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Post by Johnkenn on Sept 6, 2023 10:49:25 GMT -6
Probably an immediate buy for me
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Post by nick8801 on Sept 6, 2023 11:53:29 GMT -6
Been on 8 for several years....maybe worth the upgrade!
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Ozone 11
Sept 6, 2023 12:26:24 GMT -6
via mobile
Post by robo on Sept 6, 2023 12:26:24 GMT -6
This might get me to update from 9. Seems like a significant step up.
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Post by Johnkenn on Sept 6, 2023 13:23:27 GMT -6
I know, I know...the AI stuff sucks and we're all going to hell for using it. But some of that stuff is an incredible time saver and spots things I wouldn't have heard.
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Post by Johnkenn on Sept 6, 2023 15:08:02 GMT -6
Seems to be a little more of a power hog than 10
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Post by Blackdawg on Sept 6, 2023 15:28:14 GMT -6
Been on 8 for several years....maybe worth the upgrade! hell i haven't bought Ozone since 5. But haven't used it either. Looks like some good stuff in this one though. Seems to be a little more of a power hog than 10 That's not surprising. Naturally as computers get more power, things are developed to use that power. Though the last 3-4 plugins I've purchased have all been pretty CPU heavy. |
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Ozone 11
Sept 6, 2023 20:30:57 GMT -6
via mobile
Post by srb on Sept 6, 2023 20:30:57 GMT -6
Sure wish they'd make it standalone again.
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Post by bgrotto on Sept 6, 2023 20:41:36 GMT -6
11 is great. Been testing it for months, and using it a LOT. Highly recommend.
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Ozone 11
Sept 6, 2023 20:50:19 GMT -6
via mobile
Post by notneeson on Sept 6, 2023 20:50:19 GMT -6
Mostly master bus? What are you folks using it for?
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Post by Blackdawg on Sept 6, 2023 22:53:15 GMT -6
Mostly master bus? What are you folks using it for? mastering. Though I guess you could just slap it on your master bus. |
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Post by Deleted on Sept 6, 2023 22:56:47 GMT -6
It's just old ozone with barely any added stuff to satisfy the private equity masters. they just copied gulfoss and boost but not as well. Sounds more plastic. Limiter still plastic when driven which is what everyone will do. EDM ignoramuses run the bass up into it. Also they added features from Izotope like instrument separation but if you do it in ozone, you don't get the opportunity to render it out to process that to hell to make it sound more natural. I wonder if they fixed some of the pretty much unfinished guis and eq issues. Nope lol. It's still a limiter with stuff from izotope and a collection of effects of wildly varying quality for hack mastering.
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Post by the other mark williams on Sept 7, 2023 0:13:59 GMT -6
tell us how you really feel  |
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Post by thehightenor on Sept 7, 2023 1:35:52 GMT -6
It's just old ozone with barely any added stuff to satisfy the private equity masters. they just copied gulfoss and boost but not as well. Sounds more plastic. Limiter still plastic when driven which is what everyone will do. EDM ignoramuses run the bass up into it. Also they added features from Izotope like instrument separation but if you do it in ozone, you don't get the opportunity to render it out to process that to hell to make it sound more natural. I wonder if they fixed some of the pretty much unfinished guis and eq issues. Nope lol. It's still a limiter with stuff from izotope and a collection of effects of wildly varying quality for hack mastering. Dan, do you ever have anything positive to say about anything someone has bought and is excited about? Neve 1073 …. sounds like plastic Ozone limiter …. sounds like plastic They’re very different categories of product. Time for a change of monitors maybe  |
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Post by kcatthedog on Sept 7, 2023 4:03:03 GMT -6
Snap |
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Post by Johnkenn on Sept 7, 2023 10:05:58 GMT -6
tell us how you really feel Dan with the opinion. Glad you’re finally coming out of your shell, Dan. |
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Post by Johnkenn on Sept 7, 2023 10:19:20 GMT -6
I’m not above admitting Dan is right, if someone can point me to something I think sounds better. And that very well could exist…and I just haven’t tried it. But, I really like what I’ve been getting out of Ozone 10.
I usually start my 2 bus with some console emu. It’s been slate vcc for years, but the Silver Bullet plug could possible replace. Then I use the Elysia Master EQ and add a little m/s stuff. Then a comp. Had been either the API 2500 or Manley Vari Mu but I’ve switched to the Capital Compressor for a little more m/s tweaking. Then tap ATR 102 when it makes it better. Then Ozone. I’ll usually run the mastering assistant and then tweak a lot. I change the eq points in the Impact module and the usually pull the lower sliders up a little for more impact from bottom and lower the higher frequencies for more micro compression. I move the frequencies on the imaging module and turnoff the mono fold back thing…then make lower more mono and higher wider. I double check the multiband comp to make sure it’s selected problem frequencies and then play around with the maximizer to make sure nothing is crunchy.
