This is so STUPID! || iZotope Ozone 10

[@johnnybregar]

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.

[@MusicFed]

I agree. the only 'stupid' thing seems the title of this video

[@artprojectsnz]

Yea agree….gets over excited then praises it - so the title is super misleading? I bought it a few weeks ago and its amazing…..🧐

[@christoferrage]

Clickbait lol

[@NunyaB1s]

KZbin algorithm has a negative bias. You get promoted more quickly by leading with negativity. That’s why the channel “Bad Gear” has done so well. (He rarely actually uses “bad gear.”)

[@johnnybregar]

We’ll that really is stupid then….

[@julianwest4030]

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

[@_thevaporz]

God Particle (limiter off) > Sir Audio Standard Clip > Ozone maximizer only

[@billpodolak7754]

@@_thevaporz you should compare the harmonic profile of the ozone soft clipper against standard clip using a sine wave. Ozone is way better

[@_thevaporz]

@@billpodolak7754 ​ @William Podolak Cool, thanks. I'll check it out!

[@miquelmarti6537]

you can make the maximizer module to act as a clipper. Look at the left where you can choose the limiter type. Works very well

[@julianwest4030]

@@miquelmarti6537 Yeah. I've done that before, but when using Ozone as a stand-alone application, you can't use two of the same module

[@thejacevekexperience]

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.

[@mustafayasen4378]

Underrated comment

[@jasperkirton6848]

Great comment

[@shyguymuzik9095]

Most definitely try Neutron. It listens to your whole song and gives you a nice starting point from your mix. I agree, if your mix is good then mastering will be more for loudness and fine tuning.

[@taxmoneyyy]

If you're not mixing into a mastering chain, whatever you're doing is probably irrelevant mate. You'd think you're done with the mix and would then bump it to appropriate loudness levels and probably destroy most of your mixing decisions. If you're already mixing at appropriate loudness levels then you're already mastering from the get-go (yeah: gain staging at target loudness levels is basically limiting)

[@thejacevekexperience]

@@taxmoneyyy yea I disagree. I switch the mastering chain on and off at will. I make much better decisions on a track and submix level when I don’t have a mastering chain inflating things with various types of mastering chain plug ins. The method you are referring to is called “top down” - some prefer it, some don’t. I also mix in mono this way. Being able to switch the mastering chain on to check inflation in the signal and elevation of all the added flair of mastering and than switching it off at various stages is how I and many other professionals I’ve worked with work. Of course when the mastering phase begins, than yes, the mastering chain is default “on” always

[@compoundaudio]

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..

[@J77199]

Agreed. That felt a little elitist when he said that

[@compoundaudio]

@@J77199 yep... Not a good move... 😆

[@atetraxx]

For real.. he missed the mark on this review pretty bad

[@compoundaudio]

@@atetraxx 😎

[@RealHomeRecording]

@@atetraxx he always does so that people like us leave comments. It's brilliant actually! Because the more comments a video receives it counts as an engagement even a thumbs down counts. The guy knows what he's doing when it comes to the KZbin algorithm.

[@RudalPL]

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.

[@levondarratt787]

yea...TE Standalone NEEDS volume automation and copy and paste song sections....It's almost ready...why discontinue - they owe more features....

[@astralboy]

TC electronic has finalizer - good for quick something

[@realraven2000]

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

[@levondarratt787]

LMAO....a little above is -13.... -9 is another universe...

[@realraven2000]

@@levondarratt787 you didn't get the joke.

[@BartWronsk]

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.

[@FredDeMassiveAlambic]

take a deep dive into most famous modern limiters, you won't be shocked anymore

[@donkeytracks4283]

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.

[@simonjonsson6926]

+1 Yup

[@Spikeypup]

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!

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.

