Izotope's flagship, all‑in‑one mastering suite was first reviewed by SOS back in the April 2002 issue, and version 4 was launched at the recent NAMM show with a list of new features and improvements.Īt its heart, Ozone 4 is still based around the six modules found in the original release: Paragraphic Equaliser, Mastering Reverb, Multi‑band Dynamics, Multi‑band Harmonic Exciter, Multi‑band Stereo Imaging and Loudness Maximiser. Ozone 4's smart new look: note the module and global Amount sliders and the new Intelligent II mode for the Loudness Maximizer. Bouncing down is probably easier and less confusing.Izotope's comprehensive suite of mastering tools continues to develop and mature, yet still offers excellent value for money. This would avoid bouncing but I'm not sure it's practically valid as a shortcut. In theory you could do the same thing with entire mixes - duplicating all channels, assigning to groups (where your limiter would be placed) and assigning to A and B of the crossfader. This is great because you can audition the change easily within its context within the mix and it can lead to parallel processing choices where you end up keeping both channels blended together to achieve your final sound. For quick comparison I assign the two versions to the crossfader A and B and flick between them by assigning a midi controller to the crossfader. If I just want to A/B compare processing on a single channel I simply duplicate that channel (Cmd-D on Mac) and apply the processing to one copy only.
That's the approach I use for processing of the entire mix. It's also worth remembering that you don't have to render the full length of the track if you're happy just to make the comparison for a particular section of time. With this set up you can press the solo button of that channel for instant switching between it and your mix.Īdjust its output level to match the loudness of mix (by ear) and you can plainly hear the effect of any different processing you've applied and if it has made things sound genuinely better or louder but worse. Then place it on its own channel which I route directly to the Ext Out of the same soundcard output as the Master channel. The way that I do this in Ableton Live is to render a 24 bit stereo version of whatever I want to compare with the mix.
0 kommentar(er)
