application, you can't use two of the same module
I bought the Ozone 10 advanced and have already used it today for mastering. It is a serious upgrade from the 9 version and it gives an excellent starting point for tweaking and finishing up. I have many Izotope plugins, but only the Ozone really delivers for me. And the limiter has always sounded great, quite underestimated in various comparisons, in my opinion.
The new features in the stereo imager - not mentioned here - are great, especially the compensation of lost signal at narrowing towards mono - well done.
Agreed
Do we go to the website to receive the upgrade, I bought Ozone 9 with 10 upgrade
@@jameswhitaker4357 Yes
@@rafyahu thanks bro gonna check it out when o get off work. LFG!!!
is Advanced upgrade vs Standard worth it?
I used 9 for mastering and was a little nervous given the UI change for 10,..I thought maybe the "candification" of the UI meant it wasn't really that different. Though I liked 9 so much I wanted to try it. I purchased the advanced and A/B tested on tracks that I had already used 9 on. The difference was significant. 10 preformed, imo, much better. Louder, brighter, and significantly more "automatic." By automatic I mean I would have had to tweak a lot more in 9 to achieve the leveling 10 did automatically. On the CON side the compression was way more dramatic and I think you'd need to be careful and dial the auto function back a bit if you want a cleaner track in terms of leveling.
Would recommend to anyone who really liked 9!
After 2-3 hours of using Ozone 10, I have advice for anyone who bought it as an upgrade: Keep V 9 installed on your machine. While I understand the additional power granted by using it as a plugin within a DAW (automation, etc), there was a lot to be said for Ozone 9 working as a standalone. It allowed you to modify your mastering chain using any VST plugins you had on your computer, so I (being a UAD user and having access to reasonably accurate emulations of hardware like Manley Massive Passive Mastering EQ and Fairchild 670 compressors) would frequently do just that and get some really nice results. V 10 only works as a plugin in and doesn't allow you to nest plugins within the plugin, so... unless you use the separate modules and build your chain manually, you can't really get the same result, at least not as quickly. There is good news though... you can run V 9 as a standalone and then, within that, run any of the V 10 modules as VST plugins; works like a charm... just tested it. SO, yes, it's a cool new set of tools, but if you can... hang on to V 9 for added functionality.
As a Ozone 9 user I have the same feelings. I am actually disappointed they dropped the standalone app. You could do a lot from within the app without the need to constantly going back to DAW. And like you pointed out, having the option to load additional plugins was really great.
I upgraded but I think I'll be still using my 9 version.
This is the type of analysis I look for thank you. Often we get upgrade happy but miss these details. That’s a huge downgrade
Every Ozone module is still a seperate plugin. You can still put 3rd party plugins between Ozone modules. I have been an Ozone user for years myself and really felt no need for the standalone app. From a developer perspective I understand that they wanted to discontinue the standalone app. It unnecessarily consumes development resources.
thanks for confirming that!!! definitely not rushing to update
@@monsterbroccoli884 It's actually a really shitty thing to drop tbh. Izotope claims they want Ozone to be a great tool for advanced users like mastering engineers but also good for novices. For novices the Assistant tool is a MAJOR feature. Even for more experienced guys it can be a good starting point. With the removal of the standalone you cant add third party plugins in the chain unless you copy settings and migrate them to each individual plugin in a DAW which is very time consuming. I don't really care because I don't use the assistant but it's definitely a big downgrade.
I have Ozone 9 Advanced but I have slowly moved away from it for two reasons. Firstly, using a lot of their embedded tools as a mastering change sucks CPU power adding latency and distortion. Two, some of their automation for a novice or intermediate tempts you to take your hands off the steering wheel and you can get led into an exaggerated mess. Apart from this I wasn't happy when they moved towards a subscription service. I tend to use Tokyo Dawn Records products now mainly. This has made me use my ears more and forced me to learn and understand better what I am doing.
TDR Limiter 6 is one hell of a limiter. I have Ozone too but I always reach for it at the end of the day.
This up here, except last 2 sentences.
Is the cpu use better??
@@keveydaking Yes
Q: Why would you care about latency in a mastering chain plugin? Are you also using analog stuff on a bus in parallel? I agree Tokyo Dawn stuff is fantastic. I think Ozone is more for people who aren’t professional mix and master engineers, in my experience a lot of these folks hit the AI mastering button and go ‘done, that sounds great.’ I’m not judging them, they’re usually younger musicians who haven’t yet dug down into craft.
man your my favourite plugin channell ! great info and knowledge and even if its not for me i always learn something from your inside
I really do appreciate the scrutiny that you bring to these plug-ins. It definitely offers a different point of view from most of the other videos.
However, it does seem like you can sometimes overreact to little things… I’m not sure if it is because you have gotten so many views over the years by throwing a fit over little issues and calling things “snake oil.”