[@UTOBY]

Hey Leiki, in short: Perceived Loudness for us humans can be described as hearing more loud noises in a given time. Imagine shutting a door with force and a Jackhammer. In both cases you hear a snippet of, let's say 5 seconds. The jackhammer will sound louder, but the peak level is quite the same as with the door. Why is the jackhammer perceived louder, you may ask? Well it seems that our brain integrates loudness over a given time. If in that time the jackhammer made, let's say, 10 peaks, the door has only one peak. On the other hand we perceive sounds with a shallow dynamic range (difference between quieter and louder sounds is small) as louder as well. LUFS for streaming services is measured over the entirety of the whole song. This means, if you, arrange the track with an appropriate amount of silence in between sections with a short term LUFS reading of -6 you can still end up with a -14 LUFS integrated. What you can't really do is write a song with a lot of distortion and many loud transients and have a short term LUFS of -6 and an integrated LUFS with -14. But this song will be perceived louder than an ambient track with the same LUFS, since the dynamic range of the distorted sound is much smaller then the range of the ambient track. You may want to look at some very good videos from Dan Worral about loudness and Dynamic range, and maybe the response to those videos from @Baphometrix. The latter one has a great in depth tutorial for Loudness in mixing. Crazy stuff and pretty technical. ;-) So long T

[@bulahe2620]

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

[@GILLISH]

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

[@BartekEVH]

My Ozone 9 is Best and I don't need nothing more.

[@SinanSindicate]

bro you forgot to check the cut function in the stabilizer. maybe a new soothe killer???

[@DJayFreeDoo]

its similar to soothe i suppose but its not as surgical. the spectral shaper module is a better comparison to soothe

[@nrosko]

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

[@JSprayaEntertainment]

4:21 look how EXCITED he is... but the (title) says " This is so STUPID " ....... izotope seems fine , the video Title is STUPID ..

[@tekis0]

Clipping video, please?

[@tompearsall1060]

bit harsh on this tbh. surprised at this reaction to new modules, they've got to add stuff

[@PabloMessier]

I'm not sure if i'm going to buy Ozone10, yes there are some really nice features in there, but nothing that Ozono 9 can't handle, the impact module? well it's ok, the stabilizer well i've use the Gullfoss EQ from sound theory and it has a better implementation, but the feature that really screws it up big time is the master assistant, i've test it with five great mixes and for all five mixes gives me the same suggestion with the same five modules and it gives really weird results, what it's doing is that is basically taking your signal and using targets to matc it, throwing all kinds of processing that might not be needed, so yep i'll pass this one.

[@raycochrane3971]

Why do my replies to Levon Darratt disappear? I was ridiculed by that person and had a reasonable, comprehensive answer as well as an invitation for that person, who posts no content, to have a listen. Please restore either of my discarded responses to the accusations/implied incompetence and slurs about a working M.E..

[@BobbyCrane]

whats this actual song?

[@Larsec]

Sage Audio used it in one of their tutorials as well. They were kind enough to inform me it's 'Someone I Used to Know' by Loving Caliber :)

[@connollytunes]

So... What was so stupid? Little confused...

[@tobiaslofi]

You have become the master of clickbait titles! Good review, you liked the plugin but the thumbnail/title called it "stupid" .... you gt me to watch at least! :)

[@DJSoulbrother]

If anything the soft clipper should be a standalone or atleast be able to be put in the chain where you want heh

[@donnas8408]

So you were to afraid to say what you really think if it’s snake oil or not isn’t this your whole gimmick reviewing and giving your final answer is snake oil or it’s not snake oil? So you gave no yes or no = lame

[@swh0rd682]

Love your pretty nails.

[@musicproductionbrauns2594]

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

[@saricubra2867]

Still, this has nothing on Newfangled Audio Elevate. By far the most natural and impressive transient shaper + limiter + eq+ limiter plugin i ever heared (and a CPU killer too).

[@Adam-g-uk]

@@saricubra2867 yeah but split eq is much better for sound design type of edits (especially in classic breakbeats ect)

[@saricubra2867]

@@Adam-g-uk I can use split EQ for mixes without compressors. Then Elevate for drums.

[@Adam-g-uk]

@@saricubra2867 you know what, I never actually thought about that! It can be used as a multi band compression, I love that plugin

[@ChrisPFuchs]

Right, like I totally get what Wytse's saying but I don't think it's really a knock against iZotope to include a soft clipper in Ozone. It sounds pretty good.

[@somedude8604]

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.