Forgot to mention the Stabilizer module. Love that thing. I usually run that on the master at about 50%. I’ll also use it on a vocal and disable the lower frequency. It does really nice things with a vocal - betterizer.
The new clarity module is interesting. I’ve left it on when it has been suggested. Tried it on and off and it does preserve some sheen.
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Ozone 11
Sept 7, 2023 10:53:54 GMT -6
via mobile
Post by Deleted on Sept 7, 2023 10:53:54 GMT -6
I’m not above admitting Dan is right, if someone can point me to something I think sounds better. And that very well could exist…and I just haven’t tried it. But, I really like what I’ve been getting out of Ozone 10. I usually start my 2 bus with some console emu. It’s been slate vcc for years, but the Silver Bullet plug could possible replace. Then I use the Elysia Master EQ and add a little m/s stuff. Then a comp. Had been either the API 2500 or Manley Vari Mu but I’ve switched to the Capital Compressor for a little more m/s tweaking. Then tap ATR 102 when it makes it better. Then Ozone. I’ll usually run the mastering assistant and then tweak a lot. I change the eq points in the Impact module and the usually pull the lower sliders up a little for more impact from bottom and lower the higher frequencies for more micro compression. I move the frequencies on the imaging module and turnoff the mono fold back thing…then make lower more mono and higher wider. I double check the multiband comp to make sure it’s selected problem frequencies and then play around with the maximizer to make sure nothing is crunchy. Forgot to mention the Stabilizer module. Love that thing. I usually run that on the master at about 50%. I’ll also use it on a vocal and disable the lower frequency. It does really nice things with a vocal - betterizer. The new clarity module is interesting. I’ve left it on when it has been suggested. Tried it on and off and it does preserve some sheen. Ozone still a great limiter if you don’t slam it or run the bass up into it. I think it’s better than popular stuff like Elevate, Limitless, and Oxford because more options and cleaner peak limiting. I use the Oxford as a bus compressor and dither sometimes though. There’s a lot of modes to click through so you can see what sounds best. The assistant stuff has always been cool but like… half the eqs in it suck. So it’s better to just do a similar move in a different plug and the new modules are worse versions of popular plugs just like the old tacked on modules were worse versions of then popular plugs. I can set Vintage Warmer to be cleaner and do more than half the Ozone stuff and that’s saying something. Also the ai suggestions and “genre” bullshit have been getting worse post Native Instruments merger and Francisco Partners. Way more destructive suggestions and presumptions of the most white bread, dated upon release music possible. |
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Post by notneeson on Sept 7, 2023 11:00:12 GMT -6
I’m not above admitting Dan is right, if someone can point me to something I think sounds better. And that very well could exist…and I just haven’t tried it. But, I really like what I’ve been getting out of Ozone 10. I usually start my 2 bus with some console emu. It’s been slate vcc for years, but the Silver Bullet plug could possible replace. Then I use the Elysia Master EQ and add a little m/s stuff. Then a comp. Had been either the API 2500 or Manley Vari Mu but I’ve switched to the Capital Compressor for a little more m/s tweaking. Then tap ATR 102 when it makes it better. Then Ozone. I’ll usually run the mastering assistant and then tweak a lot. I change the eq points in the Impact module and the usually pull the lower sliders up a little for more impact from bottom and lower the higher frequencies for more micro compression. I move the frequencies on the imaging module and turnoff the mono fold back thing…then make lower more mono and higher wider. I double check the multiband comp to make sure it’s selected problem frequencies and then play around with the maximizer to make sure nothing is crunchy. Forgot to mention the Stabilizer module. Love that thing. I usually run that on the master at about 50%. I’ll also use it on a vocal and disable the lower frequency. It does really nice things with a vocal - betterizer. The new clarity module is interesting. I’ve left it on when it has been suggested. Tried it on and off and it does preserve some sheen. You stopped using Stealth Limiter? I honestly still love it. |
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Post by Ward on Sept 7, 2023 11:09:05 GMT -6
Three point3.
