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In an interview with iZotope, Skrillex talks about some of his favorite features of Ozone: "Ozone is just super-versatile. The Multiband Stereo Imaging is really nice, and you can bus a ton of things to it for different reasons. I'm actually next to [dubstep producer and DJ] [Flux Pavilion](http://equipboard.com/pros/flux-pavilion) right now, and he says it's fucking wicked for everything, really. Everybody uses it. I use it as a multi-band compressor on individual channels—I'll bus out multiple channels if I just want some stereo imaging, and the EQ in there is very nice too. I use the Multiband Dynamics and the Harmonic Exciter on a lot of shit, and the Maximizer too. I really use it all. It's just cool to have so many choices in one. I think where it's really helped me is to create the illusion of a lot of stereo stuff going on, without getting the phase problems. You can use Ozone's stereo imaging and take frequencies above seven thousand [7 kHz], or even a little bit lower, and you can widen everything up there, so that the mix starts to sound a lot wider. In an environment where you're performing live, where a lot of times you have distortion and different high frequencies bouncing around the room, you don't necessarily need those to be as present, but when the higher end stuff starts phasing, because you've widened everything, it almost tightens up your mix. For how bright and how chaotic my mixes are, I think they work really well in the club because I've widened the stereo image. If you do that at a lower frequency band, you get phasing and lose the notation, or lose the actual definition of the synth line. But if you brighten things up at the very top of everything, it gives the illusion of a big wide mix." The original interview can be found [here](https://www.izotope.com/en/community/artists/recording-artists/skrillex/). In an [interview with MusicRadar](http://www.musicradar.com/us/news/tech/interview-skrillex-on-ableton-live-plug-ins-production-and-more-510973) from November 2011, Skrillex says his mastering chain "literally consists of an iZotope Maximizer, maybe with a little bit of EQ and harmonic excitement, but that's it." The Maximizer is part of the complete Ozone software package.more
Afrojack on how he masters his tracks: "Well the "final mixing" then, I use a lot of Waves plug-ins, won’t say anything but the last thing it goes through is the L3, and between all the compressors and other effects there is also an Izotope Ozone. For easy/light mixing I used to use a Kaerhus or something "Classic Master Limiter", still use it on my laptop but I dropped it from my Final Mix in summer 2008, it does a good job but not as precise as the Waves Plug-ins for instance."more
In his reddit AMA, Doctor P say he uses the following "instruments: massive kontakt battery nexus diva korg legacy collection minimoog processing: fabfilter pro q camel phat waves C1 waves SSL comp SPL tube tech izotope ozone wow i never realised how small the list of my plug ins would be"more
“I have a clear idea about how things should sound, so before I start, I put Ozone in on a very neutral level. Then I produce against the mastering, so that everything still sounds as crisp and cool and not crunched or punched, but is already being compressed. In the end, everything sounds the way I want it without afterwards putting compression on it. Why do I like it so much? It just makes amazing sounds. If you have a production where the vocals are a little low, you can really get something out of it. And if you use it not for mastering but, for example, put it on some hats or something, you get some amazing stereo imaging - wide open space.”more
The software tools within Logic X that I most often use include: NI Komplete (the whole suite and samplers), NI Massive, VPS Metrum (To make kicks), Logic’s ES2, EXS24, Xfer plugins (like LFO Tool), Sylenth1, FabFilter Pro Suite, EW/QL Symphonic Samples, Voxengo SPAN, iZotope Ozone (Just for analysis, not for actual processing).more
"I’m a massive fan of Alloy 2, the transient designer for getting drum loops really tight and also the maximizer for mastering quick cuts for Djing I always soft clip the back out of the Ozone 5." In this [interview with Roni Size](http://blog.timespace.com/2014/10/roni-size-talks-to-us-about-using-rob-papen-synths-spectrasonics-and-izotope/)more
In a Sept 2014 interview on Beatport, when asked, "...could you tell us a bit about your current studio setup?" Odesza responds, "...As far as software, we use lots of Native instruments plug-ins, SoundToys, Logic, Ableton, Maschine, and Ozone 5." Original source [here](https://news.beatport.com/odesza-on-in-return-we-wanted-to-grow-and-mature-our-sound/).more
love it, it comes with a ton of mastering presets you can deconstruct and learn from. visually it's great too, the interface is pretty easy to grasp.
google "mastering with ozone pdf", the izotope guys made the best FREE guide out there for understanding wtf mastering is and does.
This bundle has literally everything an in-the-box producer could need for mastering their mixdowns. All of the plugins work wonders (the harmonic exciter is my favorite, it does really cool stuff to your hi hats), and it really makes your final product shine when used correctly. A lot of people bounce audio out to a new session and then use Ozone, but I prefer to use it in the original session, although this is CPU-intensive and really about personal preference. If you are going to use it in-session, I recommend doing some A/B testing with other mastered tracks BEHIND these plugins using Sample Magic A/B or something similar.