For example, yes, there are multiple modules in ozone 10 that allow you to affect the transients of your mix. I don’t see why this is a bad thing. There may be times where you don’t need to have several modules because you can just use one module with multiple parameters to affect your mix the way that you want. In other instances, you may want to add a little bit of transient processing differently in different parts of the signal chain.
In any case, thanks for another interesting video!
This version of Ozone looks more like Newfangled Audio Elevate now combined with Split EQ Gulfoss and Spiff...
Very cool update.
sorry..but I maybe missed it. What feature looks like Split EQ??
@@georgezorbas9036 i think hes talking about the impact module
What plugins remind you of gulfoss and spiff? I have the same ideas, or do you mean more of soothe 2 instead of gulfoss?
Do you think there is a plug-in in ozone 10 that’s like soothe2?
so...what does Ozone look like? 😶
Remember.. Some artists/lables don't have access to the original mix projects or pre-masters
Especially when ur re-mastering material from the early 90s
Unless u have the DAT your next step is vinyl
Full restoration works etc
There are many reasons to use a "de-clipping" tool and the same to reduce transients
Not everyone is mastering great mixes.
But ozone has some amazing tools to get the job done..
Agreed. That felt a little elitist when he said that
@@J77199 yep... Not a good move... 😆
For real.. he missed the mark on this review pretty bad
@@atetraxx 😎
@@atetraxx he always does so that people like us leave comments. It's brilliant actually! Because the more comments a video receives it counts as an engagement even a thumbs down counts. The guy knows what he's doing when it comes to the RUclips algorithm.
What I love about iZotope stuff is that you can lease or you can buy. I used to buy and paid more than I do for the lease; and have the latest version of everything as soon as it’s available.
Good review!
If you plan to live longer than the next 8 years you’ll pay more in the long run, but you do you. Personally i hate subscriptions unless they are dirt cheap (Roland can eff off lol). I subscribe to Kush Audio plugins because they are worth it and reasonable cost.
That Stabilizer kinda reminds me of Gullfoss with the general frequency balanance and simple eq/tilt.
The same
Just commented the same lol
But it seems to goals are slightly different. Gullfoss always felt like a tool to help me get some air and brightness while removing some resonance. Looking at stabilizer it feels like it focusses more on just removing resonance and flattening the eq graph. Good to see different companies having a different take on a similar concept
@@sainsay Sculptor??
TEOTE from Voxengo is closet to Stabilizer I think. But it 'only' has 64 bands and three target spectrum (Flat == pink noise, Flat + Loudness == well Pinknoise with more low and high, and EQL+Rock == pink noise plus loudness plus a boost uhm 3.5 khz?) But, yeah, I only use it so see what may be 'wrong' in the mix and fix it there, if I have the mix.
FWIW to clarify about transients, maximizers are basically limiters, so they take care of the "big" peaks that bump up against headroom. However, there are still peaks happening below the maximizer's threshold, like from hand percussion. Applying transient shaping *only* to lower-level signals can emphasize these transients. I don't know if this is what Ozone 10 is doing, but it's a valid technique. Of course, it's better to have used transient shaping while mixing, not mastering. That way you can focus only on transients for specific instruments instead of painting with a broad brush.
5:30 "for streaming you should be at -14db. Go a little bit above it." to -9db , got it!
LMAO....a little above is -13.... -9 is another universe...
@@levondarratt787 you didn't get the joke.
It’s fascinating to me, how you understand all this stuff so easily and what it does. Real talent there.
Well, it is only natural once you have been working with all the standard music production processes for years. But there is fascination in learning indeed!
It's a Eureka moment, it's also a mystery and here is the secret..... read the manual!
@@joanna439 Teach myself via reading..? How dare you!
I am, of course, joking.
I know 100% I have never read a manual for audio software. That might be why my mixes sound like shite! 😂
What seems easy is more like a 10,000 hour rule.
I'm just disappointed they dropped the standalone app. It was my go to with Ozone 9 when I needed to do few tweaks or test/do a quick master. Now you have to do the extra step and load a track into DAW. If I have to do it from within my DAW then I don't really need Ozone anymore.
yea...TE Standalone NEEDS volume automation and copy and paste song sections....It's almost ready...why discontinue - they owe more features....
TC electronic has finalizer - good for quick something
Even though some things should be fixed at the mixing stage (in an ideal world), the reality is that we don't live in an ideal world, and unless you're doing mixing and mastering yourself, a mastering engineer may have to deal with a not so good mix. So tools like transcient recovery (Impact) may be very useful to help making the track sound better. If the AI adds this component in the mastering chain, it is because based on analyzis/references, it could be better, and it assumes that you can't go back in the mix and fix it properly. Would you call the client/mixing engineer and tell him that he sucks and that he has to fix the track? No, obviously you have to deal with it and do your best to make the track sound as good as possible. If you are doing both mixing and mastering, then the Impact tool should only be used as an indicator that you should go back into your mixing session and fix the transcient before thinking of mastering the track. Don't forget that aspiring mixing engineers, wether they're using scopes on not, will rely on ''mastered'' reference tracks and may cut too much transcient off their track before going to mastering. So that kind of tool falls into the ''track saving'' category.
