IZOTOPE Ozone 9 Advanced Mastering Software Suite User Manual
- June 16, 2024
- iZotope
Table of Contents
Ozone 9 Advanced Mastering Software Suite
Product Information
Specifications
- Product Name: Ozone 9
- Editions: Standard and Advanced
- Modules:
- Dynamic EQ
- Dynamics
- Equalizer 1 & 2
- Exciter
- Imager
- Low End Focus
- Master Rebalance
- Match EQ
- Maximizer
- Spectral Shaper
- Vintage Compressor
- Vintage EQ
- Vintage Limiter
- Vintage Tape
- Codec Preview
- Dither Referencing
- New Features in Version 9: Vintage EQ (Standard), Vintage
Limiter (Standard), Vintage Tape (Standard), Vintage Compressor
(Advanced)
Product Usage Instructions
Getting Started
Common Terms
The following terms are used throughout this manual to specify
different features:
-
Mothership plug-in: Refers to the main Ozone 9
plug-in included in Ozone 9 Standard and Advanced. The mothership
plug-in features a customizable signal chain and multiple
processing modules within a single plug-in. -
Component plug-in: Refers to the individual
plug-in version of a module that is included in the Ozone 9
Advanced mothership plugin. -
Application: Refers to the Ozone 9
‘standalone’ application. See the Ozone App chapter to learn more
about the features that are unique to the Ozone application.
Quick Start Suggestions
Not sure where to start? You can try using presets or using
Master Assistant to get going quickly with Ozone 9.
Using Presets
Ozone includes a wide variety of factory presets to help get you
started on your master. You can load different mastering chains
using the global preset manager in the Ozone mothership plug-in or
application. Global presets can affect the contents and order of
modules in the signal chain, as well as the settings in any
individual module. You can also load presets for any individual
module using the module preset manager.
Using Master Assistant
The intelligent Master Assistant feature allows you to quickly
develop a starting point for your master. The Master Assistant
feature is included in the Ozone 9 mothership plug-in and the Ozone
9 application.
Authorization
The first time you open Ozone 9, the Authorization window will
appear.
FAQ
-
1. Q: What are the different editions available for Ozone 9?
A: The different editions available for Ozone 9 are Standard and
Advanced.
-
1. Q: What are some of the new features in version 9?
A: Some of the new features in version 9 include Vintage EQ
(Standard), Vintage Limiter (Standard), Vintage Tape (Standard),
and Vintage Compressor (Advanced).
-
1. Q: How can I quickly get started with Ozone 9?
A: You can quickly get started with Ozone 9 by using presets or
using the Master Assistant feature.
-
1. Q: Can I authorize Ozone 9 in trial or demo mode?
A: Yes, you can authorize Ozone 9 in trial mode or demo mode.
Please refer to the Authorization section in the user manual for
more information.
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Ozone 9 Help Introduction
Ozone 9 brings balance to your master with innovative processing for low end,
real-time instrument rebalancing, and lightning-fast work ows powered by
machine learning. An expanded Master Assistant helps you build a range of
starting points for your master from warm analog character to transparent
loudness for streaming. Talk to more iZotope plug-ins in your session with
Tonal Balance Control and blur the lines between mixing and mastering. Work
faster with improved plug-in performance, smooth metering, and resizable
windows.
Standard and Advanced comparison
The following table compares the features available in the Standard and
Advanced editions of Ozone 9.
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Module Dynamic EQ Dynamics Equalizer 1 & 2 Exciter Imager Low End Focus Master
Rebalance Match EQ Maximizer Spectral Shaper Vintage Compressor
Vintage EQ
Vintage Limiter
Vintage Tape
Codec Preview Dither Referencing
Standard Advanced
New
X
X
X
X
X
X
X
X
X
X
X
X – New in version 9
X
X – New in version 9
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X – New in version 9
X – Now available in Standard X – Now available in Standard
X – Now available in Standard
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Getting Started
Table of Contents
1. Common Terms 2. Quick Start Suggestions
1. Using Presets 2. Using Master Assistant
3. Authorization
1. Trial Mode 2. Demo Mode 3. Authorize Ozone
4. Navigating the Plug-in Interface 5. Signal Flow in Ozone
1. Working with the Signal Chain
. Component Plug-in Feature Differences 7. Tips for Optimizing Performance
Common Terms
The following terms are used throughout this manual to specify different
features:
1. Mothership plug-in: Refers to the main Ozone 9 plug-in included in Ozone 9
Standard and Advanced. The mothership plug-in features a customizable signal
chain and multiple processing modules within a single plug-in.
2. Component plug-in: Refers to the individual plug-in version of a module
that is included in the Ozone 9 Advanced mothership plugin.
3. Application: Refers to the Ozone 9 `standalone’ application. See the Ozone
App chapter to learn more about the features that are unique to the Ozone
application.
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GLOSSARY Check out the Glossary chapter for additional information about terms
used throughout this manual.
Quick Start Suggestions
Not sure where to start? You can try using presets or using Master Assistant
to get going quickly with Ozone 9.
Using Presets
Ozone includes a wide variety of factory presets to help get you started on
your master. You can load different mastering chains using the global preset
manager in the Ozone mothership plug-in or application. Global presets can
affect the contents and order of modules in the signal chain, as well as the
settings in any individual module. You can also load presets for any
individual module using the module preset manager.
Using Master Assistant
The intelligent Master Assistant feature allows you to quickly to develop a
starting point for your master. The Master Assistant feature is included in
the Ozone 9 mothership plug-in and the Ozone 9 application.
Authorization
The rst time you open Ozone 9, the Authorization window will appear.
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The Authorization window allows you to:
1. Run Ozone in Trial mode: Start or continue a Trial period evaluation prior
to purchasing.
2. Run Ozone in Demo mode: Continue evaluating the product with feature
limitations (after your 10 day trial period has expired).
3. Authorize Ozone with your serial number.
Trial Mode
Trial mode allows you to evaluate Ozone 9 with full functionality for 10 days.
The trial period begins the rst time you open the Ozone 9 application or plug-
ins. The Authorization window will display the number of days remaining in
your trial period. Click the Continue button to start or continue working with
Ozone in trial mode.
Demo Mode
When your 10 day trial period has expired, you can continue using Ozone with
demo limitations. To continue evaluating Ozone 9 in demo mode, click the Demo
button in the Authorization wizard.
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DEMO MODE LIMITATIONS Ozone 9 plug-ins will periodically output silence when
operating in demo mode. The Ozone 9 application does not allow saving or
exporting and will limit continuous playback when operating in demo mode.
Authorize Ozone
To disable Trial or Demo mode, you need to authorize the product with a valid
serial number. You can choose from three different authorization methods:
1. Online Authorization: Authorize Ozone on a computer that is connected to
the internet at the time of authorization.
2. O ine Authorization: Authorize Ozone on a computer that is not connected
to the internet at the time of authorization.
3. iLok Authorization: Authorize Ozone by storing your authorization on an
iLok USB key.
AUTHORIZATION HELP For additional help authorizing Ozone, check out the
Installation and Authorization help section of the iZotope Support
knowledgebase.
Navigating the Plug-in Interface
The Ozone 9 plug-in interface is divided into the following main sections:
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1. Global Header: Includes IPC instance name, Master Assistant, Presets, Undo
History, Options, and Help.
2. Signal Chain: Adjust the contents and order of the processing chain.
3. Module Interface: Controls and meters associated with a speci c processing
module.
4. I/O Panel: I/O (Input/Output) gain and metering, Bypass, and a number of
auditioning features.
LEARN MORE See the General Controls chapter for more information about the
controls included in the main areas of the Ozone interface.
Signal Flow in Ozone
The following diagram details the high-level signal ow in the Ozone 9
mothership plug-in and application.
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Working with the Signal Chain
The Ozone 9 mothership plug-in and Ozone 9 application include a customizable
signal chain. The default signal chain includes the Equalizer and Maximizer
modules.
Component Plug-in Feature Differences
There are some notable differences between the Ozone mothership plug-in and
the Ozone Advanced component plug-ins.
The following global features are only available in the Ozone mothership plug-
in or Ozone application:
1. Master Assistant 2. Signal Chain 3. Referencing 4. Codec Preview Advanced
Only
The Maximizer and Imager component plug-ins include global processing features
that are not available in other component plug-ins:
1. The Maximizer component plug-in includes Dither in the I/O panel area.
2. The Imager component plug-in includes channel operations controls (Sum to
Mono and Swap L/R channels) in the I/O panel area.
Tips for Optimizing Performance
Ozone 9 includes a number of performance improvements over previous versions.
However, there are a number of factors that can affect performance of an
individual plug-in or application and there is a chance you may run into
performance issues from time to time. Here are some adjustments you can make
to help mitigate performance issues you might encounter:
1. Remove any modules you are not using from the signal chain in
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the Ozone mothership plug-in or application. 2. If you are only using one
module in the mothership plug-in:
Consider using the component plug-in instead. (Advanced Only) 3. Try
increasing the Buffer Size setting in your DAW/NLE, if possible. 4. If using
the Ozone Equalizer in Digital mode: Try adjusting the EQ
buffer size in the Options menu for optimal performance. 5. If using the
Digital crossover type in any multiband module: Try
adjusting the Crossover Buffer Size in the Options menu. . If possible, try
reducing the number of bands enabled in any of the
multiband modules.
General Controls
Overview
This chapter includes information about general controls and functions you can
nd in Ozone.
1. Overview 2. Resizing 3. Header controls 4. Undo History 5. Signal Chain
. I/O Panel
1. Input/Output Gain and Meters 2. Global Processing and Auditioning
7. Channel Processing Modes
1. Channel Processing Mode Controls
Resizing
You can resize the window by clicking and dragging the bottom right corner of
the Ozone interface.
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Header controls
The Ozone header area includes the following features:
1. IPC Instance Name: Name of the current instance as it will appear in IPC
compatible plug-ins.
2. Master Assistant: Opens the Master Assistant panel. Mothership plug-in and
App only
3. Presets Opens the Preset manager window. 4. Previous/Next preset: Loads
the previous/next preset in the
preset list. 5. Undo: Reverts the most recent parameter change.
. Undo history: Opens the Undo History window. See the Undo History section
below for more information.
7. Options: Opens the Options window. . ? (Help): Opens the installed Ozone
help documentation in your default web browser.
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Undo History
The Undo History window allows you to view a list of recent parameter changes
made in the current instance of Ozone, compare different parameter states in
the history list, or reset Ozone’s settings to a given point in the history
list.
1. CLEAR: Removes all actions from the history list. Clearing the history list does not affect parameters, it simply removes existing
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entries from the list. 2. CLOSE: Hides the Undo History window. 3. A/B/C/D:
Allows you to set four history snapshot states.
Snapshots allow you to quickly toggle between different processing states to
compare changes. Assign an event in the history list to a snapshot button by
selecting the event in the list and clicking the “Set” button below a snapshot
button.
Signal Chain
You can adjust the order and contents of processing modules in the Ozone
signal chain. The following image outlines the controls available in the
signal chain area of the Ozone mothership plug-in and application:
1. Power: Enables/disables processing for the associated module. 2. Solo:
Disables all other module processing and isolates the
associated module. 3. Module presets: Opens the module preset manager window
for
the associated module. 4. Difference meters: Displays the amount of gain
change introduced
by processing in the associated module. 5. x (Remove): Removes the associated
module from the Signal
Chain. . + (Add): Opens the module selection menu.
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The following modules are available in the signal chain selection menu:
1. Dynamic EQ 2. Dynamics 3. Equalizer 1 4. Equalizer 2 5. Exciter
. Imager 7. Low End Focus (Advanced only)
. Master Rebalance (Advanced only) 9. Match EQ 10. Maximizer 11. Plug-in
(Application only) 12. Spectral Shaper (Advanced only) 13. Vintage Compressor
14. Vintage EQ 15. Vintage Limiter 1 . Vintage Tape
I/O Panel
The I/O panel is split into two main sections:
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1. Input/Output Gain and Meters 2. Global Processing and Auditioning
Input/Output Gain and Meters
The following image outlines the input and output metering and gain controls
available in Ozone.
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1. I/O Meter Options 2. Input/Output level readouts: Shows the current or max
input
levels, according to the selected meter type. 3. Input/Output meters: Displays
input/output level information
according to the I/O meter option con guration. 4. Input/Output gain: Adjusts
the amount of gain applied to the
input/output signal. 5. Link: Links/unlinks adjustments of left and right I/O
gain controls.
. – | +: Decreases or increases the resolution of the meter scale.
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Clipping Indicators
When the input or output signal exceeds 0 dBFS, the clipping indicator box and
level readout text above the meters will be displayed in red.
You can click on the red readout text and/or clipping indicator box to reset
the clipping indicator.
I/O Meter Options
Click on the I/O button above I/O meters to toggle the I/O Meter Options pop-
over menu open and closed.
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1. Type: Selects the metering calculation used to display information in the
input and output meters.
