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Ozone 7
Help Documentation
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iZotope Ozone 7 Help Documentation

Table of Contents
Introduction 1
Authorization 1 Authorizing Your Ozone 7 Online 2 Authorizing Your Ozone 7 Oine 3 iLok Support 4
What is Ozone 7? 5
Key Features in Ozone 7 6 New Features in Ozone 7 8
Ozone 7 vs. Ozone 7 Advanced 9 Getting Started 10
Standalone vs. Plug-In Version 10 Getting to Know Ozone Interface 11
Standalone Version Operation 12
File Menu 12 Playing Back Audio Files: The Transport Bar 13 Multiple File Workflow 15 Saving 19 Other File Menu Commands 20 Edit Menu 21
General Functions 22
Ozone Processing Modules 22 Module Browser 22 Input/Output Gain 23 Audio Audition Section 24 Undo History Window 26 Buer Size 27
Preset System 28
Preset Manager 28 Selecting Presets 28 Adding and Removing Presets 29 Preset Storage Location 30
Migrating Presets from Ozone 6 31
Ozone 6 Preset Loading 31 Changing Preset Manager file path 31 Copying Ozone 6 presets into your Ozone 7 preset folder 31 Notes on Legacy Preset loading 31
Module Preset System 32
Opening the Module Preset System 32 Loading Module Presets 32 Saving Module Presets 32 Deleting Module Presets 32 Changing the Module Presets Folder 33
Standard Module Controls 34 Using Multiband Modules 35
Bypassing a Band 35 Soloing a Band 35
Change the Number of Bands 35 Other Band Controls 36
Mid/Side Processing Examples 38 Mid/Side Processing with Ozone Modules 39
Key Features 41 EQ Display Options 42 Spectrum View 42 Main View 42 Selecting Filter Shapes 43 Matching EQ 44 All Bands View 46 Mid/Side C-ontrols 46 Spectrum Overlay 46 Post Equalizer 47 The Alt-Solo Feature 47 Component Equalizer Plug-In 47
Key Features 50 Global Dynamics Controls 51 Mid/Side Controls 54 Visuals 54 Component Dynamics Plug-in 55 Key Features 56 Correlation Meter 57 Stereo Width Controls 58 Visuals 58 Component Stereo Imaging Plug-in 59
Key Features 60 Multiband Controls 61 Post Filter View 61 Exciter Controls 61 Mid/Side Controls 61
Key Features 62 Limiting Modes 62 Threshold Controls 64 Other Controls 64 Visuals 65 Component Maximizer Plug-in 65
Key Features 66 Limiting Modes 66 Other Controls 67
Visuals 68 Component Vintage Limiter Plug-in 68
Key Features 69 High & Low frequency controls 69 Mid frequency controls 70 Mid/Side Controls 71 Component Vintage EQ Plug-in 71
Key Features 73 Mid/Side Controls 74 Visuals 74 Component Vintage Compressor Plug-in 75
Key Features 76 Input Gain 77 Component Vintage Tape Plug-in 77
Input/Output Meters 78 Dithering 79 Key Features 79 Dithering Tips When Using the Plug-In Version of Ozone 7 82
Key Features 83
Graphics 85 General 86 Keyboard Support 86 Authorizations and Updates 87 Spectrum Options 87 Equalizer Options 89
Crossover Type 91 Crossover Buer Size 91 Look Ahead Time 91 Crossover Q 91
Prevent Antiphase 92 Vectorscope Detection Method 92 Crossover Type 93 Crossover Buer Size 93 Crossover Q 93
Show Musical Units 94 Show Spectrum 94 Alt-Solo Filter Q 94
Crossover Type 95 Crossover Buer Size 95 Crossover Q 95
Enable Meters 96 Show Peak Hold 96 Detect True Peaks 96 Meter Type 97 Scale 97 Source 97 Peak Hold Time 98 Integration Time 98 Readout 98
Plug-in Tab 99 Enabled Plug-in Formats 99 Scan Plug-ins 99 VST Plug-In Folders 99
Enable Waveform Segments Overlay 100 Playhead Follows Playback 100 CPU Optimization 101 Buer Sizes 101 Setting Buer Sizes for Independent Modules 101
How to Decrease CPU Usage 102 Optimizing Ozone 102
Using Automation in Ozone 103 Notes Specific to Ozone Automation 103
Turn Keyboard Support On or O 104 Using the Scroll Function of your Mouse or Trackpad 104 Copy/Paste Support 104 Mouse and Meters 104
How to Purchase the Full Version of Ozone 7 106 iZotope Customer Support Policy 106 How to Contact iZotope for Technical Support 106 International Distribution 107
Introduction