Mastering engineers will ask the mixing engineer to go back and fix stuff if they can? If it’s not too big of a deal and is going to guarantee a better final result, yes they will tell them to go back and fix the mix lil bro
@@cmili4039 like he said we don't leave in an ideal world, not every mixing engineer would like to go back and fix a mix cause you told them to lil bro
One man's reality is another's dream or nightmare.
it's just another tool box in the end. Given the absurd abundance we have now, your creative and logistic priorities matter 1000x more than the tools do.
Why wouldn't you go back to the mixing engineer / producer / artist, and give them constructive feedback on the mix? If it's a few things it's probably worth it. If you are going back to ask for stems, maybe that's too far.
@@fraserbrowne1685 The mastering engineer’s job is to take a given mix "as is” (assuming it’s already as good as it can get, considering the mixing engineer’s skills) and make it even better/compliant with industry standards… that’s it. By the way, a good mastering engineer isn’t necessarly a good mixing engineer. This is 2 completely different jobs and skills. Just because both have trained ears and use plugins to make a song sound good doesn’t mean they could do both jobs. So no man, a mastering engineer would never do that. In fact, it’s a lot more commun to hear about a mixing engineer pissed off at the mastering engineer because he changed the sound too much. This happens all the time!
Ok, that song is now stuck in my head...
I saw a video of somebody comparing ozone 10 AI mastering against a 15, 50 and 100 dollar mastering engineer. I really liked the Ozone version and the 50 and 100 dollar versions were actually good. When the guy used the 100 dollar version as a reference track, Ozone mastered it perfectly. So I guess using a reference track to master with Ozone is really a golden feature..
The soft clipper seems to work great on those "cinematic/orchestral" drums there! Would be super interesting to try on a group-channel for those elements..
Convoluted. I won't be upgrading, especially since their upgrade prices are ridiculous, even on sale. I really only use their maximizer plugin and occasionally throw in the imager. The assistant EQ is almost always way too much in the highs. I feel like if I have to go back and make adjustments I might as well spend the time to think ahead what I want to do. I have Sonible, Gullfoss and Fabfilter and often times find myself gravitating towards these. If I want a transient designer I'll probably just buy the best: Punctuate. If I want to "recover sides" I'll go back to my mix and address something with a mid-side EQ. If I want to clip something I'll use something with soft and/or hard clipping options, in the mix or master depending. The more I design and shape audio the more I realize that you really need to have good ear and a vision for the final product as well as a willingness to experiment to get great results. You can't rush a good thing.
The problem I have with Izotope is they are trying to make mixing and mastering accessible by dumbing it down. Basically, if you don't know what you're doing to the sound then why do it? One example, if you want to mess with the transients why not use something like Punctuate (or SplitEQ or Physion), a plugin that isn't dumbed down and makes you think before you tweak?
I don't know what difference it makes about the luff's n stuff, when the streaming services are gonna adjust a master that's too loud, anyway.
Thanks for your videos, like them:)
Comment to transients and limiting…
if you limit transients with preview and releasetime, they will always stick out, because the sound around them gets pushed down.
So push the transients in mastering can make sense, even if in the end they won’t be louder, but they will seem louder.
+1 Yup
Clipping and reintroducing transients is an extremely common thing to do in curtain styles of music..
I use Ozone 9 for mastering. It’s amazing. This is very different looking!
I used 9 for mastering as well and was a little nervous given the UI change for 10,..I thought maybe the "candification" of the UI meant it wasn't really that different. Though I liked 9 so much I wanted to try it. I purchased the advanced and A/B tested on tracks that I had already used 9 on. The difference was significant. 10 preformed, imo, much better. Louder, brighter, and significantly more "automatic." Would recommend if you liked 9! Cheers!
@@ZeroStateReflex Yes, just got 10. I like it.
@@DavidRavenMoon Nice!
To me an expander + soft clipper makes a lot of sense. Expander can emphasize a snappy transient lasting for example 15ms and then the clipper just shaves off less than 1ms.
Also I’m shocked that more limiters don’t support hybrid limiter + clipper, most modern music uses clippers and they can sound more natural and less flat than limiters. One can always use separate plugins and tweak them separately for more control, but if they are designed to work together, possibly the result can be better? Also, more convenient for homemade “DIY masters” that are for a quick preview or sharing track sketches (target audience of Ozone I believe), not the final professional expert master.
take a deep dive into most famous modern limiters, you won't be shocked anymore
[Serious] Does anyone know how I can find that song? Google search of lyrics doesn't give me any results
Darude by sandstorm.
Nah but fr tho, the tracks in his video are given to him by artists he’s personally worked with so you’d probably not find them online.
There are scammers active in the comment section. There is no giveaway, don't share your personal details. White Sea Studio only communicates over e-mail from the whiteseastudio.com domain.