[@sub-jec-tiv]

The biggest new module in this one is their version of Gullfoss

[@AeonGreyh]

@@sub-jec-tiv Yeah their sculptor is great, I love it

[@artysanmobile]

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.

[@mradamcshaw]

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.

[@Keroser1983]

TDR Limiter 6 is one hell of a limiter. I have Ozone too but I always reach for it at the end of the day.

[@JK_EU]

This up here, except last 2 sentences.

[@keveydaking]

Is the cpu use better??

[@mradamcshaw]

@@keveydaking Yes

[@sub-jec-tiv]

Q: Why would you care about latency in a mastering chain plugin? Are you also using analog stuff on a bus in parallel? I agree Tokyo Dawn stuff is fantastic. I think Ozone is more for people who aren’t professional mix and master engineers, in my experience a lot of these folks hit the AI mastering button and go ‘done, that sounds great.’ I’m not judging them, they’re usually younger musicians who haven’t yet dug down into craft.

[@ZeroStateReflex]

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!

[@rafyahu]

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.

[@compoundaudio]

Agreed

[@jameswhitaker4357]

Do we go to the website to receive the upgrade, I bought Ozone 9 with 10 upgrade

[@rafyahu]

@@jameswhitaker4357 Yes

[@jameswhitaker4357]

@@rafyahu thanks bro gonna check it out when o get off work. LFG!!!

[@tekrahmuzik2119]

is Advanced upgrade vs Standard worth it?

[@robertsimpson5801]

I really do appreciate the scrutiny that you bring to these plug-ins. It definitely offers a different point of view from most of the other videos. However, it does seem like you can sometimes overreact to little things… I’m not sure if it is because you have gotten so many views over the years by throwing a fit over little issues and calling things “snake oil.” For example, yes, there are multiple modules in ozone 10 that allow you to affect the transients of your mix. I don’t see why this is a bad thing. There may be times where you don’t need to have several modules because you can just use one module with multiple parameters to affect your mix the way that you want. In other instances, you may want to add a little bit of transient processing differently in different parts of the signal chain. In any case, thanks for another interesting video!

[@arrivalsband9201]

This is the worst product review. You clearly don’t know anything the product you are reviewing. You are not interested, and you don’t care. I was here to learn something from a pro and got only some pressure to help you with something. Don’t do a video of something you know nothing, just don’t. Talk about all the other topic you have just listed but please leave product reviews for the people who are doing video to help.

[@youngthugsta12]

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?

[@saricubra2867]

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

[@georgezorbas9036]

sorry..but I maybe missed it. What feature looks like Split EQ??

[@DJayFreeDoo]

@@georgezorbas9036 i think hes talking about the impact module

[@anthoni8337]

What plugins remind you of gulfoss and spiff? I have the same ideas, or do you mean more of soothe 2 instead of gulfoss?

[@anthoni8337]

Do you think there is a plug-in in ozone 10 that’s like soothe2?

[@shaft9000]

so...what does Ozone look like? 😶

[@DavidRichardsDC]

Demonstrating a mastering plug-in on pre-mastered audio is what's stupid (title reference). To really appreciate Ozone, use it on something that requires mastering. Then listeners could better hear what it's doing. Next complaint: he doesn't seem to understand the plug-in has a logical flow and he doesn't really understand the modules. For instance, the purpose of the Impact plug-in is not to recover the transients that you squashed on the previous screen. It's to affect the feel of the track by letting you sync compression or expansion with your beat. And he acts like having tools to either expand or reduce transients is a conflict ("come on, decide, decide!") like we should only ever do one or the other, which is obviously silly. You might want to do either. Your EQ both cuts and boosts, is that a conflict too?! Usually a great channel, but this was disappointing.

[@wojtek987]

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

[@rishi.mukherjee]

Darude by sandstorm. Nah but fr tho, the tracks in his video are given to him by artists he’s personally worked with so you’d probably not find them online.

[@zuluripper]

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

[@BartekEVH]

The same

[@everybodyhasoul5438]

Just commented the same lol

[@sainsay]

But it seems to goals are slightly different. Gullfoss always felt like a tool to help me get some air and brightness while removing some resonance. Looking at stabilizer it feels like it focusses more on just removing resonance and flattening the eq graph. Good to see different companies having a different take on a similar concept

[@BartekEVH]

@@sainsay Sculptor??