2. Source: Selects between Stereo or Mid/Side metering displays the input and
output meters.
3. Replace Input with Reference: When checked, the input meter will show
metering data based on the currently selected reference track.
4. Show Reference Spectrum: When checked, the selected reference track
spectrum will be displayed as a secondary spectrum in all module spectrum
views.
ADDITIONAL INFORMATION
1. Learn more about the individual I/O meter Type and Source options in the
Options chapter.
2. Learn more about working with reference tracks in the Reference chapter.
Global Processing and Auditioning
The section located directly below the I/O meters and gain controls includes:
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1. Bypass: Select to disable all processing in the current instance of Ozone.
2. Gain Match: Toggle to enable/disable gain matching of the output signal.
Behavior depends on the “Enable legacy bypass gain match behavior” setting in
the Options window.
3. Sum to Mono: Sums the stereo output channels into a mono signal. Useful
for checking mono compatibility.
4. Swap channels: Swaps the left and right output channel assignments.
5. Reference: Toggle the power button to enable/disable reference track
playback. Click the Reference button to open the Referencing panel.
. Codec: Toggle the power button to enable/disable Codec Preview. Click the
Codec button to open the Codec Preview panel.
7. Dither: Toggle the power button to enable/disable Dither processing. Click
the Dither button to open the Dither panel.
Channel Processing Modes
Ozone offers different channel processing modes that determine how processing
is applied within a given module. When a module supports more than one
processing mode, a selection menu will appear in the module header area.
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The following options are available in the dropdown menu:
1. Stereo: Default processing mode for all modules, including those that do
not offer explicit channel processing options. When selected, only one set of
controls will be exposed and adjustments will apply to both channels.
2. Mid/Side: Applies Mid/Side encoding to the signal coming into the module,
allowing you to process the Mid and Side channels independently. One set of
parameters applies processing to the encoded Mid channel and the second set of
parameters applies processing to the encoded Side channel. The signal is
decoded to a stereo signal at the output of the module.
3. Left/Right: Allows you to process the Left and Right channels
independently by splitting the module input signal into two processing
channels. The signal is then `summed’ back to Stereo at the output of the
module. One set of parameters applies processing to the Left channel and the
second set of parameters applies processing to the Right channel.
The following modules offer Mid/Side and/or Left/Right channel processing mode
options:
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Module
Mid/Side Left/Right
Dynamics
X
Dynamic EQ
X
X
Equalizer
X
X
Exciter
X
Match EQ
X
X
Low End Focus
X
Spectral Shaper
X
Vintage Compressor
X
Vintage EQ
X
X
Channel Processing Mode Controls
When Mid/Side or Left/Right mode is selected, the following controls become
available in the module header area:
1. Power Button: Enables/disables processing in the associated channel.
2. Solo: Isolates the output of the associated channel. 3. Channel selection
buttons: Select the associated channel view by
clicking the “Mid” or “Side” buttons (in Mid/Side mode) and the “Left” or
“Right” buttons (in Left/Right mode). 4. Channel Link: Enables/disables linked
parameter adjustments on both channels.
Maximizer
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Table of Contents
1. Overview 2. Module Header 3. Views
1. Spectrum Analyzer 2. Gain Reduction Trace
4. Controls
1. Mode 2. Threshold 3. Character 4. Stereo Independence 5. Transient
Emphasis
Overview
Ozone’s acclaimed IRC (Intelligent Release Control) technology lets you boost
the overall level of your mixes without sacri cing dynamics and clarity. The
Maximizer applies to the entire bandwidth of the mix; it is not a multiband
effect.
The module interface includes the following main sections:
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1. Module Header 2. Views 3. Controls
Module Header
The module header area includes the following controls:
1. View Selector: See the Views section below for detailed descriptions of
the different meter views.
2. Learn Threshold: When enabled, the Maximizer will listen to your track and
adjust the Threshold so that the output loudness matches the Target LUFS
value. Learn Threshold will continue to update based on your track input until
it is manually disabled.
NOT RECOMMENDED FOR LOUDNESS COMPLIANCE Learn Threshold should not be used to
meet loudness compliance standards.
3. Target LUFS: Sets the loudness target (in LUFS) that the Maximizer will
use when calculating the optimal Threshold for your track.
4. Reset: Returns all module controls to their default values.
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Views
You can toggle between the different views using the view selector buttons in
the module header area.
The Maximizer module includes the following views:
1. Spectrum Analyzer 2. Gain Reduction Trace
Spectrum Analyzer
Displays the magnitude (amplitude, in decibels) of a signal across the
frequency spectrum in real-time. The spectrum analyzer displays the output
signal of Ozone.
Gain Reduction Trace
Displays a scrolling waveform with a superimposed trace re ecting the amount
of gain reduction applied over time.
Controls
The Maximizer includes the following controls:
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1. Mode 2. Threshold 3. Character 4. Stereo Independence 5. Transient
Emphasis
Mode
The Maximizer includes the following Intelligent Release Control (IRC) modes:
1. IRC LL: Provides the intelligent digital loudness maximization of IRC I
with lower latency. IRC LL is the lowest latency and least CPU intensive IRC
mode.
2. IRC I: Provides intelligent digital loudness maximization of the signal.
It does this by analyzing the source material and applying limiting in a
psychoacoustically pleasing manner, reacting quickly to transients (to prevent
pumping) and reacting more slowly to steady bass tones (to prevent
distortion).
3. IRC II: Similar to IRC I, but optimized to preserve transients even more,
so they sound sharper and clearer in the output signal, even when aggressive
limiting is taking place.
4. IRC III: Allows for the most aggressive limiting by using an advanced
psychoacoustic model to intelligently determine the speed of limiting that can
be applied to the incoming signal, before producing distortion that is
detectable to the human ear. Very CPU-intensive, and produces high latency,
especially at higher sampling rates. You may nd that at sampling rates greater
than 48kHz you are unable to use IRC III mode in real-time.
1. IRC III Character Styles: The following character styles will help you
manage the limiter’s sound by constraining its
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release behavior:
1. Clipping: The most aggressive style setting of IRC III and will slightly
colorize your mix with distortion or achieve the highest degree of loudness
with the greatest risk of clipping.
2. Crisp: Agressively constrains the limiter’s release behavior and will
favor distortion over any pumping.
3. Balanced: Constrains the release behavior of the limiter in a generally
transparent way and should be suitable for most material.
4. Pumping: The least aggressive style setting for IRC III and does not
constrain the limiter’s release behavior. It can tend toward a slower release
behavior and may result in pumping. This is the “legacy” setting and is the
behavior used in Ozone version 5.01 and earlier.
5. IRC IV: This mode builds upon our existing IRC technology by shaping the
spectrum to further reduce pumping and distortion. As the signal goes farther
over the threshold, the IRC IV algorithm limits frequency bands that
contribute most to these peaks. This reduces intermodulation between different
signal components and uses dozens of psychoacoustically spaced bands in order
to react to any type of audio. When no limiting is necessary, the spectrum
will be unaltered. Most CPU-intensive, and produces high latency, especially
at higher sampling rates.
1. IRC IV Character Styles: The following character styles will help you
manage the limiter’s sound by constraining its release behavior:
1. Classic: Provides general enhancement of the overall mix with a sound more
reminiscent of Ozone’s earlier limiting algorithms which are still being used
by professionals today.
2. Modern: Provides general enhancement and life to your mix but with greater
detail and clarity than the Classic style.
3. Transient: Optimized for maximum preservation of all transients resulting
in a highly detailed overall sound that may bene t some mixes needing added
clarity.
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Threshold
Adjust the threshold of the Maximizer to set the level at which the limiting
processing takes place and determines the amount of gain added to maximize the
output level.
THRESHOLD AND MAXIMIZER OUTPUT Setting the Threshold to a non-zero value that
doesn’t trigger the limiter will still increase the output of the Maximizer.
For example if the input level to the Maximizer is peaking at -15 dB and the
Maximizer Threshold is set to -4dB, limiting will not occur, but the level at
the output of the Maximizer will be peaking at -11dB.
The threshold control includes the following sub-controls and meter:
1. Threshold Meter 2. Ceiling 3. Link 4. True Peak
Threshold Meter
Displays input level and applied gain reduction.
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1. The two outer meters display input level to the limiter. 2. The two inner
meters display gain reduction applied by the limiter. 3. The text readout at
the bottom of the meter displays the current
gain reduction amount that is being applied by the limiter.
Ceiling
Adjust to set the maximum output level of the Maximizer.
CEILING, DITHER, AND CODEC PREVIEW It is generally recommended to use a
setting of -0.3 dB when dithering, or a more dramatic setting (-0.6 dB to -0.8
dB) when mastering audio to be converted to .mp3 or .aac later, in order to
prevent clipping in the future. See the Codec Preview section for more
details.
Threshold and Ceiling Link
Enable to link the Threshold and Ceiling controls. Adjusting either control in
linked mode will adjust the other control by the same amount and vice versa.
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True Peak
When enabled, the limiter will account for the levels of each digital sample
and the levels of the analog signal that will eventually be produced by D/A
conversion. This is sometimes necessary, since an analog signal’s peak level
can exceed the corresponding digital signal’s peak level by more than 3 dB.
TRUE PEAK LIMITING & CPU USAGE
This option will result in a small increase in CPU usage, but if your mixes
are running very hot you may want to enable it to ensure that absolutely no
distortion is introduced when your audio is nally run through a D/A converter.
Character
Adjust to customize the overall response time (attack and release times) of
the maximizer processing. The attack and release times used are dependent on
the selected Mode, and allows a continuous range from Fast (0.0) to Slow
(10.0) in each mode.
Stereo Independence
The Stereo Independence controls represent the next iteration of the Stereo
Unlink control in previous versions of Ozone. By default, the Stereo
Independence controls (Transient and Sustain) will be linked and set to 0% –
mimicking the default settings of the previous Stereo Unlink control.
1. Transient Slider: Adjusts how the limiter responds to transient material
across channels.
2. Sustain Slider: Adjusts how the limiter responds to sustained material
across channels.
3. Link: Links the Transient and Sustain sliders.
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EXAMPLES
1. Both Sliders set to 100%: It is possible to achieve a louder output from
the Maximizer, but this can result in a narrow stereo image. To alleviate the
narrowing effect of the Stereo Unlink control, we split this feature into two
sliders.
2. Sliders independently set to non-zero values: Applies limiting to
transient and sustained material separately, based on a level envelope
generated from a ratio of the individual channel levels and the entire stereo
image.
Transient Emphasis
Enable Transient Emphasis adjustment by clicking the Transient Emphasis power
button. Adjusting the Amount control allows you to
ne-tune the shaping of transients before limiting takes place. This can be
useful for preserving sharper sounds, like drums, while still optimizing
loudness.
TRANSIENT EMPHASIS SETTINGS Using higher amount values for Transient Emphasis
will result in more pronounced transients after the limiting process.
Ozone Application
Overview
The Ozone 9 application allows you to process up to 16 tracks per project
using Ozone modules and VST/AU plug-ins.
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Application Interface
The key areas of the Ozone application interface are outlined in the image
below.
1. Application Menus 2. Application Header 3. Track Workspace 4. Signal Chain
and Module Interface
Application Menus
The le menu contains the different commands used to perform functions as
described in the table below.
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File Option
Description
Create New Project
Creates a new Ozone project directory.
Open Project
Opens a previously saved Ozone project.
Open Recent Project
Displays a list of any recent projects. If you want to clear this recent project list, click Clear List.
Save
Saves current project.
Save
Creates a copy of the current project directory with a
Project As.. new name.
Save (.OZN) As..
Saves a new copy of the session le within the current Ozone project directory.
This is useful for versioning your Ozone projects over time. This saving
method will NOT create copies of the imported audio
les. Instead it will reference the les included in the Imported Audio Files
folder of the current project directory.
Import Audio Files
Opens your le system manager and allows you to choose an audio le to import. See Importing Audio section for more information.
Export Audio Files
Opens the le manager and allows you to export an audio le to your computer. See Exporting Audio section for more information.
Close Project
Closes out of your current project. A dialog window will appear asking if you wish to proceed with/without saving your current project.
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SAVING OZONE PROJECTS An Ozone project contains the following components:
1. An Ozone session le (.OZN). 2. An Imported Audio Files folder. 3. An
Exported Audio Files folder.
An Ozone session le (.OZN) contains all of the session data:
1. Imported audio tracks 2. Ozone module settings 3. Track Trim & Fade
settings 4. Global I/O settings
Importing Audio
You can import up to 16 audio les into an Ozone project using the following
methods:
1. Click on the File menu. Choose “Import Audio Files” from the File Menu
options.
2. Use keyboard shortcut Cmd+I or Ctrl+I; A standard dialog box will appear
where you can navigate to the desired le, then click “Open” to import it into
the project.
3. Click on the + icon in the track navigation area. 4. Drag and drop audio
les into the Ozone interface.
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NO DUPLICATE AUDIO FILES Ozone only allows you to import the same audio le
once per project.
