iZotope has released a newly designed version of Ozone, their flagship Mastering processor. Notice I didn’t refer to Ozone  as a plugin? Well I’m happy to report that Ozone  is now capable to run independent of a DAW as a stand-alone desktop processor.
Besides the stand-alone option and striking UI overhaul, Ozone’s flexibility has been greatly enhanced with the addition of support to host third party Audio Units and VST plugins. Preliminary tests here indicate that it functions very well in the stand-alone mode. More on this in moment …
I’ve been a customer and supporter of iZotope since early 2005. If I remember correctly Ozone 3 was the first version that I had access to. In fact back in the early days of Podcasting, many producers purchased an Ozone license based on my endorsement. This was an interesting scenario all due to the fact that most of the people in the community who bought it – had no idea how to use it! And so a steady flow of user support inquiries began to trickle in.
I decided the best way to bring users up to speed was to design Presets. I would distribute the underlying XML file and have the users move it to the proper location on their system’s. After doing so, the Preset would be accessible within Ozone’s Preset Manager.
The complexity of the Presets varied. Some people wanted basic Band-Pass filters. Others requested the simulation of a broadcast chain that would result in a signature sound for their recorded voice. In fact I remember one particular instance where the user requested a Preset that would make him sound like an “AM Radio DJ”. So I went to work and I think I made him happy.
As Ozone matured, it’s level of complexity increased resulting in somewhat sluggish performance (at least for me). When iZotope released Alloy 2, I bought it – and found it to be much more responsive. And so I sort of moved away from Ozone, especially Ozone 5. My guess is if my system’s were a bit more robust, poor performance would be less of an issue. Note that my personal experience with Ozone was not necessarily the general concensus. Up to this latest release, the plugin was highly regarded with widespread use in the Mastering community.
Over the past 24 hours I’ve been paying close attention to how Ozone users are reacting to this new version. Note that a few key features have been removed. The Reverb module is totally gone. Gating/Expansion has been removed from the Dynamics Module, and the Dithering options have been minimized. The good news is these particular features are not game changers for me based on how I use this tool. I will say the community reaction has been tepid. Some users are passing on the release due to the omissions that I’ve mentioned and others that I’m sure I’ve overlooked.
For me personally – the $99 upgrade was a no-brainer. In my view the stand-alone functionality and the support for third party plugins makes up for what has been removed. In stand-alone mode you can import multiple files, save your work as projects, implement processing chains in a specific order, apply head/tail cuts/fades, and export your work.
Ozone  will accept WAV, AIFF, or MP3 files. If you are exporting to lossless, you can convert Sample Rates and apply Dither. This all worked quite well on my 2010 MacPro. In fact the performance was quite good, with no signs of sluggish performance. I did notice some problematic issues with plugin wrappers not scaling properly. Also the Plugin Manager displayed duplicates of a few plugins. This did not hinder performance in any way. In fact all of my plugins functioned well.
And so that’s my preliminary take. My guess is this new version of Ozone is well suited for advanced New Media Producers who have a basic understanding of how to process audio dynamics and apply EQ. Of course there’s much more to it, and I’m around to answer any questions that you might have.
Look for more information in future posts …
Julian Ludwig é diretor do Pro Áudio Clube, produtora de áudio Jacarandá, Loc On Demand e Jacarandá Licensing. Trabalhou para empresas como: Guaraná Antartica, TV Gazeta, NET, Chivas Regal, FNAC, Prefeitura de São Paulo, Mukeca Filmes, Agência LEW’LARA TBWA, Agencia MPM, Agência Content House entre outras. Fez trilhas para programas de TV como: Internet-se (Rede TV), Você Bonita (TV Gazeta), Mix Mulher (TV Gazeta), Os Impedidos (TV Gazeta), Estação Pet (TV Gazeta), CQC (TV Band) Vinheta Oficial TV Gazeta, entre outras. Também atuou em vários longas e curtas metragens, incluindo mixagem em 5.1 e serviços de pós-produção.