Introduction

Authorization

Each purchased copy of Ozone 7 contains a unique serial number printed on a card that is included within the box.
If Ozone 7 has been downloaded directly from iZotope or another reseller, the serial number will be e-mailed to you, along with the link to download the product.
The serial number should resemble:
SN-OZONE7-XXXX-XXXX-XXXX-XXXX
Welcome to Ozone 7
© 2001-2015 iZotope, Inc. All rights reserved. iZotope, iZotope.com, the iZotope logo, and Ozone are either registered trademarks or trademarks of iZotope, Inc. in the United States and/or other countries.
Launching the Authorization Wizard
The first time you open Ozone 7, the Authorization Wizard will appear. You can choose to either authorize Ozone, or instead use it in “trial mode” for evaluation purposes. Please use your supplied Ozone 7 serial number to fully authorize your product.
Trial vs. Demo Mode
For 10 days after Ozone is first opened or instantiated, Ozone will run in Trial mode. Trial mode oers full functionality of the Ozone plug-ins and application.
After 10 days, Ozone will revert to Demo mode. In the plug-ins and application, Demo mode will intermittently mute audio output. Additionally, exporting and saving is disabled in the Ozone application.
OZONE 7 | INTRODUCTION
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Introduction

Authorizing Your Copy of Ozone 7 Online

After opening Ozone 7 and launching the Authorization Wizard, perform the following steps to complete the authorization process online:
1. Click on “Authorize.”
SN-OZONE7-XXXX-XXXX-XXXX-XXXX
3. You must also enter your name and a valid e-mail address.
Note: Clicking the Advanced button reveals a set of options that allow you to store your Ozone authorization on a portable hard drive or flash drive. Click here or go to the Knowledgebase on iZotope.com for more information on these options.
Please make note of the e-mail address you use to authorize your license, as your license and iZotope account will be linked directly to this e-mail address.
4. When you have confirmed that your serial number and e-mail information is accurate, click once more on “Authorize.”
5. Click on “Submit” to send your authorization information to iZotope.
6. Once the authorization is accepted, click on the Finish button to complete the authorization.
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Introduction
Authorizing Your Copy of Ozone 7 Oine
Some customers choose to keep their audio workstations oine; for these instances, a simple oine authorization option has been included.
After opening Ozone 7 and launching the Authorization Wizard, the following steps will complete the authorization process oine:
1. When first prompted to authorize Ozone 7, click on “Authorize.”
2. Click on the option for “Oine Authorization” at the bottom of the authorization window.
3. You will be given a unique Challenge Code that is specific to your computer only.
4. Write down or make a copy of the exact Challenge Code. It will look like this:
5. IZ-OZONE7-XXXXXXXX-XXXX-XXXX
6. Next, using a system with Internet access, login to your customer account at the iZotope website.
https://www.izotope.com/en/account/log-in/
7. Click on “Activate Software with a Serial Number,” enter your full serial number, then click “Submit.”
8. Select the “Challenge/Response option and click on “Submit.”
9. Enter your full Challenge Code copied in step 3.
10. After submitting your Challenge Code, you will receive a unique authorization file named “Ozone_7.izotopelicense.xml.” Copy this file to your oine computer.
11. Once the authorization file is copied to your oine computer using a network, hard drive, or USB thumb drive, click the Choose File... button in your authorization wizard.
12. Navigate and select the authorization file and click “Next” to authorize your machine.
13. You should now receive a message that your authorization has been successful, you may click “Finish” to begin using Ozone 7.
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Introduction