[@UTOBY]

TEOTE from Voxengo is closet to Stabilizer I think. But it 'only' has 64 bands and three target spectrum (Flat == pink noise, Flat + Loudness == well Pinknoise with more low and high, and EQL+Rock == pink noise plus loudness plus a boost uhm 3.5 khz?) But, yeah, I only use it so see what may be 'wrong' in the mix and fix it there, if I have the mix.

[@davidmultimedia2024]

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.

[@cmili4039]

Mastering engineers will ask the mixing engineer to go back and fix stuff if they can? If it’s not too big of a deal and is going to guarantee a better final result, yes they will tell them to go back and fix the mix lil bro

[@kdot.]

@@cmili4039 like he said we don't leave in an ideal world, not every mixing engineer would like to go back and fix a mix cause you told them to lil bro

[@shaft9000]

One man's reality is another's dream or nightmare. it's just another tool box in the end. Given the absurd abundance we have now, your creative and logistic priorities matter 1000x more than the tools do.

[@fraserbrowne1685]

Why wouldn't you go back to the mixing engineer / producer / artist, and give them constructive feedback on the mix? If it's a few things it's probably worth it. If you are going back to ask for stems, maybe that's too far.

[@davidmultimedia2024]

@@fraserbrowne1685 The mastering engineer’s job is to take a given mix "as is” (assuming it’s already as good as it can get, considering the mixing engineer’s skills) and make it even better/compliant with industry standards… that’s it. By the way, a good mastering engineer isn’t necessarly a good mixing engineer. This is 2 completely different jobs and skills. Just because both have trained ears and use plugins to make a song sound good doesn’t mean they could do both jobs. So no man, a mastering engineer would never do that. In fact, it’s a lot more commun to hear about a mixing engineer pissed off at the mastering engineer because he changed the sound too much. This happens all the time!

[@rsutin]

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.

[@RudalPL]

As a Ozone 9 user I have the same feelings. I am actually disappointed they dropped the standalone app. You could do a lot from within the app without the need to constantly going back to DAW. And like you pointed out, having the option to load additional plugins was really great. I upgraded but I think I'll be still using my 9 version.

[@matthewmessner1105]

This is the type of analysis I look for thank you. Often we get upgrade happy but miss these details. That’s a huge downgrade

[@monsterbroccoli884]

Every Ozone module is still a seperate plugin. You can still put 3rd party plugins between Ozone modules. I have been an Ozone user for years myself and really felt no need for the standalone app. From a developer perspective I understand that they wanted to discontinue the standalone app. It unnecessarily consumes development resources.

[@gabrielmetatron9086]

thanks for confirming that!!! definitely not rushing to update

[@entity9588]

@@monsterbroccoli884 It's actually a really shitty thing to drop tbh. Izotope claims they want Ozone to be a great tool for advanced users like mastering engineers but also good for novices. For novices the Assistant tool is a MAJOR feature. Even for more experienced guys it can be a good starting point. With the removal of the standalone you cant add third party plugins in the chain unless you copy settings and migrate them to each individual plugin in a DAW which is very time consuming. I don't really care because I don't use the assistant but it's definitely a big downgrade.

[@alfredgrupstra]

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.

[@morenazo6412]

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.

[@PedroHenriquePeagaH]

BAIT OIL!

[@TrentSolo]

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! :)

[@GeorgePiazza]

I've missed the expansion feature from the dynamics section in Ozone 5 (which I still have on my system, just for that feature); the Impact (or multiband transient designer) looks like a welcome return to that idea. Though I'd prefer a fully controllable downward & upward expansion integrated into the dynamics, to fill out the mid-levels of the music and remove unwanted low-level noise when necessary.

[@eyzackkeain1595]

@@GeorgePiazza get dmg multiplicity you can.

[@kadiummusic]

Softube 'Transient Shaper'... £30!

[@Jzh733]

Ozone 20 will have 100 modules including weather forecast and games.

[@BF-up5xw]

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.