I really like Ozone 10 advanced... It gives me a really good picture of where I'm at when I engage it...
i'm personally not a fan of transient shapers and i'd especially not use them in mastering, because wether they correctly detect a transient or not can be a bit random. first of all the timing can be imprecise, but on top of that even the entire triggering can be imprecise and you might have it sometimes pick a transient where there is none. i have not tested this particular plugin's transient shaper, the impact module, but every single transient shaper i ever tested was like that, even oeksound spiff, so i just don't think it can be used a lot of times. these kinda things work well on little drum loops, to spice things up, but not on a full master, where dynamic things can happen, unless this transient shaper has some secret trick that prevents it from making these types of mistakes.
gotta say tho, i like that ozone plays with the transients in general. like crushing them, then bringing them back a bit again and then crushing them again, but in different ways. it's not just a question of more or less transients, but every one of these stages forms the character of the transients, their shape and colour. so even if it's a lot of back-and-forth, it can make sense in the end (ignoring that there's a transient shaper in it).
The best sounding multiband transient designer is Elevate from Newfangled Audio, but very, very CPU intensive. 24 bands, you can mix between single band or multiband, and the character for the transients (faster high frequency transients or slower high frequency and faster lower high frequency).
Ridiculously good on drums, more natural than Split EQ.
@@saricubra2867 and a mix alternative to that would be Boz Transgressor where you can manually set the rate at which it detects transients. Ozones impact module also has the ability to change the detection rate and even sync it to tempo if you want. but impact is more subtle and about matching dynamics rather than bringing out the quickest transients.
Yup was waiting for this... I saw the Eventide video and was wondering why didn't you posted this yet!
Amazing! But... this mastering bundle (it definitely is NOT a channel strip) can send you down the rabbit hole before you take your first break from tweaking. I think it is aimed at PRO studios that have to work lightning fast, just not the way i organize my workflow.
The Ozone hype! Understand me, it's a good program but mastering is possible with other good software. Besides, I like to do mastering stand-alone so it's a shame there's no stand alone version anymore. The new version has no Impact on me, so I stick to what I have.
Thanks brother i always enjoy watching your straight forward point of view on your channel , so i thanks to you i decided to upgrade from Ozone9 Advanced to Ozone10 Advanced 🍻♥️
Can't you use the Impact module to smooth transients as well? Isn't it the reason why its faders are in the middle and not at the bottom?
The huge emphasis on multiband processing (and Ozone in general) is a bit like fast food. It's quick and instantly gratifying, but in the end, it will never have the same nuance and depth as a five star restaraunt.
I could definitely see it being useful for underground musicians wanting to play WIP tracks at clubs or send demos to labels, but the "flatten everything with flashy multiband processers" approach will never substitute for a proper master.
What?
You're making it sound like every mastering engineer masters to a set goal, one that will always be better than software. That's just untrue, it's about the ear and not so much the tools used. Anyone not experienced - Don't listen to this daft gate-keeping rubbish.
MB is to fix specific problems....it should never be a standard Go to...It ruins a good mix easily, phase issues,. Great for trailer music, and commercial turnaround where quality doesn't mater so much. AS for music release, not so much.
Couldn't help but notice you not wantin' to say the track and artist name you usin'. Did Sandstorm and you have an argument/fight lately?
It’s not the same as the mastering services. After you run Ozone 10 you can continue to make adjustments to your track.
That makes it almost nothing like the mastering services where after a couple of tries at mastering, you get what you’ve got. MaSsive difference.
Sometimes your channel is really on the money and other times it’s so out of pocket it’s not even funny, look into how impact works, as for the mastering assistant it’s not for an instant mastering, it serves the purpose of an ASSISTANT, a fresh pair of ears to maybe give you an idea or point you in a direction you weren’t thinking about. The ozone soft clipper is a really cool algorithm with rolled off harmonics in the high end
-1dB is total nonsense. The -1dB streaming Spotify thing is out of date and a misunderstanding from an AES whitepaper written back around 2012 for the development of the AES EBU broadcast standards etc and is not something that needs be considered outside of classical music. The reasons for what Spotify are saying come from the work done by Thomas Lund which formed the basis of the ITU/EBU/ATSC standards that inform the current recommendations.
However they are an oversimplification:
From the Technical Document - AES TD1004.1.15-10Recommendation for Loudness of Audio Streaming and Network File Playback
"A maximum of 1 dB of limiting prior to final encoding is recommended as a starting point. Do this only if frequently-occurring peaks cause audible distortion or artifacts at the decoder. Use the ear as the final judge, since limiting more than about 1 dB may produce more audible artifacts than simply letting the program clip on occasional transients."
Let me know if all that makes sense to you.
Full time professional Mastering Engineer here.