Supported Import File Types
File Formats Bit Depths Sample Rates
.wav
16-bit
11,250 Hz
.aiff
20-bit
22,050 Hz
.mp3
24-bit
44,100 Hz
.aac
48,000 Hz
88,200 Hz
96,000 Hz
176,400 Hz
192,000 Hz
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SAMPLE RATES
1. A projects sample rate defaults to the sample rate of the rst le loaded.
2. If you attempt to load a le with a different sample rate, it will be
converted to the original sample rate set by the rst le, or manually set
before the second le is loaded.
3. The conversion process will not convert previously converted/processed les
(which are copied as working les upon load); Ozone will simply go back to the
original les, create new copies, and then convert all the les to this new
sample rate for their new working copies.
Exporting Audio
You can export processed audio les from the Ozone application using the
following methods outlined in the table below.
1. Click on the File menu. Choose “Export Audio Files” from the File Menu
options.
2. Use the keyboard shortcut Command+E (Mac) or Ctrl+E (Windows).
Exporting Audio Options
A dialog box will appear, offering various options for the les you are about
to export as outlined in the table and images below.
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Current Track vs. All Tracks
There are two tabs in the Exporting Audio Options window:
1. Current Track: Used to export the audio le in the currently highlighted
tab.
2. All Tracks: Used to export separate audio les for each audio le loaded
into the current project.
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Option
Description
Current Track All Tracks
Type the desired name Filename into this eld to label your X
exported le.
Type in the desired text to
append each track being
exported. You can select
Append Text
to append either before or after the le name which
X
is useful for “tagging” the
titles of a group of audio
les with a common label.
Select the “Add Track
Add Track Numbers
Numbers” checkbox to add track numbers to your exports in the order they appear in your Ozone
X
project.
Select the format of the
Format exported le(s): WAV, AIFF, X
X
MP3, or AAC.
Sets the bit rate for
compressed le formats.
Bit Rate
Audio quality improves with increasing bit rate.
X
X
(Available on MP3 and
AAC Only).
Click on the Set Path
button to open your File
Save Path
System window and to select where your
X
X
exported audio le(s) will
be saved.
Sample Sets the sample rate to
X
X
Rate
export your audio le as. If
you select a sample rate
that differs from the
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Option
Description
original imported le, Ozone will apply a highquality sample rate conversion to
the le.
Current Track All Tracks
Bit Depth
Sets a Bit Depth value for your audio le.
X
X
Check this box to apply
high-quality dithering to
the exported le, typically
Enable Dither
used when exporting to a bit depth lower than 32-bit.
X
X
For more information, see
Enable Dither section
below.
Prevent Clipping
Check this box to prevent clipping through either the X Normalize or Limit option.
X
Click this button to begin
the export process (or
launch the Track Info
screen for MP3 and AAC).
Export
A dialog box will appear
X
X
that shows the progress of
the export operation,
which occurs faster than
real time.
Track
Opens the Track Info
X
X
Info
window after clicking
Export. Enter any
metadata for the encoded
audio le (used by MP3 &
AAC players) to display
information about the le.
MP3 will be tagged using
ID3v2.3, while AAC uses
iTunes style tags.
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Option
Description
(Available for MP3 and AAC Only)
Current Track All Tracks
AAC & MP3 CODECS USED BY OZONE For AAC, Ozone uses Fraunhofer’s codec. For MP3
the LAME codec is used (www.mp3dev.org). If an MP3 or AAC format is selected,
les are exported with a 44.1kHz sampling rate.
SAVE PATH OPTIONS
1. If the project is unsaved, the default save path is your Documents folder.
2. If the project has already been saved, the default save path is an
Exported Audio Files folder in the same location as the project.
Enable Dither
Allows you to preserve the sound quality and dynamic range of a higher bit
depth, when exporting the audio le to a lower bit depth. Ozone processes les
at 32-bit so dither is desirable for les being exported to values lower than
32-bit.
1. For example, a common work ow is to record audio at 24-bit resolution,
then import and process the audio in an application such as Ozone, which will
process at a higher resolution (32-bit).
2. If you are releasing the audio material on a commercial CD, it must be
converted to 16-bit audio, the required bit depth of the “Red Book” CD audio
format.
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Application Header
Most of the controls and features in the Ozone mothership plug-in are also
available in the Ozone Application. Transport controls and readouts are unique
to the Ozone Application since it is an audio workspace and not a plugin.
1. Master Assistant 2. Preset System 3. Transport Controls 4. Undo 5. Undo
History
. Options 7. Help
Transport Controls
Ozone provides Transport controls at the top of the interface, which allow you
to easily navigate the playback functions of an imported audio
le. The transport bar includes the functions outlined in the table below.
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Icon
Description
Skip Back: If the playhead is located more than two seconds into the audio le, clicking Skip Back invokes a “return to Zero” function, by moving the playhead back to the beginning of the current le. If the playhead is near the very beginning of the le, clicking Skip Back acts as a “skip back” button, skipping back to the previous audio le.
Stop: Click to stop playback.
Start: Click or press space bar to start playback.
Pause: Click or press space bar to pause playback.
Skip Forward: Click to skip to the next track tab in the project.
Playback: Click to change the playhead behavior when playback is stopped. When
enabled, the playhead will stop at its current location on the timeline.
Loop: Click to loop a section of audio. For more information, see Enable
Looping section below.
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Enable Looping
To loop playback of a speci c section of audio, click and drag on the mouse
and highlight a portion of the audio le; the section will highlight in blue
and the “loop” icon in the transport bar will also highlight.
When you next press Play, the transport will repeatedly loop playback for the
highlighted section only.
To stop looping audio, click on the Loop button again. The button will de-
illuminate and looping will no longer be active, even though the area of the
waveform will remain highlighted. To start looping audio again, simply click
the Loop button.
Transport Readouts
The transport readouts available in the Ozone 9 application are outlined in
the image and table below.
1. Track Number: Displays the track number of the currently selected track.
2. Time Counter: Displays the current time position within the audio le,
displaying in minutes/seconds/milliseconds.
3. Total Time: Displays the total length of all tracks in the project.
Track Workspace
You can load up to 16 audio les into the same Ozone project. You can interact
with your tracks via the Track Tab bar or within the Waveform Display of the
individual tracks.
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Track Tabs
Each tab represents an audio le and its associated settings within the current
Ozone project. You can navigate the Track tabs using the methods and controls
outlined below.
1. Add Tracks: Click on the File menu. Choose “Export Audio Files” from the
File Menu options.
2. Removing Tracks:
1. Right-click on a track tab and select “Remove Track.” 2. Click on a tab to
highlight it, then click on the X button. You
will be prompted with a dialog window to check if you want to remove the le
(Delete), remove the track, but retain the
le in the Imported Audio Files folder of the Ozone project directory (Keep),
or cancel your decision.
3. Re-ordering Tracks: Click and drag track tabs to change the order of
tracks in the project.
Waveform Display
Displays the entire audio le in a waveform format. You can select regions of
your audio’s waveform to focus on using the various Waveform Display controls
and features outlined below.
1. Region Selection: Click and drag in the Waveform Display to select a
region that you want to loop and apply processing to.
2. Trim/Fade Handles: You can right-click between the trim/fadestart and trim
/fade-end regions to access the fade type menu. The
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fade type menu includes the following options: Log, Linear, Cosine, Equal
Power. 3. Segmentation Bars: Ozone will analyze your imported audio le and nd
similar song segments and automatically places those color bars. Click on the
color bar to set a loop selection for that segment.
Signal Chain And Module Interface
The signal chain and included modules are the same across the Ozone 9
Application and Ozone 9 mothership plug-in. However, the Ozone 9 Application
includes an extra module called the Plug-in module.
1. Please see the General Controls chapter for more information on the Signal
Chain.
2. Navigate through the rest of the Help documentation for more information
on the modules included in Ozone 9.
3. See the Plug-in module section below for more information on how to
utilize this module.
Plug-in Module
The Plug-in Module is special to the Ozone Application. The following work ow
details how to access and use the Plug-in module:
1. Add the Plug-in module to choose an iZotope plug-in to add to your signal
chain.
2. Once added to the signal chain, the module card will appear with the plug-
in’s name in the signal chain. The Plug-in module card has the same basic
Signal Chain controls as the Ozone application modules, but does not include a
preset option.
3. When you click on the plug-in module, the Ozone application will open the
plug-in in a new window, allowing you to begin use.
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Plug-in Hosting Options
Click on the Options icon to open the Options window to the Plug-in tab. You
can customize the following options:
1. Enabled Plug-in Formats 2. VST Plug-in Folders
When plug-in formats are enabled, the Ozone application will scan for new
plug-ins in the background every time it is opened.
Plug-in Formats
Choose your Plug-in formats using the following options outlined below.
1. Scan Plug-ins: Click to scan your available plug-ins based on the format
selection options: AU, VST, or both.
2. VST Checkbox: Click to include VST plug-ins when scanning. 3. AU Checkbox:
Click to include AU plug-ins when scanning.
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VST Plug-in Folders
Customize your VST plug-in folders using the following options outlined below.
1. Add: Click to add a VST plug-in le from your le directory. 2. Remove:
Click to remove a VST plug-in le from your le directory. 3. File Path: Click
on the the dialog box and type in the desired le
path to add or remove your VST plug-in folders.
Master Assistant
Table of Contents
1. Overview 2. Work ow Steps 3. Master Assistant Settings
1. Modules 2. Loudness & EQ 3. Destination
Overview
Master Assistant is designed to provide an intelligently tailored starting
point for your track, to help you create a professional-sounding master,
regardless of your experience level.
Master Assistant utilizes target genre curves that were born from a mixture of
internal discussion and research. We started by grouping a large variety of
audio les into ten classes of musical genre. These genre classes were then
analyzed for their spectral characteristics. Based on our research, we created
a number of target curves that represent the typical spectral characteristics
for each genre class. Master Assistant analyzes your track to determine how
similar it is to the different genre curves. Each genre curve is assigned a
percentage of similarity and the percentages are used to create a unique
target curve for your track.
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Work ow Steps
1. Click the Master Assistant button in the header area to open the Master
Assistant panel.
2. Adjust the settings in the Master Assistant panel to suit your desired
output. See the Master Assistant settings section below for details about the
different options.
3. Click Next to proceed to the Master Assistant analysis step. 4. Analysis:
Master Assistant requires audio input to perform
analysis and adjust settings.
1. Playback your track for at least 30 seconds so that Master Assistant has
enough time to analyze the input audio.
2. Playback the loudest portion of your track to achieve the best results.
3. Enable loop playback in your DAW if you are analyzing a selection that is
less than 30 seconds long.
5. When Master Assistant is nished working, you can either Accept or Cancel
the changes.
1. Accept: Retains all changes made by Master Assistant and exits the Master
Assistant panel.
2. X (Cancel): Reverts all settings to the state they were in before running
Master Assistant and exits the Master Assistant panel.
Master Assistant Settings
There are three main sections in the Master Assistant setup panel:
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1. Modules 2. Loudness & EQ 3. Destination
Modules
Determines which modules will be included in the signal chain created by
Master Assistant.
Modern
In this mode, only non-vintage modules will be included in the signal chain
generated by Master Assistant. The following section details how each of the
modules included in the Modern mode chain are affected by Master Assistant.
1. EQUALIZER: Compares the input audio to the unique target curve generated by Master Assistant. Band settings are adjusted to match your track to the unique target curve. Master Assistant will
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always enable band 1 (Low Shelf) and band 8 (High Shelf). Up to six Peak Bell
lters may be enabled on bands 2-7. 2. DYNAMICS: Uses crest factor measurement
of the input to determine if Dynamics processing will positively affect the
output of the Maximizer. Sets Threshold values by learning the average input
level.
NOTES ABOUT CREST FACTOR MEASUREMENT
1. Applying light low-end compression to overly dynamic audio allows the
Maximizer to operate more transparently. In many cases, crest factor is
calculated based on the low frequency band of the input signal. If your track
is assigned a high percentage of similarity to the broad “Orchestral”
category, crest factor calculation will be based on the full bandwidth of the
input signal.
2. The Dynamics module will only be enabled by Master Assistant if the crest
factor is higher than a predetermined cutoff value.
3. The full crest factor range used by Master Assistant is -1 to 14. The
“ideal” crest factor range is 3 to 10.
4. When the crest factor is lower than 3, a track might be considered “too
compressed.” When the crest factor measurement is higher than 10, a track
might be considered “too dynamic.”
3. MAXIMIZER: Sets Ceiling and Threshold based on the target loudness value
and destination settings. Compares the input and output signals of the
Maximizer to determine which frequencies are hitting the limiter the hardest.
4. DYNAMIC EQ: Sets Dynamic EQ bands to peak frequencies found when comparing
the Maximizer input and output signals in order to reduce potential distortion
when limiting. Learns and sets Threshold controls based on the input level to
the bands.
