This is so STUPID! || iZotope Ozone 10 

Perhaps I missed something - why is it “SO STUPID?” And is it Snake Oil? Titles like this cheapen your channel imho. Why not “Ozone 10 might SURPRISE you!” Or “Will Ozone 10 change how YOU master?” I don’t know. I just don’t like click bait, but I like your channel a lot. This is a good vid. Thx.

I love Ozone’s individual elements. I forget what version I finally got advanced, I think it was 5, but it really opened up my ears. I’ve been with them since v3 and I’m a fan. They make a very musical EQ.

Truthfully, I think its a great plug-in. A couple of things I'm noticing. For me, at this point, until i gain more experience with Izotope, I'm still better off setting up a mastering chain that I perceive suits the needs of my track. Certain chains, for certain things. I'm not a top-down guy, I'm a bottom-up guy. This means that when I cross into mastering, I'm looking for 5%. If I need more than that, I missed the purpose on the mix. Period, no debate. And aside from loudness maybe sometimes 3% or 2% of my production comes from mastering. . Because all the heavy lifting to make a track sound great happened from the very first note of the very first part of the production. And the mix that followed. These days, plugins like this encourage more of the "mix into the master bus compressor with the first track" thinking. (top-down) Which is fine, but ithat's a technique that would ruin my style. I get that's what some people do. That's not me. The first thing I have to do when I'm mastering with izotope, is eliminating 90% of what Izotop suggested lol. And bypass all of the modules. Their mastering compressor doesn't blow me away either. Not a whole lot of character. I get way more out of Elysia alpha... or Iron, or BX Master desk, or For character, they are hoseing a track down with saturation and transient shaping. But in their defense I don't think Izotope thinks that this is a one-click walk-away thing. The auto helper feature is simply a suggestion as a starting point based off of a glimpse of your track. A glimpse. It doesn''t even listen to the whole thing. It suggests the loudest part for its 5-second listen, it spits out a half dozen plugins and slams it with a limiter. so why would anyone expect it to nail it? Try neutron sometime. It's mix helper hits a track like a nuclear bomb. Again, its only a starting. point. Let it give you some suggestions, but zero them out and. u s e y o u r e a r s. (spoken in obiwan Kenobi voice with 6 seconds of church reverb). One great thing about neutron is that it will give you an alternate way to randomly hear your creations in a different light. Thats discovery, and discovery is gold. Plus one more thing- ya gotta be careful getting too far down a tinkering rabbit hole. I mean seriously. Finishing tracks is about the most important thing. And spending 6 hours on tweaking .004 seconds of a transient is a good way to lose 10 years of your life.

I am not against adding transients and then clip them again. It gives the song a kind of pseudo dynamic. It works because the amplitude get translated to harmonic content. But yeah definitly depends on style of music

It's crazy how Izotope always pushes the line when it comes to plugin innovation. There's definitely some unnecessary stuff but all in all it's an amazing package just like it was last time.

After 2-3 hours of using Ozone 10, I have advice for anyone who bought it as an upgrade: Keep V 9 installed on your machine. While I understand the additional power granted by using it as a plugin within a DAW (automation, etc), there was a lot to be said for Ozone 9 working as a standalone. It allowed you to modify your mastering chain using any VST plugins you had on your computer, so I (being a UAD user and having access to reasonably accurate emulations of hardware like Manley Massive Passive Mastering EQ and Fairchild 670 compressors) would frequently do just that and get some really nice results. V 10 only works as a plugin in and doesn't allow you to nest plugins within the plugin, so... unless you use the separate modules and build your chain manually, you can't really get the same result, at least not as quickly. There is good news though... you can run V 9 as a standalone and then, within that, run any of the V 10 modules as VST plugins; works like a charm... just tested it. SO, yes, it's a cool new set of tools, but if you can... hang on to V 9 for added functionality.

I'm glad to see they added a separate clipper. Before, I would use an instance of a clipper plugin followed by a more conventional limiter. I'm shocked they didn't add that sooner

What I love about iZotope stuff is that you can lease or you can buy. I used to buy and paid more than I do for the lease; and have the latest version of everything as soon as it’s available. Good review!