I LOVE THE SHOW, YOU ARE A GREAT ENTERTAINER AND TEACHER. YOU KNOW YOUR STUFF. GREAT PROGRAM
I go -2TP because the streaming services' Codec (not every service is the same in how they encode either) will make it "louder" and can easily eclipse even beyond the -1TP depending on material. Glad to see they got that right on the tool! I just got Ozone 10 Advanced as well but haven't taken a look yet, looking a little better than the last already! I just wish I had RX Advanced, I only have Standard :( I'd love to see someone cover that "Spectral Recovery" feature of RX 10 Advanced, where you can take a thin recording and expand it? For example, a mobile phone recording, you would use this tool to get rid of the thinness. Neat!
I have not been able to get comfortable with these assistants. If I understand what they are doing, I can do it myself; if I don't, then I don't know how to fix the mess that the assistant has made of my mix. A bit like quantising a rhythm - it's great if you want a certain kind of rhythm, but it can ruin other kinds. For those who know how to use these assistants to their advantage, I imagine it can be a great time saver. And with certain kinds of process, you need to be led somewhat by a computer analysis as there are too many factors. More importantly, it looks like the additional effects here make this a significant upgrade that could well be very good value for money compared to buying separate plugins, and will certainly have the workflow advantage of a unified, contained system.
I once tried ozone 3 and i didnt like it. then i got back into ozone in version 8, then 9 and i can say with a clear concience that ozone 10 is a huge upgrade. It sounds so much better than the previous versions as far as the assistant goes. This time around you can pretty much run the assistant and leave it at that as a final master and it will be release ready if the mix doesn't have too many problems getting in the way of the assistant doing its magic. But ofc dial things into taste because that what its all about. but the assistant may very well fix some problems for you so you can get to the creative part of mastering right away. all the new features is ofc useful for mastering completely manually too. But i would still consider using eventide elevate limiter for its many bands if you want to get louder without sounding squashed. some of ozones maximizers limiter algorithms have spectral dynamics but you don't have the same control over it as you do with elevate. Another thing i do sometimes is att slates mo-tt before ozone to add touch of extra glue going into the rest of the mastering with ozone 10.
Could be useful to treat the assistant like a second opinion. That way you can shoot it out against your master and even if there's just one move that the assistant made that's an improvement it could be worth it.
@@billpodolak7754 I'm sure you're right; but it is important to understand what they are doing to get the full benefit. So you might need quite a lot of understanding to make good use of them in that way.
So I have been playing with a lot of mastering plugins over the last year. Honestly although it seems like we are bouncing back and forth with transients, what we are doing is throwing loads of precise control in mastering. As someone who has been at this for some time, here is my perspective. Ozone is probably all you need along with maybe a few master bus compressor types for mixing into, thats the first thing. Second, if you find yourself pulling your mix apart, look at what you are doing and go back to the mix to achieve as much as you can until you literally use this plugin to do no more than 5% at the end. Once you can do this, I say you can run free. Problem is to get this good, you'll be over 40 and past it.... but anythings possible lol😄
Ozone 20 will have 100 modules including weather forecast and games.
I love your videos and insight most of the time, but do you mix/master anything other than light pop rock and Darude? Ozone 10 (and every prior version) is a pretty powerful suite of plugs/modules, but you gave it about 5 minutes lol It may not be the be all end all, but what is?
Not good advice on the limiting :( make sure the track is as oud as you can get it whilst sounding good, don't worry about -14. The browser version of Spotify does not loudness normalise.
I reach -14dB with the mix, not with the master bus.
@@DerSilvano I think -14LUFS is the same as -14 dBFS RMS.
yeah, I see this BS about -14 and -1dB TP all the time - the song sounds best at the level it sounds best no matter if it's -14 or -6LUFS and true-peak limiting always sound pretty bad tbh. I always prefer the sound of clipping or PCM limiting vs true-peak limiting.
@@DerSilvano Not only hearing loss, but speakers or headphones that don't have very high sensibility (maybe struggle on transient response?).
I target between -24LUFS and -14LUFS. My headphones are 16ohms with a sensibility around 110dB. -14LUFS is too much for me for an entire song, but for a chorus or something like that is fine.
@@saricubra2867 i get to about -9db in the mix and then i aim for -7db in the master if i want keep up with the loudness standards for dj use. i usally go no louder than -6.4 short term for EDM. for steaming i just go as loud as i need to get the energy i want out of the mix. and its usually around -9lufs short term i don't care too much about integrated lufs unless i master an album.
I'm sorry if I missed if you've already made a video about this, but I would love to hear your thoughts about perceived loudness, such as even when two songs have the same avg. LUFS either sounds louder, and how you'd approach to achieve the maximum loudness while keeping LUFS at around -14.
Hey Leiki, in short: Perceived Loudness for us humans can be described as hearing more loud noises in a given time. Imagine shutting a door with force and a Jackhammer. In both cases you hear a snippet of, let's say 5 seconds. The jackhammer will sound louder, but the peak level is quite the same as with the door. Why is the jackhammer perceived louder, you may ask? Well it seems that our brain integrates loudness over a given time. If in that time the jackhammer made, let's say, 10 peaks, the door has only one peak. On the other hand we perceive sounds with a shallow dynamic range (difference between quieter and louder sounds is small) as louder as well.