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Vintage
In this mode, a mixture of non-vintage and vintage modules will be included in
the signal chain generated by Master Assistant.
The following section details how each of the modules included in the Vintage
mode chain are affected by Master Assistant.
1. EQUALIZER: Compares the input audio to the unique target curve generated
by Master Assistant. Band settings are adjusted to match your track to the
unique target curve. Master Assistant will always enable band 1 (Low Shelf)
and band 8 (High Shelf). Up to six Peak Bell lters may be enabled on bands
2-7.
2. VINTAGE EQ: Adjusts low boost and high cut controls to add warmth and
tonal character to your track.
3. VINTAGE COMPRESSOR: Analyzes the dynamic range of the input audio. If
extreme dynamic range is not detected, the Vintage Compressor will be bypassed
but still included in the signal chain.
4. VINTAGE LIMITER: Makes linked adjustments to the Threshold and Ceiling
controls to add an analog character to the signal without introducing level
differences.
5. MAXIMIZER: Sets Ceiling and Threshold based on the target loudness value
and destination settings.
Loudness & EQ
Informs the target loudness value and target EQ curves (when Reference is
selected) used by Master Assistant. You can choose between Manual or Reference
mode.
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Manual
Sets the target loudness to a preset value associated with the selected
Intensity option.
Intensity
Selects the target loudness value (in LUFS) used by Master Assistant. The
following choices are available:
1. LOW: -14 LUFS 2. MEDIUM: -12 LUFS 3. HIGH: -11 LUFS
Reference
Determines the target loudness value based on the loudness of a reference
track. Select any reference track loaded in the Reference panel from the
dropdown menu. If no reference tracks are loaded, click the “Load Reference
Track” button to select a le in a system dialog.
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REFERENCE TRACK DETERMINES TARGET EQ CURVE AND TARGET LOUDNESS In Reference
mode, the target loudness and the target EQ curve used by Master Assistant are
based on the selected reference track.
Destination
Determines the Ceiling value in the Maximizer to ensure appropriate headroom
for the selected destination format.
The Destination options are associated with the following Ceiling values:
1. Streaming: -1.0 dB 2. CD: -0.3 dB
Dynamics
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Table of Contents
1. Overview 2. Module Header 3. Views
1. Crossover Spectrum 2. Gain Reduction Trace 3. Detection Filter
4. Band Control Views
1. Selected Band View 2. All Bands View
5. Controls and Meters
Overview
You can use this module to shape the dynamics of your mix, with up to four
bands of analog-modeled compression and limiting.
1. Module Header 2. Views 3. Controls
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Module Header
The module header includes the following controls:
1. View Selector: See the Views section below for detailed descriptions of
the different meter views.
2. Channel Processing Modes: Selects the channel processing mode used by
Dynamics.
1. Dynamics supports Stereo and Mid/Side mode. 2. See the General Controls
chapter for more information.
3. Learn: Enables automatic crossover point placement. When active, crossover
points will be moved to minima detected in the frequency spectrum of your
track. When crossovers have been set to their ideal frequency values, Learn
will automatically disable itself. Note: Learn is not available in single band
processing mode.
4. Reset: Returns all module controls to their default values.
Views
You can toggle between the different views using the view selector buttons:
The Dynamics module includes the following views:
1. Crossover Spectrum 2. Gain Reduction Trace 3. Detection Filter
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Crossover Spectrum
All multiband modules in Ozone support up to four processing bands. All
multiband capable modules are single band by default. You can create new
processing bands and manage multiband crossovers in the Crossover Spectrum
view. Note: crossover cutoff frequencies are not shared or linked across
multiband modules.
DYNAMICS GAIN REDUCTION/INCREASE IN CROSSOVER The horizontal lines drawn in
band colors display gain reduction/addition occuring in the associated
processing band. This is only shown in the Dynamics module crossover view.
Adjusting crossovers
1. Add band: Hover your cursor over the crossover spectrum view and click the
- button to add a new crossover point.
2. Enable/disable band: Click the power button to enable/disable processing in the associated band.
3. Solo band: Click the S button to isolate playback of the associated band.
4. Remove band: Hover over a band in the crossover view and click the x that appears to remove the band.
5. Adjust crossover cutoffs: Click and drag a handle to adjust the crossover frequency. You can also double-click on a crossover handle and enter the value manually in the inline edit eld that appears.
Gain Reduction Trace
Displays a scrolling waveform with a superimposed trace re ecting the amount of gain reduction applied over time.
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GAIN REDUCTION IN MULTIBAND The gain reduction trace shows information for one
band at a time. The trace color matches the color of the band it is metering.
Detection Filter
This view includes a spectrum analyzer and detection input lter controls. The
detection lter allows you to apply a lter to the signal used by the level
detector to trigger dynamics processing.
The following controls are available in the Detection Filter view:
1. None: Disables the detection input lter. This is the default setting. 2.
Highpass: Enables a highpass lter. You can adjust lter slope by
clicking the lter node and dragging the node handles horizontally. 3. Tilt:
Similar to the THRUST circuit found on API compressors, Tilt
mode preserves low frequencies using a high-frequency weighted lter curve.
1. Amount: Controls the Tilt lter slope. Adjust Amount by clicking and
dragging over the readout or by double-clicking on the readout and entering a
new value in the inline edit eld.
4. Solo: Isolates playback of the detection input signal after ltering.
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Band Control Views
There are two different views for band controls in the Dynamics module panel:
1. Selected Band View 2. All Bands View
You can toggle between these views using the Band View Selectors located on
the right side of the Dynamics module controls panel.
Selected Band View
Provides a focused view of the selected processing band. This is the default
band view selection.
You can change which band is displayed using the following methods:
1. Band View Selector arrows: Click the arrow buttons to the left/right of
the Band View button to switch between band views.
2. Select band in Crossover Spectrum: Click on a band region in the Crossover
Spectrum to show the associated controls in the Selected Band View.
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All Bands View
This view offers a consolidated overview of key controls for all four bands.
If a band is inactive, the controls will appear greyed out in this view.
NOT ACCESSIBLE IN ALL BANDS VIEW The Knee (Limiter/Compressor) control, global
Level Detection Mode, and the Dynamics Curve Meter are hidden from the All
Bands View, switch to the Selected Band View to access these features.
Controls and Meters
The following sections outline the controls and meters included in the
Dynamics module.
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1. Level Detection Mode 2. Threshold 3. Ratio 4. Attack 5. Release
. Knee 7. Parallel
. Dynamics Curve Meter 9. Band View Selectors 10. Link Bands 11. Global and
Band Gain 12. Auto Gain 13. Adaptive Release
Level Detection Mode
Determines how the input signal level is measured by the Dynamics level
detection circuit. This is a global setting, shared by all bands in multiband
mode.
1. Peak: Uses the peak level of the incoming signal. In general, this setting
is useful when you are trying to even out sudden peaks in your music.
2. Env: (Envelope) Uses the average level of the incoming signal evened out
across the frequency spectrum. Similar to RMS mode but with some advantages.
Unlike RMS, Envelope mode produces
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even levels across all frequencies and will not produce the aliasing or
artifacts that RMS detection can cause. 3. RMS: Uses the average level of the
incoming signal. RMS detection is useful when you are trying to increase
overall level without changing the character of the sound.
Threshold
Determines the signal level at which the compressor or limiter begins
processing. The handle on the left controls the Limiter Threshold, the handle
on the right controls the Compressor Threshold.
Threshold Input Meter
Displays the input level to the level detection circuit (outer meters,
displayed in grey) alongside the gain change applied as a result of the
dynamics processing (inner meters, displayed in the corresponding band color).
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Gain reduction is drawn from the top to the bottom of the meter, gain increase
is drawn from the bottom to the top of the meter.
Ratio
Determines the amount of gain reduction applied to a signal when the threshold
is crossed.
Compressor Ratios
1. Compressor Ratio Default: 2:1. 2. Compressor Ratio Range: (10):1 to 30:1.
Note: (10):1 is shown as
0.1:1 in All Bands View. 3. Positive Compressor ratios result in downward
compression.
Downward compression reduces the level of signals that reach the threshold and
leaves signals below the threshold unaffected. 4. Negative Compressor ratios
result in upward compression. Upward compression raises the level of signals
that fall below the threshold and leaves signals above the threshold
unaffected. Upward compression can gently raise levels instead of pushing down
peaks.
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Limiter Ratios
1. Limiter Ratio Default: 10:1. 2. Limiter Ratio Range: (2.5):1 to 30:1.
Note: (2.5):1 is shown as
0.4:1 in All Bands View. 3. Positive Limiter ratios result in downward
compression (limiting).
Higher ratios, particularly 10:1 or greater, result in limiting (more extreme
downward compression).
LIMITER BEHAVIOR AT MAXIMUM RATIO SETTING
The Limiter in the Dynamics module is similar to the response of a limiter in
the analog domain. When the Dynamics Limiter Ratio is set to 30:1, some
overshoot may still occur because it does not function as a Brickwall limiter.
4. Negative Limiter ratios result in upward expansion. Upward expansion
raises the level of signals that exceed the threshold. Upward expansion can be
used to add punch to dull mixes or emphasize the beat in rhythm-heavy music.
Attack
Determines the amount of time, or how quickly it takes (in milliseconds), for
the dynamics to react and for the signal to become fully compressed after
exceeding the threshold level.
Release
Adjusts the amount of time (milliseconds) it takes for the dynamics processor
to return to unity gain (recovers gain) when the input signal falls below the
threshold.
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Knee
Adjusts a range around the threshold that determines how abruptly processing
is applied to a signal as it approaches the threshold.
1. Higher values create a “soft knee” effect, which gradually introduces
processing as the signal approaches the Threshold level. This provides
subtler, more natural sounding compression.
2. Lower values create a “hard knee” effect, which abruptly begins processing
when the signal crosses the Threshold level. This offers more aggressive
sounding compression and is often used on individual tracks, such as kick or
snare drum.
Parallel
Adjusts the amount of the “dry” (unprocessed) signal to mix with the “wet”
(processed) signal. This technique is also known as “parallel compression”.
This control is available for each band individually.
Dynamics Curve Meter
The Dynamics Curve Meter is an interactive plot of the Threshold, Ratio, and
Knee controls as they relate to input and output levels. The y-axis represents
output level (dB) and the x-axis represents input level (dB). You can zoom
in/out by clicking the +/- buttons that appear in the bottom right when
hovering your cursor over the meter. Signal activity is drawn below the curve
in the associated band color.
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Dynamics Curve Meter Nodes
1. C (Compressor): This node is associated with the Compressor Threshold and
Knee. Moving left/right will affect Compressor Threshold. Adjusting the node
handles will affect Compressor Knee.
2. L (Limiter): This node is associated with the Limiter Threshold, Limiter
Knee, and Compressor Ratio. Moving left/right will affect Limiter Threshold.
Adjusting the node handles will affect Limiter Knee. Moving up/down will
affect Compressor Ratio (positive Ratios only).
3. Leftmost and Rightmost nodes: These nodes indicate the amount of gain
reduction/increase applied to signals above/below the threshold.
Band View Selectors
Switch between Selected Band View or All Bands View.
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Use the arrow buttons to the left and right of the Band # button to switch
between available band views.
Link Bands
When enabled, all band speci c control adjustments will be linked relative to
their current settings.
Global and Band Gain
Adjusts gain after Dynamics processing, useful for compensating for level
differences caused by Dynamics processing. You can make adjustments to Global
Gain and Band Gain simultaneously.
1. Band Gain: Adjusts the amount of gain applied to the associated band after
Dynamics processing. When working in the Selected Band View, the Gain slider
for the currently selected band is located on right side of the Dynamics
module controls panel. When working in All Bands View, a Gain control is
located directly below the threshold meter for each band.
2. Global Gain: Adjusts the amount of gain applied to the output signal of
all bands after Dynamics processing. The Global Gain control is located on the
right side of the Dynamics module controls panel when All Bands View is
selected. The Global Gain slider is hidden when you are working in the
Selected Band View.
Auto Gain
When enabled, make-up gain is automatically calculated and applied to the
output signal to compensate for level differences introduced by dynamics
processing. The automatic gain control calculates the RMS levels of the input
and output signals independently for each Dynamics crossover band. Gain is
automatically applied to the output signal based on the RMS level difference
between the input and output signals. Auto gain and manual global/per-band
gain adjustments can be applied simultaneously.
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Adaptive Release
When enabled, automatically adjusts the Release time of the Compressor based
on the peak factor of a signal.
1. If a transient signal is detected, the Release time is scaled to be
shorter to reduce pumping.
2. If a sustained signal is detected, the Release time is scaled to be longer
to reduce distortion.
AUTO RELEASE ADJUSTMENTS The Release time is scaled in relation to the Release
value set by the user. For example: if you are using the Compressor with the
Release time set to 100 ms, the Release time will be automatically adjusted to
a value within a range of 20 ms to 200 ms, depending on the type of signal
that is being processed.