I bought the Ozone 10 advanced and have already used it today for mastering. It is a serious upgrade from the 9 version and it gives an excellent starting point for tweaking and finishing up. I have many Izotope plugins, but only the Ozone really delivers for me. And the limiter has always sounded great, quite underestimated in various comparisons, in my opinion. The new features in the stereo imager - not mentioned here - are great, especially the compensation of lost signal at narrowing towards mono - well done.

I used 9 for mastering and was a little nervous given the UI change for 10,..I thought maybe the "candification" of the UI meant it wasn't really that different. Though I liked 9 so much I wanted to try it. I purchased the advanced and A/B tested on tracks that I had already used 9 on. The difference was significant. 10 preformed, imo, much better. Louder, brighter, and significantly more "automatic." By automatic I mean I would have had to tweak a lot more in 9 to achieve the leveling 10 did automatically. On the CON side the compression was way more dramatic and I think you'd need to be careful and dial the auto function back a bit if you want a cleaner track in terms of leveling. Would recommend to anyone who really liked 9!

I have Ozone 9 Advanced but I have slowly moved away from it for two reasons. Firstly, using a lot of their embedded tools as a mastering change sucks CPU power adding latency and distortion. Two, some of their automation for a novice or intermediate tempts you to take your hands off the steering wheel and you can get led into an exaggerated mess. Apart from this I wasn't happy when they moved towards a subscription service. I tend to use Tokyo Dawn Records products now mainly. This has made me use my ears more and forced me to learn and understand better what I am doing.

man your my favourite plugin channell ! great info and knowledge and even if its not for me i always learn something from your inside

I'm sorry if I missed if you've already made a video about this, but I would love to hear your thoughts about perceived loudness, such as even when two songs have the same avg. LUFS either sounds louder, and how you'd approach to achieve the maximum loudness while keeping LUFS at around -14.

Ok, that song is now stuck in my head...

The transient expander is awesome. I get material all the time from home recordings where time/talent not there and so some rescue moves are required. This is of course one of the things this company does best. Recommended! :)

I've been using Ozone Elements for quick mixes lately and I really appreciate how quickly I can get a consistent level and it also checks the tonal balance for anything really obviously wrong, though I mostly ignore the high and low shelving suggestions. The new modules - Impact and Stabilizer - seem really useful to me, but in moderation as Stabilizer could really suck the life out of the track. They do seem to fight each other a bit, but I'm sure it's fine.

Yup was waiting for this... I saw the Eventide video and was wondering why didn't you posted this yet!

Hey what is the song you've tested Ozone on?

Does the stabilizer work like Gullfoss? I was going to get Gullfoss soon, but I almost wonder if upgrading to Ozone 10 would effectively give me the same sort of thing for a cheaper price.

I go -2TP because the streaming services' Codec (not every service is the same in how they encode either) will make it "louder" and can easily eclipse even beyond the -1TP depending on material. Glad to see they got that right on the tool! I just got Ozone 10 Advanced as well but haven't taken a look yet, looking a little better than the last already! I just wish I had RX Advanced, I only have Standard :( I'd love to see someone cover that "Spectral Recovery" feature of RX 10 Advanced, where you can take a thin recording and expand it? For example, a mobile phone recording, you would use this tool to get rid of the thinness. Neat!

Thanks for your videos, like them:) Comment to transients and limiting… if you limit transients with preview and releasetime, they will always stick out, because the sound around them gets pushed down. So push the transients in mastering can make sense, even if in the end they won’t be louder, but they will seem louder.

[Serious] Does anyone know how I can find that song? Google search of lyrics doesn't give me any results

this is a weird question, but what chair are you using? i kinda need to buy a new one and don't know what to look for

The subscription at izotope does only include tools more targeted at vocal mastering/treatment :) as for now it is included: Ozone 10 advanced and RX10 standard and some other tools

Remember.. Some artists/lables don't have access to the original mix projects or pre-masters Especially when ur re-mastering material from the early 90s Unless u have the DAT your next step is vinyl Full restoration works etc There are many reasons to use a "de-clipping" tool and the same to reduce transients Not everyone is mastering great mixes. But ozone has some amazing tools to get the job done..

