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Insight, like Meter Bridge, can expand the individual meters to fill the whole window, however the main window is resizable to some degree, whereas Ozone’s is not. Meter Bridge’s Stereo Vectorscope is replaced with either a Stereo or Surround ‘Sound Field’ scope. It’s light on the CPU cycles even though displaying much the same information as Meter Bridge. It also accurately relays information for various EU, American and Japanese Loudness standards. It’s great when you don’t need to Tap multiple points and/or run an instance of Ozone 5 Advanced. It would be great if the Meter Tap section was selectable from the main Meter Bridge window not just Spectrogram but this is a request not a gripe.Īnd as if all these metering options weren’t enough, iZotope has thrown in a separate metering plug-in altogether, Insight. With just Ozone 5 Advanced running and using Meter Tap to analyse the audio I’ve noticed huge screen real estate savings in Wavelab and Logic, and the real-time information Spectrogram provides helps you get the sound where you want it - fast! It even sped up the non-Ozone side of my mastering process shootout. Great for viewing combos like kick and bass together to see the low ‘push’ or making sure the voice isn’t getting swamped by guitars. Eight meter taps are viewable at a time - in either overlay, tile or stack view - and you can combine tap points to see how they interact.
Simply place a Tap anywhere in your project, name it and you can access it in Ozone 5’s Advanced Spectrogram via the Meter Bridge window. It basically lets you ‘tap’ into any channel or bus in your project and not only see what it looks like on a spectrograph, but check the relationship between different parts. TAPPING THE SOURCEĬomplementary to this, iZotope has implemented the very clever Meter Tap plug-in. Apple’s Logic (my other mastering DAW) doesn’t even have a spectrogram. Furthermore, Wavelab’s Spectrogram provides only an overall snapshot of the program material, whereas Ozone’s fab looking Spectrogram is updated in realtime so you can analyse individual sections of music.
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Wavelab’s metering options all operate in their own separate windows which only adds to the aforementioned desktop clutter. Click on it and a new window opens with a Spectrogram, Stereo Field Graph, Spectrum Analyser and a more comprehensive Stereo Level Meter than the main page.This ‘overall’ style of meter won the metering aspect of my mastering process shootout. Positioned under the main stereo meters is the new ‘Meter Bridge’ button.
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So aside from a facelift, the update to Ozone is primarily in a swag of new features. All the modules are where you’d expect them - meters in the same place, etc. Ozone 5 Advanced’s newly polished black look is overall less glare-y and more conducive to longer sessions, though a preliminary glance revealed the main page layout to be pretty much the same as Ozone 4.
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Lastly, you need either an Intel Mac running 10.5.8 or later, or a PC running Windows 7 (32 and 64-bit), Vista 64-bit or XP 32-bit. It’s a plug-in, not a stand-alone application, so you will need either a multitrack or stereo DAW to host it.
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I’m on a Mac, but Ozone 5 Advanced will install on both Mac and PC and is compatible with all major plug-in formats except MAS. And to keep things reasonably fair I flip-flopped between the old process and new with each new song to ‘start afresh’ so I couldn’t get on a roll with one process or the other. All songs, bar one, were recorded in the same space -which would level the playing field. To test the different mastering methods for fidelity, ease of use and speed of workflow I used an album recorded by Andrew Bencina in Balgo, Western Australia (see Issue 86), which I hoped would take no more than eight hours for the 13 tracks. I took Ozone 5 Advanced for a spin to see if it could give me the same result (or better) in a quicker time than my usual go-to (ball ’n’) chain.
It’s like tabbed browsing - every module is accessed via its own button. With Ozone, iZotope has provided a way around this multiple plug-in method of mastering by offering all the required EQ, compression, excitation, widening, reverb and limiting plug-ins you need in one convenient window. It would be nice to close a few plug-in windows and just let them ‘do their job’, but usually they each have to be open all the time to read critical information at a glance, make adjustments to EQ, etc.
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My typical software mastering path comprises Universal Audio, PSP, and Crysonic plug-ins, all individually inserted, and all contributing to an unwieldy clutter that slows workflow. Time to release the ol’ mastering (ball ’n’) chain and tap into Ozone’s all-in-one potential.
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