Dynamic EQ
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Table of Contents
1. Overview 2. Module Header 3. Spectrum View
1. Alt-Solo
4. Working with Dynamic EQ Nodes
1. Add Nodes 2. Adjusting Nodes 3. Remove Nodes 4. Set Dynamic Mode Direction
5. Dynamic EQ HUD Controls
1. General Controls 2. Filter Controls 3. Threshold Controls 4. Advanced HUD
Controls
Overview
The Dynamic EQ can be very useful in controlling speci c frequencies in your
mix that are too loud, with a degree of precision not possible with a static
EQ.
There are three main areas of the Dynamic EQ module interface:
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1. Module Header 2. Spectrum View 3. Dynamic EQ HUD Controls
Module Header
The module header includes the following controls:
1. Global Filter Mode: Selects the type of lter algorithm used to process all
bands in the Dynamic EQ module. 1. Analog: Selects minimum-phase IIR (in nite
impulse response) lters. 2. Digital: Selects linear-phase FIR lter types for
processing in the Dynamic EQ module. FIR lters retain the phase of the
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original signal, but are more expensive in regard to CPU usage. 2. Channel
Processing Mode: Selects the channel processing mode used by the Dynamic EQ.
1. The Dynamic EQ supports Stereo, Mid/Side, and Left/Right mode.
2. See the General Controls chapter for more information.
3. Reset: Returns all controls in the module to their factory default values.
Spectrum View
The Dynamic EQ module includes a spectrum analyzer with the following
features:
1. Composite curve: The combined lter response of all enabled bands.
Represented by a thick white line drawn across the spectrum. Each band
contributes to the overall shape of this curve.
2. Filter response curve: The lter response of the currently selected node.
Represented by a highlighted line and lled area under the band which appears
when you select a node. If there are no nodes selected, the lter response
curve is hidden and you will only see the composite curve.
3. Meter Scales: there are three different scales in the Dynamic EQ
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spectrum:
1. Dynamic EQ Gain Scale: (dB) The lter gain scale is located on the right
side of the spectrum view. Range: +15 dB to -30 dB.
2. Spectrum Magnitude Scale: (dB) Vertical scale displayed on the left side
of the spectrum view.
3. Spectrum Frequency Scale: (Hz) Horizontal scale displayed along the bottom
of the spectrum view.
SPECTRUM SCALES
1. The scales for the lter gain and the spectrum magnitude are different, by
design. If they were made to match, you wouldn’t see enough of the spectrum
for it to be useful.
2. See the Options chapter for more information about spectrum scale options.
Alt-Solo
You can use the alt/option key when clicking on a node or anywhere in the
spectrum to momentarily solo a speci c frequency region. When you release the
mouse click, alt-solo will be disabled.
1. Band Solo: Hold the alt or option key and click on an EQ node. This is
equivalent to pressing the Solo button in the HUD.
2. Alt-Solo in Spectrum: Hold the alt or option key and click anywhere on the
frequency spectrum to solo frequencies surrounding the location of the cursor.
You can adjust the bandwidth of the alt-solo lter in the Options window.
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Working with Dynamic EQ Nodes
The following sections describe how to add, adjust and remove Dynamic EQ
nodes.
1. Add Nodes 2. Adjusting Nodes 3. Remove Nodes 4. Set Dynamic Mode Direction
Add Nodes
1. Hover your cursor over the composite curve, click the + button that
appears to add a new band to that frequency position.
2. Press command+ return (Mac) or ctrl+ return (Windows) to add a new node to
the center of the frequency spectrum.
3. Double-click anywhere in the spectrum to add a new node at the frequency
location of your cursor.
DEFAULT FILTER SHAPE ASSIGNMENT BASED ON FREQUENCY Default lter shapes are
assigned to nodes depending on their initial frequency value.
1. From 20 Hz to 100 Hz: Baxandall Bass. If a Baxandall Bass lter already
exists in the curve, the default lter shape will be
Proportional Q. 2. From 100 Hz to 8 kHz: Proportional Q. 3. From 8 kHz to 20
kHz: Baxandall Treble. If a Baxandall Treble
lter already exists in the curve, the default lter shape will be Proportional
Q.
Adjusting Nodes
The following methods can be used to move/adjust lter nodes:
1. Click and drag a node up and down to adjust gain. Click and drag a
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node left and right to adjust frequency. 2. Hold the shift key while clicking
and dragging a node to lock the
movement to the horizontal axis (for frequency) or vertical axis (for gain).
3. Click and drag the handles that appear on the left/right side of a selected
node to adjust the Q/Slope value. 4. Press the up or down arrow keys to adjust
the gain of a selected node. Press the left or right arrow keys to adjust the
frequency of a selected node. 5. Hold shift while using the arrow keys to make
coarse value adjustments. . Hold command (Mac) or ctrl (Windows) while using
the arrow keys to make ne value adjustments. 7. Double-click on a node to
reset all band parameters to their default values.
Remove Nodes
The following methods can be used to remove lter nodes:
1. Select a node and click the X button in the HUD to remove it. 2. Click and
drag to lasso select multiple nodes. Press delete or
backspace key to remove all selected nodes. 3. Hold Shift and click on
individual nodes to select multiple nodes.
Use the delete or backspace key to remove all selected nodes.
Set Dynamic Mode Direction
The arrow buttons directly above and below a node indicate the direction the
lter will move when triggered. The lled arrow button indicates the currently
selected direction.
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Dynamic Mode Direction
Filters will behave as follows in the different modes:
1. UP: When a signal exceeds the threshold, the lter will move upwards.
1. Positive Gain: Using the Up trigger mode will move the lter from the
center line toward the static node (boost when triggered).
2. Negative Gain: Using the Up trigger mode will apply the full negative gain
until it is triggered-when triggered it will move toward the center line.
2. DOWN: When the signal exceeds the threshold, the lter will move downwards.
1. Positive Gain: Using the Down trigger mode will move the lter from the
static boost value toward the center line (cut
when triggered). 2. Negative Gain: Using the Down trigger mode will move the
lter from the center line toward the static negative gain value.
Dynamic EQ HUD Controls
Click on a node to view the HUD panel for a given band.
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The HUD panel includes the following sections:
1. General Controls: Enable/disable, Solo, and Remove. 2. Filter Controls:
Filter Shape, Frequency, Gain, and Q. 3. Threshold Controls: Threshold,
Threshold Input meter, and gain
change readout. 4. Advanced Panel: Auto Scale, Attack, Release, and Static
Offset
Gain.
General Controls
You can enable/disable, solo, or remove a band with the buttons along the left
edge of the HUD.
1. POWER: Click the power button to enable or disable processing for the
selected band.
2. SOLO: Click the S button to isolate playback of the selected band. 3.
REMOVE: Click the X button to remove the associated band.
Filter Controls
You can adjust lter shape, frequency, gain, and Q/bandwidth in this section of
the HUD.
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1. Filter Shape Selects the lter shape for the associated band. Filter shape
types include:
1. Baxandall: Inspired by the Baxandall EQ, with the addition of freely
adjustable frequency. Choose between Bass for a gentle low shelf lter or
Treble for a gentle high shelf lter. When to use: Transparent way of
addressing extreme lows and extreme highs for a more natural, gentle sounding
effect.
2. Band Shelf: Bell lter with wide, at top. When to use: To change the
relation between the harmonics in your audio. Useful for boosting or
attenuating a block of frequencies.
3. Peak Bell: Smoothly boosts or cuts an adjustable region around a speci c
frequency. Looks like a bell, come on what do you want from me. When to use:
Changes the overall color or texture of the sound with larger gain adjustments
(boost or cut). This will be a more noticeable change than Proportional Q.
4. Proportional Q: Unique lter that varies shape in proportion to the amount
of boost or cut applied. As you increase or decrease the gain, the change is
proportional to bandwidth. When to use: Tight, precise corrective cuts-the
bigger gain adjustment, the tighter the cut will become.
2. Freq: Determines the center or cutoff frequency of the selected band.
Units: Hz (Hertz); Range: 20 Hz to 20 kHz.
3. Gain: Determines the amount of gain applied to the selected lter. Units:
dB (decibels); Range: -30 dB to +15 dB.
4. Q: Determines the width or slope of parameteric/bell lters. Units:
cF/Bandwidth.
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TIP: HUD VALUE ADJUSTMENTS
1. Click and drag on a HUD text readout to scrub the value. 2. Double-click
on a text readout in the HUD, type a value in the
inline edit eld, press enter or click outside of the eld to change the value.
Threshold Controls
You can adjust the Threshold and view related meters in this section of the
HUD.
1. Threshold Input meter: Vertical meter bars displayed behind the Threshold
slider.
1. Input Level Meter: Displays the input signal of the selected lter in the
outer vertical meter bars.
2. Gain Reduction/Addition: Displays the amount of level adjustment applied
to the selected lter in the inner vertical meter bars.
2. Threshold (dB): Determines the signal level at which dynamic gain
adjustments will be triggered for the selected lter. Adjustment methods:
1. Click and drag the slider up and down. 2. Click on the slider handle then
use the Up or Down arrow
keys. 3. Double-click on the value readout, type the value into the
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inline edit eld, and press enter to save it. 3. +/-: Displays the gain
reduction/addition applied to the lter as a
text based readout.
Advanced HUD Controls
Click the arrow on the right side of the HUD to expand the Advanced panel.
The Advanced Panel includes the following controls:
1. Auto Scale: When enabled, the attack and release values will be scaled
automatically depending on the frequency of the associated band.
2. Attack: Adjusts how long it takes the dynamic trigger to react to a signal
crosses the Threshold value. You can adjust the Attack value by clicking and
dragging on the value readout or by doubleclicking on the value readout and
typing a value into the inline edit eld.
3. Release: Adjusts how long it takes for the dynamic trigger to return the
lter to its static settings when the input signal falls below the Threshold
value. You can adjust Release by clicking and dragging on the value readout or
by double-clicking on the value readout and typing a value into the inline
edit eld.
4. Offset: Sets a static gain offset for the associated band.
Equalizer
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Table of Contents
1. Overview 2. Module Header 3. Views
1. HUD View 2. All Bands View
4. Spectrum and EQ Curve
1. Extra Curves 2. Alt-Solo
5. Working with EQ Nodes
1. Adding Nodes 2. Adjusting Nodes 3. Removing Nodes
. Controls
1. General Controls 2. Filter Controls 3. Advanced Controls
Overview
Ozone’s versatile Equalizer allows you to add warmth and character with
analog-matched lters, or precisely boost and cut frequencies with digital
linear-phase lters.
The module interface includes the following sections:
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1. Module Header 2. Spectrum and EQ Curve 3. Controls
Module Header
The module header includes the following controls:
1. View Selector: See the Views section below for detailed descriptions of
the different views.
2. Global Filter Mode: Selects the type of lter algorithm used to process all
bands in the EQ module.
1. Analog: Selects minimum-phase IIR (in nite impulse response) lters.
2. Digital: Selects linear-phase FIR lter types for processing in the EQ
module. FIR lters retain the phase of the original signal, but are more
expensive in regard to CPU usage.
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DIGITAL ONLY FEATURES Phase and Surgical Filter Shapes are only available when
Digital is selected. 3. Channel Processing Mode: Selects the Channel
Processing Mode used in the Equalizer.
1. The Equalizer supports Stereo, Mid/Side, or Left/Right mode.
2. See the General Controls chapter for more information.
4. Reset: Returns all controls in the module to their factory default values.
Views
You can switch between HUD View and All Bands View using the view selection
buttons.
HUD View
This is the default view in the Equalizer module. In this view, a HUD panel
will appear when you select a node.
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All Bands View
When selected, band controls are displayed in a table format below the
spectrum. The HUD panel is not displayed when nodes are selected in All Bands
View.
Spectrum and EQ Curve
The main spectrum view of the Equalizer includes the following features:
1. Spectrum Analyzer: Displays the magnitude (amplitude, in decibels) of a
signal across the frequency spectrum in real-time. The spectrum analyzer in
the Equalizer module displays the output signal of Ozone.
2. Composite curve: The combined lter response of all enabled bands.
Represented by a thick white line drawn across the
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spectrum. Each band contributes to the overall shape of this curve. 3. Filter
response curve: The lter response of the currently selected node. Represented
by a highlighted line and lled area under the band which appears when you
select a node. If there are no nodes selected, the lter response curve is
hidden and you will only see the composite curve. 4. Spectrum Scales:
1. Spectrum Magnitude Scale: (dB) Vertical scale displayed on the left side
of the spectrum view.
2. Spectrum Frequency Scale: (Hz) Horizontal scale displayed along the bottom
of the spectrum view.
5. Equalizer Gain Scale: (dB) The lter gain scale is located on the right
side of the spectrum view. Range: +15 dB to -30 dB.
SPECTRUM SCALES
1. The scales for the lter gain and the spectrum magnitude are different, by
design. If they were made to match, you wouldn’t see enough of the spectrum
for it to be useful.