[@DJayFreeDoo]

I once tried ozone 3 and i didnt like it. then i got back into ozone in version 8, then 9 and i can say with a clear concience that ozone 10 is a huge upgrade. It sounds so much better than the previous versions as far as the assistant goes. This time around you can pretty much run the assistant and leave it at that as a final master and it will be release ready if the mix doesn't have too many problems getting in the way of the assistant doing its magic. But ofc dial things into taste because that what its all about. but the assistant may very well fix some problems for you so you can get to the creative part of mastering right away. all the new features is ofc useful for mastering completely manually too. But i would still consider using eventide elevate limiter for its many bands if you want to get louder without sounding squashed. some of ozones maximizers limiter algorithms have spectral dynamics but you don't have the same control over it as you do with elevate. Another thing i do sometimes is att slates mo-tt before ozone to add touch of extra glue going into the rest of the mastering with ozone 10.

[@billpodolak7754]

Could be useful to treat the assistant like a second opinion. That way you can shoot it out against your master and even if there's just one move that the assistant made that's an improvement it could be worth it.

[@BF-up5xw]

@@billpodolak7754 I'm sure you're right; but it is important to understand what they are doing to get the full benefit. So you might need quite a lot of understanding to make good use of them in that way.

[@Whiteseastudio]

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.

[@AllyDonald]

Gonna agree with below comments, love your content. But this is a REALLY Click baity title.... Especially considering we know your opinions on the last ozone you reviewed. Still a fan 😂

[@Leftblu]

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

[@Larsec]

Sage Audio used it in one of their tutorials as well. They were kind enough to inform me it's 'Someone I Used to Know' by Loving Caliber :)

[@LeGaLdeadparliament]

​@@Larsecmany thanks!

[@FKupstateB]

there are some improvements over ozone 9 advanced; i think it's great (altho i miss the standalone version). meanwhile, WHY do ppl make these hysterical videos? 🙄

[@millenniummastering]

-1dB is total nonsense. The -1dB streaming Spotify thing is out of date and a misunderstanding from an AES whitepaper written back around 2012 for the development of the AES EBU broadcast standards etc and is not something that needs be considered outside of classical music. The reasons for what Spotify are saying come from the work done by Thomas Lund which formed the basis of the ITU/EBU/ATSC standards that inform the current recommendations. However they are an oversimplification: From the Technical Document - AES TD1004.1.15-10Recommendation for Loudness of Audio Streaming and Network File Playback "A maximum of 1 dB of limiting prior to final encoding is recommended as a starting point. Do this only if frequently-occurring peaks cause audible distortion or artifacts at the decoder. Use the ear as the final judge, since limiting more than about 1 dB may produce more audible artifacts than simply letting the program clip on occasional transients." Let me know if all that makes sense to you. Full time professional Mastering Engineer here.

[@lamhizz]

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

[@Larsec]

Sage Audio used it in one of their tutorials as well. They were kind enough to inform me it's 'Someone I Used to Know' by Loving Caliber :)

[@mike_likes_sludge]

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?

[@ThompaThelin]

Have using Ozone 10 now for 8 months and before that I used 9 but not that much , it's amazing and a really a good tool for mixing and mastering, probably one of the best out there. now watching this video again, its amaze me how "stupid" this "review" is. Don't really understand why they send it for you to review because you clearly don't take your time or understand some, or sometimes the important feature. This is not me hating on you in anyway, I have big respect for the time its probably take to do your videos ... but ... I kind of liked your earlier videos when you where more humble and didn't run around rolling your eyes at features in the plugin , that you in retrospect didn't understand :) hope you don't take this as "hate" because I am an old school musician and audio guy with many years of trial and error and love to see you young guys that are so passionate about audio engineering. you probably don't read this but I wish you the best in whatever you do. love from Sweden !!

[@gelatinous6915]

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.

[@J77199]

What?

[@matdan2]

You're making it sound like every mastering engineer masters to a set goal, one that will always be better than software. That's just untrue, it's about the ear and not so much the tools used. Anyone not experienced - Don't listen to this daft gate-keeping rubbish.

[@levondarratt787]

MB is to fix specific problems....it should never be a standard Go to...It ruins a good mix easily, phase issues,. Great for trailer music, and commercial turnaround where quality doesn't mater so much. AS for music release, not so much.

