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 renderin...
When asked about their favourite plugins, Seeb respond with "Difficult to say really but here goes: Simpler in Ableton Live. Not really a plugin but an awesome instrument. The Steven Slate package (all of them really, but FG-X, 1176 and the tape machine being the favourites) Isotope Ozone. It was good in version 5 but just got 7 and it sounds even better. Really helps you get the master right."more
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.
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.
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
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
Yep Im a bit Lazy when it comes to this part of the production process . I have a little formula I use that I shouldn't .... I also have ozone 5 which I find a bit too complex ...