Sounds like a worthwhile upgrade if you don't already have this chain as separate plugins or need a bit of assistance from the "AI" to start you up. Thanks for sharing you view and great nails :)

Can't you use the Impact module to smooth transients as well? Isn't it the reason why its faders are in the middle and not at the bottom?

5:30 "for streaming you should be at -14db. Go a little bit above it." to -9db , got it!

Even though some things should be fixed at the mixing stage (in an ideal world), the reality is that we don't live in an ideal world, and unless you're doing mixing and mastering yourself, a mastering engineer may have to deal with a not so good mix. So tools like transcient recovery (Impact) may be very useful to help making the track sound better. If the AI adds this component in the mastering chain, it is because based on analyzis/references, it could be better, and it assumes that you can't go back in the mix and fix it properly. Would you call the client/mixing engineer and tell him that he sucks and that he has to fix the track? No, obviously you have to deal with it and do your best to make the track sound as good as possible. If you are doing both mixing and mastering, then the Impact tool should only be used as an indicator that you should go back into your mixing session and fix the transcient before thinking of mastering the track. Don't forget that aspiring mixing engineers, wether they're using scopes on not, will rely on ''mastered'' reference tracks and may cut too much transcient off their track before going to mastering. So that kind of tool falls into the ''track saving'' category.

Is the song you used to demo out on Spotify anything?

Thanks for your Hiqh Quality reviews and comments. Love it

This version of Ozone looks more like Newfangled Audio Elevate now combined with Split EQ Gulfoss and Spiff... Very cool update.

I invested in Alloy 2 as a channel strip and it did amazing things to my trained ears. So yes, iZotope does amazing things for mixing. Mastering, still don't now from some introductory demo's

TDR Limiter 6 GE... I got into Ozone right at the very beginning when it was fairly simple and I was very inexperienced so it was perfect for me. Now that I am far more proficient in mixing and mastering I listen to the track and decide step by step what is the right tool for the job that is needed. The Tokyo Dawn suite of plugins is superb and I don't think I will ever go back to the Ozone method. 😎

I use Ozone 9 for mastering. It’s amazing. This is very different looking!

Thanks brother i always enjoy watching your straight forward point of view on your channel , so i thanks to you i decided to upgrade from Ozone9 Advanced to Ozone10 Advanced 🍻♥️

FWIW to clarify about transients, maximizers are basically limiters, so they take care of the "big" peaks that bump up against headroom. However, there are still peaks happening below the maximizer's threshold, like from hand percussion. Applying transient shaping *only* to lower-level signals can emphasize these transients. I don't know if this is what Ozone 10 is doing, but it's a valid technique. Of course, it's better to have used transient shaping while mixing, not mastering. That way you can focus only on transients for specific instruments instead of painting with a broad brush.

I own ozone 9 but I have not used it a long time because I need low latency limiting to produce through. My limiter of choice is TDR Limiter 6 GE because I can produce at low latency with the clipper before the limiter and then render at high quality mode without needing to change it before bouncing the track.

i think how they mixed music back in the day which was not for loudness and for dynamics via Analog is really the way to go and emulate be nice to use digital in that manner

Convoluted. I won't be upgrading, especially since their upgrade prices are ridiculous, even on sale. I really only use their maximizer plugin and occasionally throw in the imager. The assistant EQ is almost always way too much in the highs. I feel like if I have to go back and make adjustments I might as well spend the time to think ahead what I want to do. I have Sonible, Gullfoss and Fabfilter and often times find myself gravitating towards these. If I want a transient designer I'll probably just buy the best: Punctuate. If I want to "recover sides" I'll go back to my mix and address something with a mid-side EQ. If I want to clip something I'll use something with soft and/or hard clipping options, in the mix or master depending. The more I design and shape audio the more I realize that you really need to have good ear and a vision for the final product as well as a willingness to experiment to get great results. You can't rush a good thing. The problem I have with Izotope is they are trying to make mixing and mastering accessible by dumbing it down. Basically, if you don't know what you're doing to the sound then why do it? One example, if you want to mess with the transients why not use something like Punctuate (or SplitEQ or Physion), a plugin that isn't dumbed down and makes you think before you tweak?