[@zyxyuv1650]

This channel makes no sense...Why would we want to watch a guy who knows nothing about Ozone open it for the first time and then randomly stumble around guessing what's what while not even having the smallest shred of knowledge or insight into even anything at all? Every time I accidentally clicked on a video from this channel the guy knows actually nothing. The channel is fake, it's based around having the tape machine in the background but the guy doesn't actually know even anything.

[@memeswillneverdie]

Sometimes your channel is really on the money and other times it’s so out of pocket it’s not even funny, look into how impact works, as for the mastering assistant it’s not for an instant mastering, it serves the purpose of an ASSISTANT, a fresh pair of ears to maybe give you an idea or point you in a direction you weren’t thinking about. The ozone soft clipper is a really cool algorithm with rolled off harmonics in the high end

[@tbaudio3310]

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.

[@futur_sunds]

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

[@Larsec]

Sage Audio used the song in one of their tutorials as well. They were kind enough to inform me it's 'Someone I Used to Know' by Loving Caliber :)

[@saricubra2867]

The transient shaper from Elevate is way better by the way, no artifacts.

[@DJayFreeDoo]

Elevate is a different beast in terms of limiting. might be a patent keeping others from doing the same it does. But a bit of squashing can be good for the sound too. while it may be less transparent, it does add some energy to the mix.

[@AcidTechnoMan5000]

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

[@ProjectHMF]

inside a daw ig

[@DavidRavenMoon]

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

[@ZeroStateReflex]

I used 9 for mastering as well 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." Would recommend if you liked 9! Cheers!

[@DavidRavenMoon]

@@ZeroStateReflex Yes, just got 10. I like it.

[@ZeroStateReflex]

@@DavidRavenMoon Nice!

[@kevinsturges6957]

Everything just sounds harsh and over process nowadays. Listen to the early Beatles albums. That’s what we should be shooting for.

[@gigifara9312]

They have a fully functional trial . You don’t need to take their licenses they give you. You are not independent these days. Stop saying you are . You are a glorified add for these companies.

[@danielleohallisey4218]

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!

[@sub-jec-tiv]

If you plan to live longer than the next 8 years you’ll pay more in the long run, but you do you. Personally i hate subscriptions unless they are dirt cheap (Roland can eff off lol). I subscribe to Kush Audio plugins because they are worth it and reasonable cost.

[@danielmcdill]

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

[@emotionblur7214]

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?

[@straypacket]

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

[@dARTfader]

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..

[@pieternooten]

Ok. Just because people expect you to be over-critical doesn't mean you are always right by definition. Starting of by saying "I don't use Ozone", already said it all. After using the master assitant you have tons of ways to tweak your track further.

[@harryshadow2059]

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

[@okoiful]

Oh yeah that comparisson where you already knew which mix was from whom.... and didnt do a blind test.. right.

[@zookeeper2103]

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 :)

[@chris-ib2lc]

you love too much attention you have a motive because you have a studio and wanna make money give due where due is needed stop trash Izotope, one of the best if not the best plugin company

[@GingerDrums]

Not good advice on the limiting :( make sure the track is as oud as you can get it whilst sounding good, don't worry about -14. The browser version of Spotify does not loudness normalise.

[@saricubra2867]

I reach -14dB with the mix, not with the master bus.

[@saricubra2867]

@@DerSilvano I think -14LUFS is the same as -14 dBFS RMS.

[@huberttorzewski]

yeah, I see this BS about -14 and -1dB TP all the time - the song sounds best at the level it sounds best no matter if it's -14 or -6LUFS and true-peak limiting always sound pretty bad tbh. I always prefer the sound of clipping or PCM limiting vs true-peak limiting.

[@saricubra2867]

@@DerSilvano Not only hearing loss, but speakers or headphones that don't have very high sensibility (maybe struggle on transient response?). I target between -24LUFS and -14LUFS. My headphones are 16ohms with a sensibility around 110dB. -14LUFS is too much for me for an entire song, but for a chorus or something like that is fine.

