AI mastering unleashed

With Ozone 10, iZotope continues their vision of automatic mixing and mastering that they brought to life with Neutron – keyword: artificial intelligence. The predecessor Ozone 9 also got a master assistant that analyzes the audio and provides the appropriate settings that can then be fine-tuned.

New version, focused on AI

The focus of the update is clearly on artificial intelligence, also known as Master Assistant in Ozone 10. This analyzes the audio material, compares it with a target (reference file) and adjusts the analyzed material to the target in terms of frequency spectrum, dynamic range and stereo width. You can adjust the default settings of the assistant as you wish.

For this purpose, iZotope has developed a new, clear master assistant view that contains a slider for the respective adjustments, which is used for quick readjustment. So you can spice up a mix even without great prior knowledge. If you want more detail, switch to the normal module view and continue working as usual.

Izotope Ozone
Izotope Ozone

The Master Assistant has been a constant go-to, especially when I either need to hear how my mix will roughly sound after the mastering engineer is finished or when I need to send a rough idea to a client. In nearly every case, the results got me right where I needed to be.

Ozone is a staple of audio mastering. iZotope keep pushing the boundaries in every new version. They’ve found a way to link all of their plugins in one ecosystem within a DAW, and that’s no small feat. With so many other plugin manufacturers coming up with new tools daily, it’s great to see iZotope doing similar things, all while staying in the vein of what makes their plugins so great – the interface and the feedback.

Ozone has become an invaluable suite for many home producers. Its ease of use and large number of useful modules are a gift for the backend of your signal chain. Ozone 10 isn’t the most significant upgrade there’s been, but it underlies the superb nature of its previous incarnation, bringing some subtle and welcome improvements to the forefront.

Overall, I’m very impressed with the ease and quality of the results of Ozone.

With the new modules, masters sound more balanced and more spacious, both in dynamic range and width than before.

Ozone has grown into a phenomenal suite of cutting-edge processors, and it somehow manages to offer levels of control that are both understandable to novices but with enough nuance to make it a worthy tool for the pros.

The process of mastering should be considered a sum-of-parts; at the very least, you’re going to need EQ and compression, and most likely numerous elements to control imaging or add saturation and color.

That’s where a suite such as Ozone can pay out clear dividends. While you can use third-party plugins on the backend of your mix, Ozone offers a whole suite for just about everything that you might need, and a whole bunch of things that you didn’t know you needed too.