I LOVE THE SHOW, YOU ARE A GREAT ENTERTAINER AND TEACHER. YOU KNOW YOUR STUFF. GREAT PROGRAM

Love that intro transition of let's get started...(fades into intro) lmao Also I am loving the new Izotope Ozone 10. I have the annual subscription, and to me, it's worth it.

Thank you for your helpful videos :)

I've had ozone for a long time. This looks pretty good. Some things of course you may not need for every mix, but it's cool to know it's there in case. I thought the -1 db trick was cool. My biggest concern is the streaming services seem to squash the mix a bit as well. Not sure what systems they go through either..that would be a good episode. What are they using? It just can't be a blank channel. Thanks for this though. I always come here for the correct review! Trusting your judgment for a long time and it never fails me. :)

I'm just disappointed they dropped the standalone app. It was my go to with Ozone 9 when I needed to do few tweaks or test/do a quick master. Now you have to do the extra step and load a track into DAW. If I have to do it from within my DAW then I don't really need Ozone anymore.

not an ozone user but they do a pretty good job with the GUI imo.

OOO you got the lewitt! Ive been eyeballing that mic system for awhile. Is it dope? If I was going for plain versatility would you suggest that lewitt or a Sphere L22 ?

It’s fascinating to me, how you understand all this stuff so easily and what it does. Real talent there.

To me an expander + soft clipper makes a lot of sense. Expander can emphasize a snappy transient lasting for example 15ms and then the clipper just shaves off less than 1ms. Also I’m shocked that more limiters don’t support hybrid limiter + clipper, most modern music uses clippers and they can sound more natural and less flat than limiters. One can always use separate plugins and tweak them separately for more control, but if they are designed to work together, possibly the result can be better? Also, more convenient for homemade “DIY masters” that are for a quick preview or sharing track sketches (target audience of Ozone I believe), not the final professional expert master.

That Stabilizer kinda reminds me of Gullfoss with the general frequency balanance and simple eq/tilt.

So I have been playing with a lot of mastering plugins over the last year. Honestly although it seems like we are bouncing back and forth with transients, what we are doing is throwing loads of precise control in mastering. As someone who has been at this for some time, here is my perspective. Ozone is probably all you need along with maybe a few master bus compressor types for mixing into, thats the first thing. Second, if you find yourself pulling your mix apart, look at what you are doing and go back to the mix to achieve as much as you can until you literally use this plugin to do no more than 5% at the end. Once you can do this, I say you can run free. Problem is to get this good, you'll be over 40 and past it.... but anythings possible lol😄

The impact section you need to click on the block to select which bit you are editing - you left it on lows whilst soloing/muting the other bits. At least how that UI works elsewhere

The Ozone hype! Understand me, it's a good program but mastering is possible with other good software. Besides, I like to do mastering stand-alone so it's a shame there's no stand alone version anymore. The new version has no Impact on me, so I stick to what I have.

I was really hoping you'd take a swing at the "Recover Sides" function of Imager, which is the only interesting feature for me compared to 9 Advanced (apart from being happy about the clipper, but that's nothing special really, and was easy to work around in 9 as well)...

I do use this vst as like a second set of ears but these new modules don't really make much sense I think, I think the soft clipper feature should have more controls though

How do you export a song with this if there is no standalone version that’s what I usually use?

i'm personally not a fan of transient shapers and i'd especially not use them in mastering, because wether they correctly detect a transient or not can be a bit random. first of all the timing can be imprecise, but on top of that even the entire triggering can be imprecise and you might have it sometimes pick a transient where there is none. i have not tested this particular plugin's transient shaper, the impact module, but every single transient shaper i ever tested was like that, even oeksound spiff, so i just don't think it can be used a lot of times. these kinda things work well on little drum loops, to spice things up, but not on a full master, where dynamic things can happen, unless this transient shaper has some secret trick that prevents it from making these types of mistakes. gotta say tho, i like that ozone plays with the transients in general. like crushing them, then bringing them back a bit again and then crushing them again, but in different ways. it's not just a question of more or less transients, but every one of these stages forms the character of the transients, their shape and colour. so even if it's a lot of back-and-forth, it can make sense in the end (ignoring that there's a transient shaper in it).