1. I'm keenly interested in this!
2. I don't know a single mastering engineer that relies on it, and I know a few who think it's junk
3. I've heard Dan's mastering work and it's really REALLY good.
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Post by Johnkenn on Sept 7, 2023 11:24:01 GMT -6
I’m not above admitting Dan is right, if someone can point me to something I think sounds better. And that very well could exist…and I just haven’t tried it. But, I really like what I’ve been getting out of Ozone 10. I usually start my 2 bus with some console emu. It’s been slate vcc for years, but the Silver Bullet plug could possible replace. Then I use the Elysia Master EQ and add a little m/s stuff. Then a comp. Had been either the API 2500 or Manley Vari Mu but I’ve switched to the Capital Compressor for a little more m/s tweaking. Then tap ATR 102 when it makes it better. Then Ozone. I’ll usually run the mastering assistant and then tweak a lot. I change the eq points in the Impact module and the usually pull the lower sliders up a little for more impact from bottom and lower the higher frequencies for more micro compression. I move the frequencies on the imaging module and turnoff the mono fold back thing…then make lower more mono and higher wider. I double check the multiband comp to make sure it’s selected problem frequencies and then play around with the maximizer to make sure nothing is crunchy. Forgot to mention the Stabilizer module. Love that thing. I usually run that on the master at about 50%. I’ll also use it on a vocal and disable the lower frequency. It does really nice things with a vocal - betterizer. The new clarity module is interesting. I’ve left it on when it has been suggested. Tried it on and off and it does preserve some sheen. You stopped using Stealth Limiter? I honestly still love it. No - I still use it. Sometimes I’ll replace the Ozone Maximizer altogether and others I’ll run them in serial… Might not be able to do that in one session anymore with the load now. |
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Ozone 11
Sept 7, 2023 11:24:59 GMT -6
via mobile
Post by Johnkenn on Sept 7, 2023 11:24:59 GMT -6
Three point3. 1. I'm keenly interested in this! 2. I don't know a single mastering engineer that relies on it, and I know a few who think it's junk 3. I've heard Dan's mastering work and it's really REALLY good. I think they use it at Infrasonics. Just like anything, in combo with other stuff. |
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Post by Ward on Sept 7, 2023 11:41:38 GMT -6
Three point3. 1. I'm keenly interested in this! 2. I don't know a single mastering engineer that relies on it, and I know a few who think it's junk 3. I've heard Dan's mastering work and it's really REALLY good. I think they use it at Infrasonics. Just like anything, in combo with other stuff. Well, I like it for me and my work . . . but I can understand why actual mastering engineers I've spoken to aren't fans. to each their own! |
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Post by gravesnumber9 on Sept 7, 2023 11:51:18 GMT -6
Three point3. 1. I'm keenly interested in this! 2. I don't know a single mastering engineer that relies on it, and I know a few who think it's junk 3. I've heard Dan's mastering work and it's really REALLY good. I think they use it at Infrasonics. Just like anything, in combo with other stuff. I know a few studios that use it for "take home" mixes as well. This type of thing is really ideal for demos, YouTube videos, informal releases and a whole host of other things where proper mastering is both cost prohibitive and overkill. In my opinion this "for dummies" type AI stuff really comes into its own when you're cranking out a quick mix for online consumption. Not the only use of course, but it's perfect for that type of thing. |
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Ozone 11
Sept 7, 2023 12:05:43 GMT -6
via mobile
Post by Deleted on Sept 7, 2023 12:05:43 GMT -6
You stopped using Stealth Limiter? I honestly still love it. No - I still use it. Sometimes I’ll replace the Ozone Maximizer altogether and others I’ll run them in serial… Might not be able to do that in one session anymore with the load now. How is stealth limiter in cleanliness vs clippiness vs sounding like a ducker. I use limiters as peak limiters and not other stuff and some of the hyped up modern stuff is worse than l2 as a snare or scream killer and l1 and l2 are already more sound effects than peak reducers. If you increase the lookahead time on many of these limiters, you get a cleaned up sound but it’s the mushiest or pumpiest bullshit imaginable. Dan |
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Post by bgrotto on Sept 7, 2023 12:51:58 GMT -6
Mostly master bus? What are you folks using it for? I like it on mix buss, as you'd probably expect, and for mastering. But I'm finding plenty of uses elsewhere, on channel and subgroup processing. Stabilizer is (despite what Dan says) an easy magnitude better than Gullfoss. It's less aggressive in its boosting of the high end (especially at and above 15k, which Gullfoss has a strange fetish for), and its sound quality every bit as good. Where it vastly outperforms Gullfoss is in its configurability. The global control coupled with the per-band controls allows for a LOT more 'say' in how the material is shaped. With Gullfoss you're largely subject to the preferences of its *one* algorithm. Stabilizer gives you way more target options, and within those targets you can refine specific frequency ranges with much more flexibility. The Clarity module is similarly excellent. I'd actually say it has more in common, sonically-speaking, with Gullfoss. I don't use it often, but it's proved quite useful in moderate amounts on some material, and on some poorly-recorded sounds. The 'mastering assistant' or whatever it's called is much improved in v11. I particularly like the imager tool in that regard. But all in all, it's a much 'smarter' assessor of material than it had been, and the results it returns are better than in previous versions. The transient/sustain splitting is nothing radically new, though I think it's well implemented in ozone and its application in non-eq modules is a really cool creative tool. This is one area where ozone rocks on individual tracks. The other thing that'd kinda just mind-blowing is the ability to put ozone in a sort of 'stems' mode, where instead of processing the full mix, it will attempt to apply processing to only selected instruments (drums, bass, vocals). This is a kind of mind-bending thing in a mastering context; I've used it to rescue some pretty abysmal tracks. It's also proven useful just this past week, on a record I'm mixing where the singer was playing live with the band on an acoustic guitar, so there is a LOT of vocal/guitar spill between mics. It was so effective, I was actually able to print an instrumental and acappella (!!!) of one of the songs. |
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