2. See the Options chapter for more information about spectrum scale options.
Extra Curves
When the Show Extra Curves option is enabled in the EQ options tab, three
additional rulers appear on the right-hand side of the spectrum analyzer:
Phase Response (degrees), Phase Delay (ms), Group Delay (ms).
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You can hide and show each curve individually by clicking on the buttons that
appear in the legend along the top of the spectrum view.
1. Phase Delay: A calculation of phase response represented in time (ms).
2. Phase Response: A calculation of phase response represented in degrees.
This curve is most useful when using analog or minimum phase equalization.
3. Group Delay: A calculation of the delay of amplitude envelopes in time
(ms). This curve is most useful when working with transients.
Alt-Solo
You can use the alt/option key when clicking on a node or anywhere in the
spectrum to momentarily solo a speci c frequency region. When you release the
mouse click, alt-solo will be disabled.
1. Band Solo: Hold the alt or option key and click on an EQ node. This is
equivalent to pressing the Solo button in the HUD.
2. Alt-Solo in Spectrum: Hold the alt or option key and click anywhere on the
frequency spectrum to solo frequencies surrounding the location of the cursor.
You can adjust the bandwidth of the alt-solo lter in the Options window.
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Working with EQ Nodes
The following sections describe how to add, adjust and remove EQ nodes.
1. Adding Nodes 2. Adjusting Nodes 3. Removing Nodes
Adding Nodes
1. Hover your cursor over the composite curve, click the + button that
appears to add a new band to that frequency position.
2. Press command+ return (Mac) or ctrl+ return (Windows) to add a new node to
the center of the frequency spectrum.
3. Double-click anywhere in the spectrum to add a new node at the frequency
location of your cursor.
DEFAULT FILTER SHAPE ASSIGNMENT BASED ON FREQUENCY Default lter shapes are
assigned to nodes depending on their initial frequency value.
1. From 20 Hz to 100 Hz: Baxandall Bass. If a Baxandall Bass lter already
exists in the curve, the default lter shape will be
Proportional Q. 2. From 100 Hz to 8 kHz: Proportional Q. 3. From 8 kHz to 20
kHz: Baxandall Treble. If a Baxandall Treble
lter already exists in the curve, the default lter shape will be Proportional
Q.
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Adjusting Nodes
The following methods can be used to move/adjust lter nodes:
1. Click and drag a node up and down to adjust gain. Click and drag a node
left and right to adjust frequency.
2. Hold the shift key while clicking and dragging a node to lock the movement
to the horizontal axis (for frequency) or vertical axis (for gain).
3. Click and drag the handles that appear on the left/right side of a
selected node to adjust the Q/Slope value.
4. Press the up/down arrow keys to adjust the gain of a selected node. Press
the left/right arrow keys to adjust the frequency of a selected node.
5. Hold shift while using the arrow keys to make coarse value adjustments.
. Hold command (Mac) or ctrl (Windows) while using the arrow keys to make ne
value adjustments.
7. Double-click on a node to reset all band parameters to their default
values.
Removing Nodes
The following methods can be used to remove lter nodes:
1. In the HUD view: Select a node and click the X button in the HUD to remove
it.
2. In All Bands View: Click the power button associated with the band you
want to remove in the controls section.
3. Click & drag to select multiple nodes. Press delete or backspace key to
remove all selected nodes.
4. Hold Shift and click on individual nodes to select multiple nodes. Use the
delete or backspace key to remove all selected nodes.
Controls
The following sections detail the EQ lter controls in the context of the HUD
View. Any All Bands View differences or exceptions are noted in the control
descriptions below.
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The HUD panel is divided into the folowing sections:
1. General Controls: Enable/disable, Solo, and Remove. 2. Filter Controls:
Filter Shape, Frequency, Gain, and Q/Slope. 3. Advanced Panel: Phase. Digital
Mode only.
General Controls
You can enable/disable, solo, or remove a band with the buttons along the left
edge of the HUD.
1. Power: Click the power button to enable or disable processing for the
selected band.
POWER BUTTON BEHAVIOR IN ALL BANDS VIEW
When All Bands View is selected, clicking on a band power button will remove
the associated band, rather than disable it.
2. Solo: Click the S button to isolate playback of the selected band. 3.
Remove: Click the X button to remove the associated band.
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Filter Controls
You can adjust lter shape, frequency, gain, and Q/bandwidth in this section of
the HUD.
Filter Shape
Selects the lter shape for the associated band. The lter shapes are organized
into sub-menus based on lter type and usage.
1. BELL menu: These lters can be used to boost or cut a speci c center
frequency level (Peak type lters). The following lter shapes are included in
this menu:
1. Bell: Smoothly boosts or cuts an adjustable region around a speci c
frequency.
2. Proportional Q: Unique lter that varies shape in proportion to the amount
of boost or cut applied. As a cut or boost is increased further away from
center of the EQ curve, the shape tightens for more precision.
3. Band Shelf: Bell lter with wide, at top. Useful for boosting or
attenuating a block of frequencies.
2. LOW SHELF and HIGH SHELF menus: These lters can be used to boost or cut
the frequency content above or below a speci ed
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frequency (Shelf type lters). The following lter shapes are included in the
sub-menu:
1. Analog: E cient shelf lter for simple boosts and cuts. 2. Baxandall:
Gentle shelf lters. Modeled after the Baxandall
EQ, with the addition of adjustable frequency. 3. Vintage: Inspired by the
renowned Pultec analog equalizer.
Exhibits a complementary frequency dip, creating a complex slope with one
node. 4. Resonant: Exhibits a complimentary resonance at both ends of the lter
slope creating a complex shape with one node. 3. LOWPASS and HIGHPASS menus:
These lters can be used to attenuate frequency content that is below (for
highpass) or above (for lowpass) a speci ed cutoff frequency (Pass type
lters). The following lter shapes are included in this sub-menu:
1. Flat: Butterworth lter; optimized for maximum atness without ripple or
resonance in the passband or stopband (stability).
2. Resonant: Filter equipped with a resonance control to emphasize the cutoff
frequency with positive gain. Boosts content at the cutoff frequency to add
character and emphasize the lowest or highest part of the signal.
3. Brickwall: Elliptic lters. Optimized for steepness with minimal ripple in
the passband and stopband.
4. SURGICAL:(Digital mode only) Precise digital lter shape available in all
lter shape sub-menus when Digital Filter Mode is selected in the module
header.
Frequency
Determines the center or cutoff frequency of the selected band. Units: Hz
(Hertz); Range: 20 Hz to 20 kHz.
Gain
Determines the amount of gain applied to the selected lter. Units: dB
(decibels); Range: -30 dB to +15 dB.
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Q/Slope
1. Q: Determines the bandwidth (cF) of the selected lter. 2. Slope:
Determines the Slope of the lter below or above the set
cutoff frequency. Slope is measured in decibels per octave (dB/oct).
FIXED Q/SLOPE The Baxandall Bass, Baxandall Treble, HP Brickwall and LP
Brickwall lter shapes do not have adjustable Q/Slope values.
Advanced Controls
You can access the Advanced panel by clicking the arrow button on the right
hand side of the HUD. If the Global Filter Mode is set to Analog, the Advanced
panel button will be disabled. You can only access the Advanced panel of the
HUD when the Global Filter Mode is set to Digital.
Phase
Adjusts the phase response of the currently selected lter.
1. 0% Phase: the selected band will have a Linear phase response. 2. 100%
Phase: the selected band will have a Minimum phase
response.
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PHASE CONTROL AVAILABILITY
1. Phase is only adjustable when Digital Global Filter Mode is selected.
2. Phase is not included in the controls table of the All Bands View. You can
only access Phase from the Advanced panel of the HUD.
Exciter
Table of Contents
1. Overview 2. Module Header 3. Views
1. Crossover Spectrum 2. Post Filter
4. Controls
1. Oversampling 2. Link Bands 3. Modes 4. Amount 5. Mix
Overview
Ozone’s Exciter module offers up to four bands of con gurable saturation with
numerous modes giving you the ability to customize how saturation is
introduced into your music.
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1. Module Header 2. Views 3. Controls
Module Header
The Exciter module header includes the following controls:
1. View Selector: See the Views section below for detailed descriptions of
the different meter views.
2. Channel Processing Modes: Selects the channel processing mode used by the
Exciter.
1. The Exciter supports Stereo and Mid/Side mode. 2. See the General Controls
chapter for more information.
3. Learn: Enables automatic crossover point placement. When active, crossover
points will be moved to minima detected in the frequency spectrum of your
track. When crossovers have been set to their ideal frequency values, Learn
will automatically disable itself. Note: Learn is not available in single band
processing mode.
4. Reset: Returns all module controls to their default values.
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Views
You can toggle between the different Exciter views using the view selector
buttons in the module header area.
The Exciter module includes the following views:
1. Crossover Spectrum 2. Post Filter
Crossover Spectrum
All multiband modules in Ozone support up to four processing bands. All
multiband capable modules are single band by default. You can create new
processing bands and manage multiband crossovers in the Crossover Spectrum
view. Note: crossover cutoff frequencies are not shared or linked across
multiband modules in the main Ozone plug-in.
Adjusting Crossovers
1. Add band: Hover your cursor over the crossover spectrum view and click the
- button to add a new crossover point.
2. Enable/disable band: Click the power button to enable/disable processing in the associated band.
3. Solo band: Click the S button to isolate playback of the associated band.
4. Remove band: Hover over a band in the crossover view and click the x that appears to remove the band.
5. Adjust crossover cutoffs: Click and drag a handle to adjust the crossover frequency. You can also double-click on a crossover handle and enter the value manually in the inline edit eld that appears.
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Post Filter
Displays harmonic highlights that represent the saturation being applied to
your signal across the frequency spectrum. You can adjust a highshelf lter
that affects the wet (processed) output of the module to tame any high
frequency content that may have been introduced by the module’s processing.
The affected frequencies on the spectrum are indicated by a bright white ll.
Non-affected frequencies on the spectrum will not display a ll color. The
histogram display is calculated after the Post Filter is applied. Adjusting
the Post Filter will update the histogram display to show the saturation
occurring at the output of the Exciter module.
Controls
The Exciter module includes the following controls:
Oversampling
Increases the sampling rate of the applied distortion to reduce aliasing. This
option applies to all bands.
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OVERSAMPLING AND CPU Oversampling utilizes more processing power to increase
the quality level of the Exciter module.
Link Bands
When enabled, adjustments made to a control will be linked and applied to all
other bands by the same amount.
Modes
Select one of the egg cider’s different modes to nd the sonic characteristic
that ts your in your mix. You can choose between the following Mode options:
1. Analog: Emulates the sound of transistor type odd harmonics giving a
driven grit to your audio.
2. Retro: Based on characteristics of transistors, with a slowly decaying row
of odd harmonics.
3. Tape: Offers a brighter sounding saturation, due to the odd harmonics
found when saturating analog tape.
4. Tube: Characterized by its clear “tonal” excitation with an emphasis on
dynamic or transient attacks.
5. Warm: Generates only even harmonics that decay quickly. . Triode: Modeled
after a tube circuit for realistic analog warmth. It uses one half of a tube
circuit for a subtler overdrive than the Dual Triode mode.
7. Dual Triode: Models a full circuit using a vacuum tube, introducing more
pronounced overdrive with a warmer tone.
Amount
Controls the amount of the harmonic excitation for the associated band.
Mix
Controls the amount of processed signal that is blended back into the
unprocessed signal.
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Imager
Table of Contents
1. Overview 2. Module Header 3. Views
1. Crossover Spectrum 2. Correlation Trace 3. Stereo Width Spectrum
4. Controls
1. Width 2. Link Bands 3. Stereoize
5. Vectorscope
1. Polar Sample 2. Polar Level 3. Lissajous 4. Correlation Meter bar 5.
Stereo Balance Meter
Overview
The Imager allows you to adjust the stereo width of your mix using multiband
stereo imaging. The Imager module interface is divided into four main
sections:
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1. Module Header 2. Views 3. Controls 4. Vectorscope
Module Header
The Imager module header includes the following controls:
1. View Selector: See the Views section below for detailed descriptions of
the different meter views.
2. Learn: Enables automatic crossover point placement. When active, crossover
points will be moved to minima detected in the frequency spectrum of your
track. When crossovers have been set to their ideal frequency values, Learn
will automatically disable itself. Note: Learn is not available in single band
processing mode.
3. Reset: Returns all module controls to their default values.
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Views
You can toggle between the different Imager views using the view selector
buttons in the module header area.
The Imager module includes the following views:
1. Crossover Spectrum 2. Correlation Trace 3. Stereo Width Spectrum
Crossover Spectrum
All multiband modules in Ozone support up to four processing bands. All
multiband capable modules are single band by default. You can create new
processing bands and manage multiband crossovers in the Crossover Spectrum
view. Note: crossover cutoff frequencies are not shared or linked across
multiband modules in the main Ozone plug-in.
Adjusting Crossovers
1. Add band: Hover your cursor over the crossover spectrum view and click the
- button to add a new crossover point.