LUFS for streaming services is measured over the entirety of the whole song. This means, if you, arrange the track with an appropriate amount of silence in between sections with a short term LUFS reading of -6 you can still end up with a -14 LUFS integrated. What you can't really do is write a song with a lot of distortion and many loud transients and have a short term LUFS of -6 and an integrated LUFS with -14. But this song will be perceived louder than an ambient track with the same LUFS, since the dynamic range of the distorted sound is much smaller then the range of the ambient track.
You may want to look at some very good videos from Dan Worral about loudness and Dynamic range, and maybe the response to those videos from @Baphometrix. The latter one has a great in depth tutorial for Loudness in mixing. Crazy stuff and pretty technical. ;-)
So long T
I really am digging this track. Where can I hear it?
have you found it? :) looking for this song too.
Is the song you used to demo out on Spotify anything?
Sage Audio used the song in one of their tutorials as well. They were kind enough to inform me it's 'Someone I Used to Know' by Loving Caliber :)
Soft clippers are really popular in hip hop. IK multimedia has a soft clipper that a lot of hip hop producers use. Fl studio is also infamous or famous for having a limiter on the master chain and that kinda influenced the hip hop clipping sound. I can see why isotope has it.
For most conventional mastering requirements it’s probably not as important, but one of isotopes bread and butter customers are hip hop producers that can’t afford to have a track professionally mastered. But for bedroom hip hop producers that slap ozone on their master channel, having a soft clipper is probably essentially.
LOL a limiter on the master didn't influence the hiphop sound at all. You mean the fruity soft clipper on the master??
The impact section you need to click on the block to select which bit you are editing - you left it on lows whilst soloing/muting
the other bits. At least how that UI works elsewhere
I own ozone 9 but I have not used it a long time because I need low latency limiting to produce through. My limiter of choice is TDR Limiter 6 GE because I can produce at low latency with the clipper before the limiter and then render at high quality mode without needing to change it before bouncing the track.
The ozone maximizer has different limiter algorithms to pick from. and the top one "IRC LL" has the lowest latency. with that said. ozone 10 is a very big upgrade from ozone 9. its a night and day difference in how good the new modules are together with the assistant.
The transient shaper from Elevate is way better by the way, no artifacts.
Elevate is a different beast in terms of limiting. might be a patent keeping others from doing the same it does. But a bit of squashing can be good for the sound too. while it may be less transparent, it does add some energy to the mix.
Joker nails? The absolute madlad
For producers ozone is just awesome tbh I personally only use imager + mid side EQ & maximizer but having it all in just one plugin makes the whole thing fast and good enough
Everything just sounds harsh and over process nowadays. Listen to the early Beatles albums. That’s what we should be shooting for.
Today's darude-sandstorm is amazing. I need this song
Sage Audio used it in one of their tutorials as well. They were kind enough to inform me it's 'Someone I Used to Know' by Loving Caliber :)
@@Larsecmany thanks!
I’m probably somewhat ignorant of something here but I find it very difficult to trust the mastering assistant to make decisions other than loudness. The adaptive EQ looks very useful with problem areas.
bro you forgot to check the cut function in the stabilizer. maybe a new soothe killer???
its similar to soothe i suppose but its not as surgical. the spectral shaper module is a better comparison to soothe
Sounds like a worthwhile upgrade if you don't already have this chain as separate plugins or need a bit of assistance from the "AI" to start you up. Thanks for sharing you view and great nails :)
Hey what is the song you've tested Ozone on?
Sage Audio used it in one of their tutorials as well. They were kind enough to inform me it's 'Someone I Used to Know' by Loving Caliber :)
not an ozone user but they do a pretty good job with the GUI imo.
If you’ve ever done any work supporting musician friends who aren’t professional mix engineers you’ll be familiar with needing tools to fix bad mixes. I’d love to be able to stop people who bring me a bad mix every time and make them all redo their mix. Unfortunately i do this type of work for low-fee or in some cases free to support people who in many cases are struggling financially, and in those cases it’s best to just get as good a master as possible then get it off the desk to do higher paying work. In many cases i will tactfully mention to the artist what the shortcomings were and in some cases i have been hired later as a coach to teach them things they aren’t aware of. But honestly we no longer live in a world where only professionals make musical mixing choices, and i don’t fault Ozone for being clear on what tools may be needed to fix mixes that are flawed.
I like Ozone because it easily helps beginners to master a project fast and learn what mastering is. While you’re getting better you’ll become less using it.
You should rename this series “a handful of random comments about a plugin that exists”
Right
Reading the commentary demonstrates a very knowledgeable audience. That was the best part of this review.