[@DJayFreeDoo]

@@saricubra2867 i get to about -9db in the mix and then i aim for -7db in the master if i want keep up with the loudness standards for dj use. i usally go no louder than -6.4 short term for EDM. for steaming i just go as loud as i need to get the energy i want out of the mix. and its usually around -9lufs short term i don't care too much about integrated lufs unless i master an album.

[@ukiemexican]

The click bait titles are strong with this one

[@ueson1000]

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.

[@Ferbeat1]

You sound like you didn't get documented about this pluging. very uninformative video.

[@perhoier2881]

I've heard they killed the stand-alone version? This is really a bad move imho. It was great to be able to master an entire album in one window, without having to load multiple instances up in a DAW or switch preset everytime you want to work on/compare different songs. But well. iZotope is particularly famous for killing backward compatibility. Wonder what more has gone? Many of these new features seem a bit snake-oily to me, so maybe not worth it.

[@zmpfl5044]

Yep, they killed it (just installed it and missing the standalone-version).

[@PaulvanderWalt]

@@zmpfl5044 Well that sucks :( I wonder why?

[@DJayFreeDoo]

Yeah they won't be doing stand alone version of ozone anymore. they dropped it completely. but.. if you happen to have studio one pro it has its own mastering project mode which is designed to master albums. just slap ozone in there.

[@rsutin]

If you keep 9 when you install 10, you can load any of the new modules from 10 as plugins in a standalone 9 session. Clunky, but it does work.

[@DJayFreeDoo]

@@rsutin thats a great tip.

[@Harpsea]

What is so stupid, I dont get it?

[@TheCraigAnderton]

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.

[@Canatend]

What's with the the clickbait sht mate. Have some dignity.

[@jetlag1488]

This channel has been like this for as long as it's existed lol.

[@thebrunoserge]

What is "so STUPID" then? The clickbait title?

[@thebrunoserge]

YESS I WON 🙌!!!!!!!!

[@Reggi_Sample]

I think this is one of the most rushed review videos from this channel.

[@MrTesla808]

Boring update. I don’t see anything interesting🤷🏼‍♂️

[@peterheinen6110]

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.

[@S....]

Seems like you have no idea what you're doing there...

[@drtmbterrymanibeats5804]

Mastering engineers are about to loose their jobs I understand but it’s the word

[@analogkid4557]

I will stick with Ozone 9.

[@SoundSignals]

So what exactly was "so STUPID"?

[@billpodolak7754]

yeah seriously lol

[@SoundSignals]

@@billpodolak7754 Click bait

[@Pszemko]

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

[@DJayFreeDoo]

compared to gullfoss the stabilizer specifically target different genres of music rather than simply flattening the frequency spectrum. Ozone 10 is a huge upgrade from the previous version. 8 to 9 meh, 9 to 10 whoaa!

[@levondarratt787]

cheap version of Gulfoss yeah...cant touch Gulfoss Mastering Edition.

[@Pszemko]

@@levondarratt787 lol, maybe.

[@braddasseymusic]

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

[@LeGaLdeadparliament]

have you found it? :) looking for this song too.

[@avm_official]

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

[@mcsstudios101]

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. :)

[@billpodolak7754]

The streaming services don't do any dynamic range compression on the mix, they'll only adjust the level with simple gain. They do data compression, but that shouldn't really "squash" it unless someone is listening with really poor connection

[@AudiophoolDeBunkHunter]

You really should think about quiting meth' ..........

[@reiborg]

You didn't say if it's SNAKE OIL or not..

[@wrathofmaitreya3229]

Hartstikke bedankt Wytse, some valuable info here as usual. But, this is a sensible and measured review, so why this headline, am I missing something?

[@klekrfaqer2114]

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)...

[@michaelknight141]

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

[@valoelios40]

Well, it is only natural once you have been working with all the standard music production processes for years. But there is fascination in learning indeed!

[@joanna439]

It's a Eureka moment, it's also a mystery and here is the secret..... read the manual!

[@parasite-b9604]

@@joanna439 Teach myself via reading..? How dare you! I am, of course, joking. I know 100% I have never read a manual for audio software. That might be why my mixes sound like shite! 😂

[@shaft9000]

What seems easy is more like a 10,000 hour rule.