2. Enable/disable band: Click the power button to enable/disable processing in the associated band.
3. Solo band: Click the S button to isolate playback of the associated band.
4. Remove band: Hover over a band in the crossover view and click the x that appears to remove the band.
5. Adjust crossover cutoffs: Click and drag a handle to adjust the crossover frequency. You can also double-click on a crossover
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handle and enter the value manually in the inline edit eld that appears.
Correlation Trace
Draws stereo correlation values over time. Negative correlation (out of phase)
values are drawn in red; positive correlation (in phase) values are drawn in
white.
The correlation trace displays information based on the output signal of
Ozone, so adjustments to the Imager controls are re ected in this meter.
Stereo Width Spectrum
Displays a hybrid mirrored spectrum analyzer of the signal’s stereo width.
When the signal is fully mono, only a straight line will be drawn in the
center of this view.
Controls
The Imager module includes the following controls:
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1. Width 2. Link Bands 3. Stereoize
Width
Adjusts the amount of gain applied to side channel content. Positive values
will increase perceived stereo width, and negative values will decrease the
perceived stereo width of a band. A setting of -100 will make the output of
the associated band effectively mono.
NOTE If the input signal to the Imager is either: mono (i.e. single channel)
or effectively mono (i.e. a stereo le with the same content on both channels),
you will need to enable the Stereoize feature for Width adjustments to have an
effect on the signal.
Link Bands
Enable to link Width controls adjustments across all bands. When enabled and a
Width control is adjusted for one band, all other Width controls will be
adjusted by the same amount.
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Stereoize
Stereoize processing is applied to all processing bands equally. The following
controls allow you to enable the effect and adjust the associated settings.
1. Stereoize power button: Enables/disables stereoize processing. 2.
Stereoize Amount: Adjust the slider to add natural-sounding
stereo width to narrow recordings and to control the character of the stereo
effect in conjunction with the width sliders.
STEREOIZE IS MONO COMPATIBLE The Stereoize effect is completely mono
compatible. Even if you add width to audio, it can still be played back in
mono without producing unpleasant artifacts.
3. Stereoize Modes: There are two different stereoize processing modes
available in the Imager:
1. Mode I: Haas Effect-based decorrelation processing. This mode creates a
delayed copy of the mid channel signal and injects it into the side channel.
2. Mode II: A newly developed alternative to the classic stereoize mode. This
new mode has a slightly different tonal quality from the original and helps to
preserve transients at higher settings.
Vectorscope
The vectorscope meters provide a view of the stereo image of the signal after
all other processing is applied, regardless of the Imager’s position in the
signal chain.
Polar Sample
Plots dots per sample on a polar coordinate display to highlight the stereo
image of the incoming signal.
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Patterns that appear within the 45-degree safe lines represent in-phase audio.
Patterns outside these lines represent out-of-phase audio. The history of the
Polar Sample Vectorscope fades out slowly. You can reset the display by
clicking on the meter.
Polar Level
Plots rays on a polar coordinate display that represent sample averages and
displays the stereo energy of a recording.
The length of the rays represents amplitude. The angle of the rays represents their position in the stereo image. Rays within the 45-degree
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safe lines represent in-phase audio. Rays beyond the safe lines represents
out-of-phase audio.
Lissajous
Plots per-sample dots on a traditional oscilloscope display similar to the
Polar Sample vectorscope.
Typically, stereo recordings produce a random pattern on a Lissajous
Vectorscope that is taller than it is wide. Vertical patterns mean left and
right channels are similar (approaching mono). Horizontal patterns mean the
two channels are very different, which could result in mono compatibility
problems.
CLIPPING IN THE VECTORSCOPE
Clipped samples are drawn in red along the edges of the vectorscope meter
frame. Click on the meter to reset the clipped samples display.
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Correlation Meter Bar
The vertical bar meter to the right of the vectorscope indicates the degree of
similarity (or correlation) between the left and right channels.
TIPS
1. If the left and right channels are exactly the same, the correlation value
would be +1 and the meter tick would be drawn at the top.
2. If the left and right channels are exactly out-of-phase the correlation
would be -1 and the meter tick would be drawn all the way at the bottom.
3. In general, most recordings have phase correlations in the 0 to +1 range.
A brief readout towards the bottom half of the meter is not necessarily a
problem but could represent a possible mono compatibility issue.
4. As you increase stereo widening, the phase correlation will tend to draw
more towards the bottom half of the meter, as the left and right channels will
become “wider” and less similar.
Stereo Balance Meter
The horizontal bar meter directly below the vectorscope meter indicates the
stereo balance of the signal. When the meter tick is drawn all the way to the
left, it indicates there is only information on the left channel. When the
meter tick is drawn all the way to the right, it indicates that there is only
information on the right channel.
Low End Focus [ADV]
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Table of Contents
1. Overview 2. Module Header 3. Action Region Spectrum View 4. Controls
1. Modes 2. Contrast 3. Gain 4. Listen
Overview
Low End Focus is designed to intelligently reduce muddiness, increase low end
impact, and address other common low end issues that may not be easily
improved with traditional tools such as EQ or Dynamics.
The module interface is comprised of three main sections:
1. Module Header 2. Action Region Spectrum 3. Controls
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Module Header
The module header includes the following controls:
1. Channel Processing Modes: Determines the channel processing mode used by
Low End Focus. 1. Low End Focus supports Stereo and Mid/Side mode. 2. See the
General Controls chapter for more information.
2. Reset: Returns all module controls to their default values.
Action Region Spectrum View
Displays action region cutoff handles over a spectrum analyzer. Low End Focus
allows for an action region range of 20 Hz to 300 Hz.
1. Action Region Cutoff Adjustments: Drag a handle to adjust a single cutoff
value, click between the two handles to move them together, or single-click on
the value readout and manually enter a cutoff value.
2. Solo: Isolates playback of the input signal (before processing) within the
action region cutoffs.
Controls
Low End Focus includes the following controls:
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Modes
Determines the response time of Low End Focus processing. These modes in uence
how processing is applied to sustained and transient content within the action
region. You can choose between the following modes:
1. Punchy: Uses faster response times to emphasize transient content.
2. Smooth: Uses slower response times to enhance sustained content.
Contrast
Adjusts the spectral contrast between low and high level signals within the
action region.
1. Positive values: Increases the difference between low and high level
content. Attenuates `out-of-focus’ low level content, bringing out transients
and leading to a punchier sound.
2. Negative values: Decreases the difference between low and high level
content. Blurs the low end in a similar way to saturation. Transients will
lose focus similar to the smoothing effect of some analog compression.
Gain
Sets the amount of makeup gain applied to the action region.
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Listen
Enables isolated playback of the difference between the input (unprocessed)
and output (processed) signals within the action region.
Master Rebalance [ADV]
Table of Contents
1. Overview 2. Module Header 3. Spectrum View 4. Controls
1. Focus 2. Gain
Overview
Master Rebalance leverages a machine learning algorithm trained to identify
different instrument types in a track. You can use Master Rebalance to make
real-time gain adjustments to a selected focus element in your master without
needing to adjust stems or individual tracks from the original mix.
The Master Rebalance module is divided into the following sections:
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1. Module Header 2. Spectrum View 3. Controls
Module Header
The module header includes a Reset control:
Returns all module controls to their default values.
Spectrum View
The Master Rebalance spectrum view differs from the spectrum metering included
in other Ozone modules. The following image outlines the key components of the
Master Rebalance spectrum view:
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1. Focus spectrum: The blue `focus’ spectrum analyzer displays only the
signal content identi ed as belonging to the selected Focus element. Any gain
adjustments made to the Focus will be re ected in the blue Focus spectrum
analyzer.
2. Residual spectrum: The gray residual spectrum analyzer displays any signal
content that is not identi ed as belonging to the selected Focus element. For
example: if Vocals is selected as the Focus element, the gray residual
spectrum will display any signal content that is not classi ed as Vocals.
3. Spectrum magnitude ruler (dB) 4. Spectrum frequency ruler (Hz)
Controls
The following controls are included in the Master Rebalance module:
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Focus
Selects the focus element (instrument type) that will be detected and
adjusted. The following focus options are available: Vocals, Bass, and Drums.
FOCUS SELECTION Only one Focus mode can be selected at a time.
Gain
Adjusts the level of the selected focus element.
Match EQ
Table of Contents
1. Overview 2. Module Header 3. Spectrum and Matched EQ Curve 4. Reference
Spectrum Snapshot 5. Apply To Spectrum Snapshot
. Fine Tune
Overview
The Match EQ module is a digital linear-phase EQ with the ability to use over
8,000 bands of frequencies for very precise matching.
The module interface includes the following sections:
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1. Module Header 2. Spectrum and Matched EQ Curve 3. Reference Snapshot 4.
Apply To Snapshot 5. Fine Tune
Match EQ Module Header
The module header includes the following controls:
1. Channel Processing Modes: Determines the channel processing mode for the
module.
1. Match EQ supports: Stereo, Mid/Side, and Left/Right mode. 2. See the
General Controls chapter for more information.
2. Reset: Returns all module controls to their default values.
NOTE The Reference and Apply To curves are not cleared by pressing Reset.
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Spectrum and Matched EQ Curve
The spectrum view includes the following features:
1. Spectrum Analyzer (grey): Displays the magnitude (amplitude, in decibels)
of a signal across the frequency spectrum in real-time. The spectrum analyzer
in the Match EQ module displays the output signal of Ozone.
2. Matched curve (white): The lter response of the matched curve. Represented
by a thick white line drawn across the spectrum. This is only displayed after
a Reference and Apply To snapshot have been captured.
3. Reference Spectrum Snapshot (goldenrod): Display of the captured Reference
snapshot.
4. Apply To Spectrum Snapshot (blue): Display of the captured Apply To
snapshot.
5. Matched Curve Cutoff handles: Sets low and high frequency cutoffs for the
matched curve processing.
1. Drag the cutoff handles to set lower and upper range boundaries for the
matched curve processing. As you drag a cutoff toward the middle of the
spectrum, the matched curve will atten out to indicate no processing is being
applied.
2. Click on the value readouts for the cutoff handles to manually enter a
frequency value in the inline edit eld that appears.
3. These can be useful when you want to concentrate on matching a particular
region of the frequency spectrum. For example: apply the matched curve to the
low end without affecting the high end.
. Spectrum Scales:
1. Spectrum Magnitude Scale: (dB) Vertical scale displayed on
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the left side of the spectrum view. 2. Spectrum Frequency Scale: (Hz)
Horizontal scale displayed
along the bottom of the spectrum view. 3. Matched Curve Gain Scale: (dB) The
gain scale for the
matched lter curve is located on the right side of the spectrum view.
Reference Spectrum Snapshot
Capture a spectrum snapshot of a reference or source track that you want to
match your track to.
1. Capture: Click and playback the track you want to use as a reference curve
to begin recording a snapshot.
CAPTURE REFERENCE PANEL PLAYBACK
If you want to use a track loaded in the Reference panel, enable Reference
playback in the I/O panel and capture the Reference track directly from the
Reference panel.
2. Stop: Click to stop capturing and freeze the Reference spectrum snapshot.
3. Clear: Clears the current Reference spectrum snapshot.
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SNAPSHOTS AND PRESETS
1. Reference Spectrum snapshots are saved with Ozone presets. 2. Apply To
spectrum snapshots are not saved with with Ozone
presets. 3. Loading a preset with a saved Reference snapshot will
overwrite any currently captured Reference snapshot with the snapshot saved
with the preset. 4. Loading presets will not affect the Apply to spectrum
snapshot.
Apply To Spectrum Snapshot
Capture a spectrum snapshot of the track you are working on. The captured
curve will be shown in blue in the snapshot view and spectrum view.
1. Capture: Click Capture and playback your current track to begin capturing
a snapshot.
2. Stop: Click to stop capturing and freeze the Apply To spectrum snapshot.
3. Clear: Clears the current Apply To spectrum snapshot.
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Fine Tune
The Fine Tune controls can be used to adjust the shape and intensity of the
matched curve.
1. Smoothing: Determines the amount of precision to apply to the matched
curve. Higher smoothing is less precise. Lower smoothing is more precise.
2. Amount: Determines the amount of processing (intensity) to use when
matching the Reference curve to the Apply To curve.
RECOMMENDATIONS
1. A Matched Curve amount of 100% and a Smoothing amount of 0% might be
technically the closest match to your “Reference” mix, but in reality it’s
probably not the most effective combination of the settings. Those settings
will try to capture every peak, valley, and level, which can result in
extreme, unnatural EQs.
2. We suggest working with the Matched Curve amount under 50%. If your
Matching EQ curve has narrow peaks and valleys, increase the Smoothing
parameter to smooth them out. Your goal is to capture the overall tonal shape
of the Reference as opposed to an exact match.
