With this enabled, Ozone analyses and compensates for the difference in volume, pre– and post–processing. This existed in Ozone 5 but was hidden away here, it’s accessible by clicking on the ear icon to the right of the Bypass button. One of the most important improvements is the accessibility of the gain–compensated bypass function. Each module also has a small meter showing the output relative to the input, so you can see whether it is boosting or attenuating the overall level. Rearranging is done by dragging modules and dropping them on top of each other. Instead, all active modules are nicely presented at the bottom of the window with individual solo, bypass and preset buttons. Side–by–side, the old interface looks much more cluttered, with colourful faders mixed with different kinds of buttons and rows of small numbers.Ī major difference is the new way of rearranging the order of the processing modules, which is no longer done by clicking the strangely named ‘Graph’ button. The tactile and cognitive rewards of sparse graphic design, much larger digits and better positioned parameters are not small. The window is a bit shorter compared to Ozone 5, but is noticeably wider. The new user interface is a big step away from previous versions: the colour scheme has been made more friendly, and superfluous functions have been stripped out, resulting in a much cleaner layout with parameters presented in a more intuitive manner.
#Izotope insight 1 part of ozone advanced professional#
Home mixing musicians will surely miss the Genre–Specific Mastering presets: professional mixing engineers will not! The new presets are still equally potent, but are divided into Light, Balanced and Heavy categories that kind of force the user to actually listen to the result, which can never be a bad thing. This has got to be a good thing, if my own experience is anything to go by - I’m sure I’m not the only mixing or mastering engineer who has received super–smashed and sometimes plain weird–sounding rough mixes from clients who, when asked about the home–brewed ‘mastering’, have responded “I loaded a preset in Ozone.” In version six most presets have been replaced with new and, in my opinion, more adequate presets. They were surprised to discover that many users never got past loading a preset, and set about making the interface more amenable. In the course of creating a new user interface for their Ozone mastering software, iZotope’s development team actually consulted a researcher in human cognition, as well as conducting countless interviews with both professional and amateur users. As well as the plug–in version, there’s now a stand–alone Ozone 6 application that can load, play back and process audio files.Ī ground–up rethink of Ozone’s user interface is designed to make it less intimidating to home users.
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