What was the name of the 2nd plugin in his mastering chain he mentioned?

Thanks for this video! Btw, Love your Nail Polish. 😁

Amazing! But... this mastering bundle (it definitely is NOT a channel strip) can send you down the rabbit hole before you take your first break from tweaking. I think it is aimed at PRO studios that have to work lightning fast, just not the way i organize my workflow.

Couldn't help but notice you not wantin' to say the track and artist name you usin'. Did Sandstorm and you have an argument/fight lately?

Like my Ozone 9 and Neutron 3, not sure if ill upgrade for the 200US I like the idea of stabilizer and Impact for quick masters of demos and such. The delta and solo buttons allowing us to hear what happens is awesome and the opposite of snake oil. I like clipping on dance tracks so I don't mind having it as an option.

Do you onow hpw much would it cost to upgrade from ozone standard 10 to advanced 10? Could not find the information anywhere.

Metal guy here, dig the video, dig your nails, and it was very cool to see you do something with Glen. Subscribed

Reading the commentary demonstrates a very knowledgeable audience. That was the best part of this review.

Today's darude-sandstorm is amazing. I need this song

Do you think there is a plug-in in ozone 10 that’s like soothe2 or gulfoss? Which one is similar to spiff? I want to buy spiff and soothe2 but if OZONE 10 has plugins just like those I’ll just buy ozone 10 lol

Generally, from more an artist, musician perspective, which is where my experience leans. Once the mix is straight, which for the artist's is more about finding a mixer that mixes the way the artist's prefer, for us anyway, then the mastering is usually about finding different ears to apply a different perspective to the mix. We always felt that was money better spent, getting potentially more for the money, but have had mix and master from the same source as well, because of cost's. The plus side to the Izotope Mix and Master line imo is for the bedroom producers and or those looking for solid quick results, with little experience, especially if a high volume of art is being created, which is more the case these days. Not to mention the average lower quality listening experience these days as well, many listeners not being flamed because its not radio ready standards. It seems to have a lot to offer in that regard, far less in other regards.

what song did you use in this video？ It's great！

I have Ozone 9 advanced and am on the fence about the upgrade. I use the assistant, so having additional adjustments to the AI's suggestions like in Neutron 4 makes sense. The new modules look like features for people who master with no access to the mix, yet Ozone is no longer available as a standalone plugin, which does not make sense. Since the Soundwide umbrella is now offering Izotope products along Native Instruments bundles, an upgrade for Komplete 14 which has Ozone 10 standard included and keeping Ozone 9 advanced is probably what I'll do.

I have not been able to get comfortable with these assistants. If I understand what they are doing, I can do it myself; if I don't, then I don't know how to fix the mess that the assistant has made of my mix. A bit like quantising a rhythm - it's great if you want a certain kind of rhythm, but it can ruin other kinds. For those who know how to use these assistants to their advantage, I imagine it can be a great time saver. And with certain kinds of process, you need to be led somewhat by a computer analysis as there are too many factors. More importantly, it looks like the additional effects here make this a significant upgrade that could well be very good value for money compared to buying separate plugins, and will certainly have the workflow advantage of a unified, contained system.

Stabilizer looks a bil Gullfossy! Awesome content as usual, downloading the newer version right now :)

Is there any difference between the original track and one you've added transients and then compressed again? None at all i guess?

There are scammers active in the comment section. There is no giveaway, don't share your personal details. White Sea Studio only communicates over e-mail from the whiteseastudio.com domain.

I saw a video of somebody comparing ozone 10 AI mastering against a 15, 50 and 100 dollar mastering engineer. I really liked the Ozone version and the 50 and 100 dollar versions were actually good. When the guy used the 100 dollar version as a reference track, Ozone mastered it perfectly. So I guess using a reference track to master with Ozone is really a golden feature..