4:21 look how EXCITED he is... but the (title) says " This is so STUPID " .......
izotope seems fine , the video Title is STUPID ..
The click bait titles are strong with this one
Ok. Just because people expect you to be over-critical doesn't mean you are always right by definition. Starting of by saying "I don't use Ozone", already said it all. After using the master assitant you have tons of ways to tweak your track further.
i think how they mixed music back in the day which was not for loudness and for dynamics via Analog is really the way to go and emulate be nice to use digital in that manner
Stabilizer looks a bil Gullfossy! Awesome content as usual, downloading the newer version right now :)
compared to gullfoss the stabilizer specifically target different genres of music rather than simply flattening the frequency spectrum. Ozone 10 is a huge upgrade from the previous version. 8 to 9 meh, 9 to 10 whoaa!
cheap version of Gulfoss yeah...cant touch Gulfoss Mastering Edition.
@@levondarratt787 lol, maybe.
Not worth the upgrade for me. I only use Ozone 9 as a final step and get the bulk of my processing done beforehand. I also typically only master my own music so I have no need for most of this. I find that for certain styles, Ozone's limiters can massively overdo it or change the character of the song, but using subtle settings to get the last little bit is really nice. I also quite like their multi-band saturation module. The compressors just don't do it for me though.
What compressors do you like/use?
Just been playing with it for a few hours myself. it's ok but the same old thing with the assistant, though- The results can vary wildly if you put the exact same piece of music through it more than once. I trust my ears and I think that often, the simplest approach is best when it comes to mastering. I'll stick with equilibrium and the ds1.
It’s designed to give you different results when you reprocess the same audio. The AI is a learning AI, and so it assumes it got the processing wrong the first time if you choose to re-parse the music.
@@nicholassturgess-monks4458 My ears say it rarely gets close, so I ask myself what's the point. Just train your ears.
@@gooshie3 Well, I'd agree with you there to be honest, however the modules themselves (ignoring the AI assistant entirely) are actually extremely powerful, and it's quite useful having them all packed into a single host. Personally I tend to use Softube's Weiss series of plugins because I absolutely adore the creaminess of the sound that I'm able to get out of them, but Ozone is extremely powerful and a solid tool nonetheless.
@@nicholassturgess-monks4458 Can't go wrong with Weiss. I always thought the Izotope maximizer and RX were among the best software available. The new stablizer in cut mode seems to be excellent too. It's just that I don't think the ai will be there for a few years yet.
@@gooshie3 Yeah, I certainly don't see anything that makes me want to pay to upgrade from Ozone 9. I might be cheeky and email Izotope to see if I can get a free upgrade out of them though hahaha.
I have been using ozone since version 4 but I feel like this will be the first major update I am not upgrading to. I found myself lately making kind of a pre-master with different plugins, like the sonible smarteq and finish it with the tc finalizer. I feel like I am getting better results more easily. I am a hobbyist and my skills as a musician, engineer as well as my hearing is limited.
iZotope and NI are slackin big time..... Companies that used to reign over the plugin world are slowly becoming cringe tools for babies
Yes, Ozone’s mastering assistant tool is really more for home producers, or for professional mastering that needs to be done quickly. If you know what you’re doing, you will almost always get better results yourself, but it will likely take you a bit longer to get there. I generally use it as a kind of pre-master state, but then take the time to do an actual mastering run by hand, treating the settings it gives me as suggestions and using my ear to get things where I want them so that the important elements are allowed sufficient space in the mix. But that part can be quite time consuming sometimes 😅
@@nicholassturgess-monks4458 I was surprised by the tc finalizer. it is standalone and self contained, which is a pro and a con, but with its limitations it still gives you quick very good results. It's been featured on this channel like 2 years ago or so. It came out very quietly and seemed avoided everybody's' attention.
@@repasiv Yeah I vaguely remember the snake-oil video (very vaguely). It was a bit over my head at the time, so I've not actually checked it out. Maybe I should give it a look!
Does the stabilizer work like Gullfoss? I was going to get Gullfoss soon, but I almost wonder if upgrading to Ozone 10 would effectively give me the same sort of thing for a cheaper price.
Hartstikke bedankt Wytse, some valuable info here as usual. But, this is a sensible and measured review, so why this headline, am I missing something?
surely you're not bring transients back in if the impact module is before the maximiser
Re: the DJ and Streaming button. Which is the way to go for Music Publishers, Music Libraries and Sync etc, briefs and submissions for Film and TV? Cheers
How do you export a song with this if there is no standalone version that’s what I usually use?
inside a daw ig
Thanks for this video! Btw, Love your Nail Polish. 😁
I understand what ur saying about the impact module but i think it’s inception came from the fact that some mastering engineers are better at mixing than the mixer who mixed the track they are mastering…which allows the mastering engineer to act as a pseudo mixing engineer and bring back the dynamics of a track that a mixing engineer may have lost (i don’t even know how to say exactly what I’m tryna say but i pray you understand the gist)
The subscription at izotope does only include tools more targeted at vocal mastering/treatment :) as for now it is included: Ozone 10 advanced and RX10 standard and some other tools
Love that intro transition of let's get started...(fades into intro) lmao
Also I am loving the new Izotope Ozone 10. I have the annual subscription, and to me, it's worth it.
