Two base algorithms, Punchy and Smooth, govern the general aggressiveness of the effect, while the Contrast slider brings it to bear, attenuating non-transient elements when raised and pushing transients down when lowered. The other new module, Low End Focus, is intended for emphasising or blunting transients between 20Hz and anywhere from 49-300Hz, as determined by the adjustable crossover. Truly spectacular, and we look forward to more instrumentation options in Ozone 10.įocus and Focus Gain allow you to select a mix element for adjustment in Master Rebalance and then dial in up to 8dB of boost or attenuation of Master Rebalance’s Focus element.

It just works, every time, making it genuinely possible to bring out undermixed parts or suppress overly dominant ones to a greater degree than you might expect, without any detrimental effect on the surrounding material. Master Rebalance is the most impressive of the two: simply click the Vocals, Bass or Drums button to target that component within your full mix, and slide the slider to apply up to 8dB of cut or boost to it.

The two (Advanced-only) headline features this time round are a pair of very straightforward new spectral processing modules designed to give effortless control over specific elements of the mix. It all looks and feels fabulous, and CPU usage has also been quite appreciably reduced in comparison to Ozone 8. That means EQ control panels overlaid on the main display rather than racked up below (but with the All Bands view still available to the main and Post EQs, which are now called Equalizer 1 and 2), much smoother spectrograms, and – yay! – free ‘corner-drag’ resizing.

The first thing upgrading users will notice is that the GUI has been overhauled for visual and workflow parity with stablemates Neutron 3 (9/10, cm265) and Nectar 3 (9/10, cm265).

Ozone 9 izotope