Spectral Shaper [ADV]
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Table of Contents
1. Overview 2. Module Header 3. Views
1. Action Region Spectrum 2. Gain Reduction Trace
4. Controls
1. Mode 2. Threshold 3. Listen 4. Tone 5. Attack
. Release
Overview
The Spectral Shaper can be used to apply high-resolution attenuation to
problematic frequencies across the frequency spectrum with con gurable time
constants, timbre adjustment, and a variable full spectrum action region.
The Spectral Shaper interface includes the following sections:
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1. Module Header 2. Views 3. Controls
Module Header
The module header includes the following controls:
1. View Selector: See the Views section below for detailed descriptions of
the meter views.
2. Channel Processing Modes: Selects the channel processing mode used by the
Spectral Shaper.
1. The Spectral Shaper supports Stereo and Mid/Side. 2. See the General
Controls chapter for more information.
3. Reset: Returns all module controls to their default values.
Views
You can toggle between the different views using the view selector buttons.
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The Spectral Shaper module includes the following views:
1. Action Region Spectrum 2. Gain Reduction Trace
Action Region Spectrum
Allows you to adjust and audition the Spectral Shaper Action Region range.
This view offers Action Region controls superimposed over a spectrum analyzer.
The Action Region Spectrum includes the following controls:
1. Action Region Range Cutoff Handles: Adjusts the low and high cutoff
frequency values for the action region.
1. Click and drag a handle left or right to adjust the cutoff frequency.
2. Click in between both handles and drag left or right to move both handles
together.
3. Single-click on the text readout next to the bottom of a handle, type in a
new frequency value and press enter to set the handle to that value.
2. Action Region Solo: Solos the input signal to the Action Region before
processing.
Gain Reduction Trace
Displays a scrolling waveform with a superimposed trace re ecting the amount
of gain reduction applied over time.
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Controls
You can adjust the following controls in the Spectral Shaper:
Mode
Sets the intensity of reduction applied by the Spectral Shaper. Options
include: Low, Medium, High.
Threshold
Sets the level at which spectral gain reduction is applied to the action
region.
Threshold Input Meter
The two outer meter bars display the highest level of all bands included in
the Action Region input signal. The inner meter bars and text readout at the
bottom of the meter display gain reduction.
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SPECTRAL SHAPER THRESHOLD INPUT METER The threshold input meter in the
Spectral Shaper displays different information than it does in the Maximizer
or Vintage Limiter module. In the Maximizer and Vintage Limiter, the threshold
input level is based on the full frequency spectrum of the input signal. The
Spectral Shaper threshold input level is based on the highest level of the
frequency bands included within the action region.
Listen
Toggles isolated playback of the signal that is reduced as a result of
Spectral Shaper processing. This signal is the difference between the input
and output signals.
Tone
Adjusts the spectral tilt of the Spectral Shaper processing. Positive values
tilt towards a brighter overall spectral character, negative values tilt
towards a darker overall spectral character.
Attack
Set the amount of time it takes for the Spectral Shaper to apply gain
reduction to signals that exceed the Threshold.
Release
Set the amount of time it takes for the Spectral Shaper to stop applying gain
reduction to signals that fall below the Threshold.
Vintage Compressor
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Table of Contents
1. Overview 2. Module Header 3. Views
1. Detection Filter 2. Gain Reduction Trace
4. Controls
1. Mode 2. Threshold 3. Ratio 4. Attack and Release 5. Gain
. Auto Gain
Overview
The Vintage Compressor is an emulation of a feedback compressor with a
detection lter in the feedback loop. The Vintage Compressor includes a
versatile detection lter in the feedback loop that lters the signal passed
into the level detector to change which components of the signal are
triggering the compressor. Some compressors use a highpass lter or a high
shelf boost to reduce pumping. Others have a wide boost in the high
frequencies to let high frequency content drive the compressor. The Vintage
Compressor in Ozone includes all of these
lters. We combined some of the best elements of vintage analog compressors to
create this feedback compressor algorithm.
The Vintage Compressor module interface is divided into the following
sections:
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1. Module Header 2. Views 3. Controls
Module Header
The Vintage Compressor module header area contains the following controls:
1. View Selector: See the Views section below for detailed descriptions of
the different meter views.
2. Channel Processing Modes: Selects the channel processing mode used by the
Vintage Compressor. 1. The Vintage Compressor supports Stereo & Mid/Side. 2.
See the General Controls chapter for more information.
3. Reset: Returns all module controls to their default values.
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Views
You can toggle between the different views using the view selector buttons in
the module header area.
The Vintage Compressor module includes the following views:
1. Detection Filter 2. Gain Reduction Trace
Detection Filter
This view includes a spectrum analyzer and detection input lter controls. Use
the lter nodes to adjust the frequency response of the detection circuit used
by the Vintage Compressor, so that it is more or less sensitive to speci c
frequencies.
Detection Filter Solo
Click the (S) button in the upper left corner of this view to listen to the
ltered input to the detection circuit. This is useful for quickly listening
to the input signal being used to trigger the Vintage Compressor processing.
Gain Reduction Trace
Displays a scrolling waveform with a superimposed trace re ecting the amount
of gain reduction applied over time.
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Controls
The following controls are available in the Vintage Compressor:
1. Mode 2. Threshold 3. Ratio 4. Attack 5. Release
. Makeup Gain 7. Auto Gain
Mode
Adjusts the overall character of the Vintage Compressor. Mode options include:
1. Sharp: Provides crisp dynamics and a greater emphasis on transients while
maintaining the body of the signal.
2. Balanced: Gives a signal-dependent balance between dynamics preservation
and overall enhancement to the body of the signal.
3. Smooth: Smoothes out transient and dynamic material while enhancing and
bringing out the rest of the signal, resulting in a thicker and fuller sound.
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Threshold
Adjust the threshold to set the point where the dynamics processing takes
place. Since some modes have a soft knee, mild compression may occur below
this point.
Threshold Meter
Displays the input level to the module alongside the gain reduction applied by
the module’s processing.
1. The two meters on the far left and right of the threshold meter display
the input audio level.
2. The two meters in between the input meters display the gain reduction
applied.
Ratio
Sets the amount of attenuation applied to the signal once it has passed the
threshold. Higher ratios will result in more compression.
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Attack and Release
Adjust the attack and release controls to set how quickly the Vintage
Compressor reacts to audio that crosses the threshold.
1. Attack: Determines how quickly the Vintage Compressor reacts when the
threshold is reached.
2. Release: Determines the amount of time before the Vintage Compressor
returns the level to normal once the signal is no longer above the threshold.
This control sets the release time for transients; for sustained compression,
the release time will be signi cantly longer.
Gain
Adjusts the output gain of the Vintage Compressor module to makeup for
decreases in volume.
Auto Gain
When enabled, Auto Gain calculates the RMS levels of both the input and output
signals of the Vintage Compressor in order to apply the appropriate gain to
the output signal.
Auto Gain acts as a smart “make-up gain” control that adapts over time and
adjusts your levels to a comparable level of your unprocessed audio.
Vintage EQ
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Table of Contents
1. Overview 2. Module Header 3. Spectrum and EQ Curve 4. Controls
1. Pultec EQP-1A Controls 2. Pultec MEQ-5 Equalizer Controls
Overview
The Vintage EQ module can be used to add the emulated frequency response of
the Pultec EQP-1A and Pultec MEQ-5. The module interface is divided into the
following sections:
1. Module Header 2. Spectrum and EQ Curve 3. Controls
Module Header
The module header area includes the following controls:
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1. Channel Processing Modes: Selects the channel processing mode used by the
Vintage EQ.
1. The Vintage EQ supports Stereo, Mid/Side, and Left/Right channel
processing modes.
2. See the General Controls chapter for more information.
2. Reset: Returns all module controls to their default values.
Spectrum and EQ Curve
The Vintage EQ module includes a spectrum analyzer and a composite EQ curve.
1. Spectrum Analyzer: Displays the magnitude (amplitude, in decibels) of a
signal across the frequency spectrum in real-time. The spectrum analyzer in
the Equalizer module displays the output signal of Ozone.
2. Composite curve: The combined lter response of all bands. Represented by a
thick white line drawn across the spectrum. Each band contributes to the
overall shape of this curve.
Controls
The Vintage EQ control panel includes two sections of controls. The controls
along the top are modeled after the Pultec EQP-1A Equalizer and the controls
along the bottom are modeled after the Pultec MEQ-5 Equalizer.
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Pultec EQP-1A Controls
The top row of controls includes lters modeled after the Pultec EQP1A.
A unique feature of the Pultec EQP-1A is the ability to simultaneously adjust
the boost and cut parameters for the low frequency band. While the original
manual warns “Do not attempt to boost and attenuate simultaneously,” these
controls interact in a way that many engineers have found to be desirable.
Rather than canceling each other out, combining these controls results in a
boost in the low frequencies, followed by a dip at slightly higher
frequencies. This unique shape is also available in the Ozone Equalizer module
with the “Vintage Low Shelf” lter shape.
Low Boost/Cut Controls
1. Low Frequency (Hz): Sets the frequency of the low shelf lter. Options
include: 20 Hz, 30 Hz, 45 Hz, 60 Hz, and 100 Hz.
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45 HZ OPTION The original hardware unit did not include a 45 Hz option, but
we’ve added this frequency because we found it to be useful for mastering. 2.
Low Boost (dB): Adjusts the amount of positive gain (boost) applied to the
lter. 3. Low Cut (dB): Adjusts the amount of negative gain (cut) applied to
the lter.
High Boost Controls
1. High Boost Frequency (Hz): Sets the center frequency of the high boost
peaking lter. Options include: 3 kHz, 4 kHz, 5 kHz, 8 kHz, 10 kHz, 12 kHz, and
16 kHz.
2. High Boost Amount (dB): Adjusts the amount of positive gain (boost)
applied to the lter.
3. High Boost Q: Adjusts the bandwidth of the high frequency boost lter. The
boost amount and bandwidth interact (i.e. the Q changes
as you boost), as they do in the EQP-1A.
High Cut Controls
1. High Cut Frequency (Hz): Sets the frequency of the high shelf lter.
Options include: 5 kHz, 10 kHz, and 20kHz.
2. High Cut (dB): Adjusts the amount of negative gain (cut) applied to the
lter.
Pultec MEQ-5 Equalizer Controls
The bottom row of controls includes lters modeled after the Pultec MEQ-5.
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All of the mid frequency controls are peaking lters. As in the original MEQ-5,
the lter bandwidths are affected by the boost/cut amount.
Low-Mid Controls
1. Low-Mid Frequency (Hz): Sets the center frequency of the low-mid peaking
lter. Options include: 200 Hz, 300 Hz, 500 Hz, 700 Hz, and 1000 Hz.
2. LM Boost (dB): Adjusts the amount of positive gain (boost) applied to the
lter.
Mid Controls
1. Mid Cut Frequency (Hz): Sets the center frequency of the Mid peaking lter.
Options include: 200 Hz, 300 Hz, 500 Hz, 700 Hz, 1 kHz, 1.5 kHz, 2 kHz, 3 kHz,
4 kHz, 5 kHz, and 7 kHz.
2. Mid Cut (dB): Adjusts the amount of negative gain (cut) applied to the
lter.
High-Mid Controls
1. High-Mid Frequency (Hz): Sets the center frequency of the highmid lter.
Options include 1.5 kHz, 2 kHz, 3 kHz, 4 kHz, and 5 kHz.
2. HM Boost (dB): Sets the amount of positive gain (boost) applied to the
lter.
Vintage Limiter
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References
- Flexible and Economical UTF-8 Decoder
- CC BY 4.0 Deed | Attribution 4.0 International | Creative Commons
- GmbH in der Schweiz gründen. Einfach. Online.
- SIL Open Font License
- Home
- Apache License, Version 2.0
- The FreeType Project
- www.grinninglizard.com
- opensource.apple.com/source/cups/cups-59/cups/md5.c
- Creativity First — Our Passion for Music Inspires | Steinberg
- LAME MP3 Encoder
- Terms of Use | Mobile & Web User Analytics | Mixpanel
- Codec Preview [ADV] - Ozone 9 Help
- Dither - Ozone 9 Help
- Dynamic EQ - Ozone 9 Help
- Dynamics - Ozone 9 Help
- Equalizer - Ozone 9 Help
- Exciter - Ozone 9 Help
- General Controls - Ozone 9 Help
- General Controls - Ozone 9 Help
- General Controls - Ozone 9 Help
- General Controls - Ozone 9 Help
- General Controls - Ozone 9 Help
- General Controls - Ozone 9 Help
- Glossary - Ozone 9 Help
- Imager - Ozone 9 Help
- Low End Focus [ADV] - Ozone 9 Help
- Master Assistant - Ozone 9 Help
- Maximizer - Ozone 9 Help
- Options - Ozone 9 Help
- Options - Ozone 9 Help
- Ozone Application - Ozone 9 Help
- Ozone 9 Help Documentation - Ozone 9 Help
- Referencing - Ozone 9 Help
- Spectral Shaper [ADV] - Ozone 9 Help