My Ozone 9 is Best and I don't need nothing more.
Fun and correct perspective, you should be present as consultant at the development stage for certain plugins. You should add this to your services.
I invested in Alloy 2 as a channel strip and it did amazing things to my trained ears. So yes, iZotope does amazing things for mixing. Mastering, still don't now from some introductory demo's
Generally, from more an artist, musician perspective, which is where my experience leans. Once the mix is straight, which for the artist's is more about finding a mixer that mixes the way the artist's prefer, for us anyway, then the mastering is usually about finding different ears to apply a different perspective to the mix. We always felt that was money better spent, getting potentially more for the money, but have had mix and master from the same source as well, because of cost's. The plus side to the Izotope Mix and Master line imo is for the bedroom producers and or those looking for solid quick results, with little experience, especially if a high volume of art is being created, which is more the case these days. Not to mention the average lower quality listening experience these days as well, many listeners not being flamed because its not radio ready standards. It seems to have a lot to offer in that regard, far less in other regards.
Demonstrating a mastering plug-in on pre-mastered audio is what's stupid (title reference). To really appreciate Ozone, use it on something that requires mastering. Then listeners could better hear what it's doing. Next complaint: he doesn't seem to understand the plug-in has a logical flow and he doesn't really understand the modules. For instance, the purpose of the Impact plug-in is not to recover the transients that you squashed on the previous screen. It's to affect the feel of the track by letting you sync compression or expansion with your beat. And he acts like having tools to either expand or reduce transients is a conflict ("come on, decide, decide!") like we should only ever do one or the other, which is obviously silly. You might want to do either. Your EQ both cuts and boosts, is that a conflict too?! Usually a great channel, but this was disappointing.
I was really hoping you'd take a swing at the "Recover Sides" function of Imager, which is the only interesting feature for me compared to 9 Advanced (apart from being happy about the clipper, but that's nothing special really, and was easy to work around in 9 as well)...
I can attest 100% to the analyzers being good tools but still can’t replace the ears. My buddy sends me beats to mix, and his style is very unique in the sence that he likes dark stuff and tends to make all of his sample sounds low mid heavy, and every sample has sound in the 400 to 800 range, that he specifically wants to hear. So my analyzers always tell me there’s a bump there, but any time I start cutting stuff in that range(even on the master, he’ll notice and say “something feels missing from this.” 😂 So I just keep it and attenuate as much as I can get away with without it being noticeable, and guess what, the beats still come out great, even though there’s always a slight boost in those low mids.
Strangely I never use the master assistant. I prefer to make my own decisions and really don't need it at all :D I m most insterested in all the other regular tools and massively interested in the maximizer which is a must to have. Personally I own version 9 but i am not sure to migrate toward version 10. Regarding how much it costs and what I get in addition... i can continue mastering with 9 where there is actually all the tools to get the job done
Metal guy here, dig the video, dig your nails, and it was very cool to see you do something with Glen.
Subscribed
I've had ozone for a long time. This looks pretty good. Some things of course you may not need for every mix, but it's cool to know it's there in case. I thought the -1 db trick was cool. My biggest concern is the streaming services seem to squash the mix a bit as well. Not sure what systems they go through either..that would be a good episode. What are they using? It just can't be a blank channel. Thanks for this though. I always come here for the correct review! Trusting your judgment for a long time and it never fails me. :)
The streaming services don't do any dynamic range compression on the mix, they'll only adjust the level with simple gain. They do data compression, but that shouldn't really "squash" it unless someone is listening with really poor connection
Have using Ozone 10 now for 8 months and before that I used 9 but not that much , it's amazing and a really a good tool for mixing and mastering, probably one of the best out there. now watching this video again, its amaze me how "stupid" this "review" is. Don't really understand why they send it for you to review because you clearly don't take your time or understand some, or sometimes the important feature. This is not me hating on you in anyway, I have big respect for the time its probably take to do your videos ... but ... I kind of liked your earlier videos when you where more humble and didn't run around rolling your eyes at features in the plugin , that you in retrospect didn't understand :) hope you don't take this as "hate" because I am an old school musician and audio guy with many years of trial and error and love to see you young guys that are so passionate about audio engineering. you probably don't read this but I wish you the best in whatever you do. love from Sweden !!
I've been using Ozone Elements for quick mixes lately and I really appreciate how quickly I can get a consistent level and it also checks the tonal balance for anything really obviously wrong, though I mostly ignore the high and low shelving suggestions. The new modules - Impact and Stabilizer - seem really useful to me, but in moderation as Stabilizer could really suck the life out of the track. They do seem to fight each other a bit, but I'm sure it's fine.