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Morgan Page mentions using Ozone for mastering several times in this AMA. Additionally, Morgan Page sent an [email to Equipboard in Fe... more
Reviews
Trusted musician and artist reviews for iZotope Ozone 7
Based on 6 Reviews

Handles all mixing and mastering!
Pretty much my go to when it comes to the technical side of music. Clean GUI and pretty straight forward use. Can't dock this any points at all.

Neat Package
Love the stereo imager. Love the vintage compressor, love the dynamics and professional touch this plugin gives my mixes.
Quick Tip: If you combine the SI stereo imager, and the imager from ozone 7, you can get a really wide, warm, and bright mix. My personal preference, although some engineers may have some issues with this :D

essential
fantastic parametric EQ, dynamic EQ, analyzer and mastering limiter. i use this at some point on every project that i work on and its well worth the price.

Good mastering tool
I used to use Ozone 5 then instead of going to 6 I just went to 7, it has a clean smooth look overall and in my opinion one of the best mastering tools you can purchase.

The most proffesional tool for mastering
The most proffesional tool for mastering
Details
Description
Glue a mix together, control dynamic range, and add rich character with the critically acclaimed music production tools in Ozone Advanced, including the new Vintage EQ, Vintage Compressor, and Vintage Tape modules. Audition masters before rendering with the new Codec Preview. Apply Ozone Advanced’s processing to mix busses, too, with individual plug-ins of all ten modules.
Plus, both versions of Ozone include the Maximizer, the Dynamic EQ, the new Vintage Limiter, Export Formats, and more. Use Ozone as a plug-in or as a standalone application.
Expander, magnetic compression, Reel to Reel machines...
This nice looking package doesn't features an expander. In olde tymes there were compressors and expanders in the studio...this is because there was no Dolby (compander) and to reduce the tape hiss that was very high because of the tapes themselves, they were needed. Note that I would try to process a tape this way...I relie on my Dolby SR and it's perfect. Also there are different kinds of compression and a tape recorder allows you to make magnetic compression...magnetic compression is said to begin at 1000 nW/m with a 50 micron tape. So you need a powerful machine that pushes at least at +12dB and there are plenty in the pro world. My Studer A-807 doesn't want to run these days ( a chemical capacity, I guess ), so I use my Revox PR99mk3 with 35 Micron tape and it's ok.
Few years ago, I wanted to buy an old Ampex Machine but the specialist told me that he couldn't give a guaranty because it was too old and he added that to get the sound of the 60's, I had better trying to find vintage mics. On his advice I purchased a pair of AKG Solitube and they are already vintage...now as long as R2R machines are concerned would I choose an ATR100, a A820, a Sony, I thing I'd choose the Studer because it calibrates automatically...well, to 'tune ' a R2R is one thing but 'detune' it is much more difficult. Still, the sound engineers could do that in the 70's when R&R was great. That's all Folks..........3BIMLAB@laposte.net