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BUT luckily the imager in 7 sounds much nicer, and when narrowing the audio below 120hz, it sounds much more natural and doesn't seem to disappear in the mix as much. I feel like the imager in 5 sometimes separates the bands from the mix and nothing feels right, which is why I tend to use 5's imager very conservatively. Usually I try to keep the low end closer to mono, but I almost always end up doing this with side EQ rather than the imager in 5 because I don't like the way it sounds. Imager: There were no differences noted in the output levels, but there was definitely a difference in quality. **The main reason behind this was because I couldn't raise the volumes to match in all areas correctly since my low mids ranges were different in my dynamcis and exciter. 7eq>7dynamics>5EXCITER>7imager>7maximizer. Because of the db increase in 5, I was not able to exactly replicate the mastering settings from 5 to 7, so I decided to set up my mastering chain a bit differently. When the levels were set to match, I noticed that 7's was a little less harsh, and sounded much cleaner than 5's (you're also able to push the exciter much further before it sounds bad). In 7, the same settings only resulted in a 0.8 db increase. In 5, I had the 10khz+band set to 2.0 excitement at 100% amount and the level was raised about 2.5db. In Ozone 7, however, it raises the db output much less. In Ozone 5, when you raise the excitement level in a band, it not only adds harmonics, it also raises the db output level considerably. There was a huge difference in Ozone 7 and Ozone 5. The bands are not linked in 7 which I like. I suppose the new algorithm is causing it to sound more favorable!Įxciter: Typically I use tape distortion and take off the "shared crossover" link because I dislike distorting the low mids much around 120hz-450hz. Now when I singled out each band, the levels were also equal to what it was in 5.
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Now, with the same settings as I had in 5 transferred to 7, I noticed that there was less gain reduction shown in all 4 bands, and the compression sounded more transparent which was good. But the ARC definitely offers a good starting point. I chose to leave this setting off because I was really happy with my release settings and felt it sounded unfavorable when my mix was smashed to oblivion in the maximizer. (Side) Same settings, except the highpass resonant filter was set at 84hz, Q 0.6(little to no boost).ĭynamics: One new and significant feature I noticed in 7 was the ability to do automatic release control, which was not offered in ozone 5.
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8 and 0.7db at 7khz Q of 0.4, brickwall lowpass at 18khz. (Mid) I had a highpass resonant filter at 33hz with a 1.0Q(which gave it a boost), 100hz boost of 0.4db with Q of. In case you're curious as to what my setting might have been, here they are. I just finished mastering a track in Ozone 5 earlier this week, and I was curious to see what would happen if I transferred the same settings on my Ozone 5 mastering chain to Ozone 7.ĮQ(Mid-Side): I noticed no differences what-so-ever in the quality of the sound from 5 to 7, volume levels in all 4 bands were equal.