Ozone 4
 

Is it really as amazing as it looks on paper?? :confused::confused:

http://www.izotope.com/products/audio/ozone/

From what I've read on the izotope site, it seems Ozone 4 is the ultimate mastering plug-in but for some reason it seems too good to be true, especially at that price point. So what's the twist?

Is it more a bang-for-buck type plug or do big time engineers use it in their workflow? If anyone has experience with it, can you chime in and share your thoughts? ;);)

Re: Ozone 4
 

A LOT of folks like it and a great solution for those who can't afford to send their stuff out to be mastered or are looking for a quick and easy way to make a more polished DIY project. I don't think its by any means a replacement for paying a real mastering engineer to master your stuff in the proper environment but for those lacking the money, the equipment or the skills its probably a much better solution than grabbing a hodge podge of plugs and smashing the material to death.

Izotope makes some great stuff. Like anything else theres no one size fits all solution but their stuff really does work as advertised.

Re: Ozone 4
 

So it's not a replacement for paying a real mastering engineer, but my question is.. do real mastering engineers ever use Ozone? I guess that sounds a bit paradoxical since a real mastering engineer probably has a slew of outboard mastering gear.. I'm not going to pretend I know the ins and outs of mastering because I don't but I'm just wondering if there are great mastering engineers that 1) use plugs for most of their mastering workflow and 2) use Ozone in their mastering workflow.

What I'm trying to figure out is -- is Ozone capable of producing professional mastering results if the engineer has the skills? In other words, is there any innate ceiling in Ozone's capabilities that cannot be surpassed even with the best engineer behind the wheel?

The reason I ask these questions is I'm wondering just how far technology has progressed. I'm sure I'm not the only one who is on a very modest budget but at the same time, VERY serious about music engineering. I know the maxim that echoes the hallways of all great recording forums that states, it's not the gear but the "ear" that determines the end production. That may be true in that the engineer is the biggest variable to consider in the end resulting mix, but gear(hardware/software) is definitely a significant second or third place in it's influence on the end production.

So being an individual who is limited on budget but unlimited in dedication and ambition to improve one's abilities, would Ozone 4 someday (as my skills reach the level of the greats) grow with me? Or will I grow out of it as it hits its ceiling and natural limits as current technology dictates? :confused::confused:

Re: Ozone 4
 

Re: Ozone 4
 

I was waiting for your input Tom, as you listed Ozone 4 as one of your mandatory plugs! :D

Can you share anymore thoughts on Ozone 4 from your experience with it? Or do I have to bribe you with juice boxes and Goldfish crackers? :p

Re: Ozone 4
 

Re: Ozone 4
 

Man... that Waves Grand Masters bundle is $2600.. <choke> :eek: It looks like a lot of the plugs from the Grand Masters bundle is in the Platinum Bundle. Minus the Waves Dorrough Meters, Waves Center, L3-16 Multimaximizer and L3 Multimaximizer.

Question:

Say I picked up a Plat Bundle and I wanted the missing plugs -- what would be the best way to go about it? :confused:

Re: Ozone 4
 

I have it, Ozone 4, and have used it on several projects.
The sound is transparent so no problems with how it sounds.

The only thing I don't like about it is when you look at it for a long time
you're eyes get tired very fast because of its contrast.

There is a slide button to make the interface not so black but it doesn't make the other lights any less green, red etc.
For whatever reason my eyes get tired of looking at it after just a few minutes.
However I can look at Waves, Brainworx, Altiverb, Oxford plugins all day without feeling any eye fatigue.

I guess my favorite thing about it is how un-Waves it souns.
I like that for a change.

GD

Re: Ozone 4
 

I'm a fan of transparent, although eventually, I would like to be well-versed in deliberate use of coloration.

It seems, like many things in life, we go in a full circle starting with colored, to transparent, then back to colored. What I mean is, when I first started recording.. my hardware and software was junky. I started on Cool Edit Pro with an old Tascam board. Everything was colored, unintentionally.

Then as the years passed, I tried to find transparent gear, seeking a true and untainted natural signal. I'm still into transparent stuff, but I can see the effectiveness of intentional coloration. It seems a lot of high-end gear offers specific colorations that sound good in the right context.

Anyway, went a little off topic there. As for the eye strain, I highly recommend a pair of Gunnar Optiks.

http://gunnars.com/gunnar_indoor_collection.php

I'm a Web Developer and spend 50+ hours in front of a computer screen a week, and that's not counting the hours I spend doing music. These glasses have saved my eyes every day since I purchased them years ago. Maybe this would make Ozone's interface a little more bearable. :cool: :cool:

Re: Ozone 4
 

I have Ozone 4 and love it. It's got the right sound at the right price.

You should also consider the T-racks suite in the same price range. I used it once a couple years back to master a rock band's commercial release. At the time, I felt it definitely "colored" the sound more than Ozone.

Just checking the IK Multimedia website now I see that their stuff is specifically modelled after analog outboard gear. I think it also looks a little "cool-er" (and more simple) than the Ozone interface too.

You probably got the T-racks EQ with your Digi rig. Check it out. It's awesome. And the rest of the stuff is that good too.

I don't think you'll go wrong with either one: Ozone or T-racks.