The huge emphasis on multiband processing (and Ozone in general) is a bit like fast food. It's quick and instantly gratifying, but in the end, it will never have the same nuance and depth as a five star restaraunt. I could definitely see it being useful for underground musicians wanting to play WIP tracks at clubs or send demos to labels, but the "flatten everything with flashy multiband processers" approach will never substitute for a proper master.

Clipping and reintroducing transients is an extremely common thing to do in curtain styles of music..

Nice overview, thx! Finaly the mastering assistant works for club music, nice!

Joker nails? The absolute madlad

I can attest 100% to the analyzers being good tools but still can’t replace the ears. My buddy sends me beats to mix, and his style is very unique in the sence that he likes dark stuff and tends to make all of his sample sounds low mid heavy, and every sample has sound in the 400 to 800 range, that he specifically wants to hear. So my analyzers always tell me there’s a bump there, but any time I start cutting stuff in that range(even on the master, he’ll notice and say “something feels missing from this.” 😂 So I just keep it and attenuate as much as I can get away with without it being noticeable, and guess what, the beats still come out great, even though there’s always a slight boost in those low mids.

Soft clippers are really popular in hip hop. IK multimedia has a soft clipper that a lot of hip hop producers use. Fl studio is also infamous or famous for having a limiter on the master chain and that kinda influenced the hip hop clipping sound. I can see why isotope has it. For most conventional mastering requirements it’s probably not as important, but one of isotopes bread and butter customers are hip hop producers that can’t afford to have a track professionally mastered. But for bedroom hip hop producers that slap ozone on their master channel, having a soft clipper is probably essentially.

what song was used in the video?

I like Ozone because it easily helps beginners to master a project fast and learn what mastering is. While you’re getting better you’ll become less using it.

Fantastic content as usual my friend. Love the fingernails.

I don't know what difference it makes about the luff's n stuff, when the streaming services are gonna adjust a master that's too loud, anyway.

Hi, wich Is the difference between Total Balance and master assistent ?

Hmm - looks like a nice tool to fix old demos etc. When I need to boost my transients I should probably learn how to use my compressor first... I am using Ozone 9 as mixing guide: if the assistant doesn't change a lot, then my rough mix gets close to OK. As an amateur, this helps me even more than a reference track learning to mix. From my point of view, this is a "classic" prosumer/amateur plugin: making music as a passion. Easy enough to use, acceptable results. If the music is commercial, than it is worth investing into a "real" mastering service. And No: it is not a cheap plugin, but that doesn't make it pro. Amateurs are an important target audience, ask Gibson how many Custom Shop guitars are sold to "Blues-Lawyers"... 🙂

I've only ever used Ozone Advanced. I own 9 currently. The maximizer plugin and Tonal Balance 2 meter are the only 2 things I will use. Can't justify an upgrade yet.

I really like Ozone 10 advanced... It gives me a really good picture of where I'm at when I engage it...

The impact module is a multiband compressor with mid-side capabilities, I think

I love your videos and insight most of the time, but do you mix/master anything other than light pop rock and Darude? Ozone 10 (and every prior version) is a pretty powerful suite of plugs/modules, but you gave it about 5 minutes lol It may not be the be all end all, but what is?

What is the Energy Alpha plugin? Never heard of that one and cant find on google...

i only bought so i can cross upgrade to when they finally get it right to the point where i can just focus on singing and they can litterly mix and master it all for me through an A.I. and have it sound exactly like a charts song.

It’s not the same as the mastering services. After you run Ozone 10 you can continue to make adjustments to your track. That makes it almost nothing like the mastering services where after a couple of tries at mastering, you get what you’ve got. MaSsive difference.

Just been playing with it for a few hours myself. it's ok but the same old thing with the assistant, though- The results can vary wildly if you put the exact same piece of music through it more than once. I trust my ears and I think that often, the simplest approach is best when it comes to mastering. I'll stick with equilibrium and the ds1.

I really am digging this track. Where can I hear it?

That -1dB true peak has been a thing at least since Ozone 9 or 8 (I forgot what version I have, but mine has it too)

I love the soft clip. Gives it overall dirt.

The click bait titles are strong with this one

For me the best feature would be 4K support. Is it a thing with IO10?