It has aspirations to break out into the recording and mixing part of the chain as well, and it might possibly have the charm and skills to do it. I might be getting ahead of myself, but you could say it’s straining at the bonds of being just a mastering package. iZotope has kept the same look for version seven, concentrating on packing in more new features than any prior update. While a large portion of the last update addressed Ozone’s visual style. Ozone 6 covered a number of bases, Ozone 7 covers far more. Since I started reviewing Ozone 7 Advanced, guess how many times I’ve used it’s previous, less advanced forebear? Well… a couple, but only for comparisons with the newer release. It shows two things: Firstly, I guess I don’t use much reverb in mastering, but also, I began to appreciate many qualities of the new version - namely, the flexible workflow, the dynamic EQ, the newer IRC Type III limiting, but mainly the sound. In the intervening period of time - despite having had access to both versions of the program - have a guess how many times I have ‘gone back’ and used Ozone 5 on a job? I felt as though an old friend had been beheaded. In Game of Thrones terminology it would be called something like ‘House Ozone’s sixth heir’.Īt the time of that writeup, whilst I thought it was better than the previous Ozone 5 in many respects, there were causes for concern - for example, the missing reverb algorithm. I found it to be a proud successor in the fairly lengthy lineage of iZotope’s ‘all in one’ mastering packages. Just over a year ago I wrote a review of Ozone 6 Advanced.

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