iLok Support

Ozone 7 supports the iLok copy protection system. Our plug-ins will be able to detect iLok keys and assets if you already use iLok and PACE software on your system.
If you don’t already have PACE or iLok, we will not install any PACE or iLok software to your system, and iLok authorizations will be unavailable.
Authorizing Ozone with iLok
1. When first prompted to authorize Ozone 7, click on “Authorize.”
2. Next, enter the serial number in all capital letters as it is shown on the included card or purchase confirmation e-mail.
SN-OZONE7-XXXX-XXXX-XXXX-XXXX
3. You must also enter your name and a valid e-mail address. Make note of the e-mail address you use to authorize your license. Your license and iZotope account will be linked directly to this e-mail address.
4. Select “Use iLok Authorization” and enter your iLok ID.
5. When you have confirmed that all your information is accurate, click once more on “Authorize.”
6. Lastly, click on “Submit” in order to send your authorization message to the iZotope servers.
7. You will now be instructed to log in to your iLok account and transfer your Ozone 7 license to your iLok.
8. When you have completed this step and have your iLok connected to the computer on which you want to use Ozone, click “Next.”
9. You should now receive a message that your authorization has been successful and may click “Finish” to begin using Ozone 7.
Online Help
We have created an online article to help with common questions about our authorization system.
Removing Your Current Authorization
Use the authorization menu in Ozone’s General Options panel to remove your current Ozone authorization (for example, if you have upgraded to Ozone 7 Advanced and have already authorized Ozone 7 Standard).
After removing your authorization, Ozone’s authorization screen will pop up when you restart the program. Now you can re-authorize the application using a new serial number. You may also remove your Standard authorization at any time, in order to run Ozone 7 Advanced in Trial or Demo mode.
Note: If you have downloaded Ozone 7 Standard and then purchased an upgrade to Ozone 7 Advanced, you will need to download Ozone 7 Advanced from our website, here, and reinstall first.
OZONE 7 | INTRODUCTION
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Introduction

What is Ozone 7?

Get ready for an entirely new mastering experience...
Glue a mix together, control dynamic range, and add rich character with Ozone Advanced’s critically­acclaimed music production tools, including the new Vintage EQ, Vintage Compressor, and Vintage Tape modules. Audition masters before rendering with the new Codec Preview. Apply Ozone Advanced’s processing to mix busses, too, with individual plug-ins of all ten modules.
Plus, both versions of Ozone include the Maximizer, Dynamic EQ, the new Vintage Limiter, Export Formats, and more. Use Ozone as a plug-in or as a standalone application.
OZONE 7 | INTRODUCTION
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Introduction

Key Features in Ozone 7

• Get essential mastering and mixing tools: Maximizer, Dynamic EQ (now in both Standard and Advanced), the new Vintage Limiter, Vintage Tape [Advanced Only], Vintage Compressor [Advanced Only], and Vintage EQ [Advanced Only].
• Build a high-tech new mastering chain when you mix-and-match components, going from fully modern to fully vintage to anywhere in between.
• Quickly achieve authentic sounds for any genre and style with a comprehensive bank of presets.
• Master within your audio editing software with Ozone as a plug-in or in its own environment with the standalone options.
Transparent and Dynamic Masters
The highly-regarded Ozone Maximizer helps you achieve transparent mixes with less pumping and distortion. Updated for Ozone 7, the Maximizer features a brand new frequency-specific IRC IV algorithm to deliver transparent mixes with even less pumping and distortion. Smooth out an unwieldy mix or tame the kick drum peaks without aecting the vocals.
The Dynamic EQ, now in both Ozone Advanced and Ozone Standard, lives and breathes with your audio for finer control over your sound. Take advantage of the precision of an equalizer and the musical ballistics of a compressor in one integrated processor.
Learn more about using Dynamic EQ in mastering.
New sounds and new processing capabilities
A new set of vintage-inspired processing in Ozone puts nostalgic tone at your fingertips to bring the creative color and character of analog hardware to digital recordings.
Glue a mix together and control dynamic range with the Vintage Limiter. Add the distinctive sonic characteristics of analog tape with Vintage Tape. Get subtle warming and sweetening eects with the single-band, program-dependent Vintage Compressor. Extend the range of colors available for your masters with the wider, more artful equalization palette of Vintage EQ.
Ozone isn’t just for mastering anymore
Ozone was designed for mastering but there are lots of possibilities for how Ozone can help out in music production. With Ozone Advanced, you get all ten Ozone modules — including the new vintage processors — as separate component plug-ins. So go ahead and load those individual components on your mix busses and take advantage of the flexibility of Ozone’s power during mixing.
Highest Audio Quality
Ozone uses highly optimized audio signal processing to achieve the highest resolution and sound quality possible.
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Introduction
All of the mastering modules in Ozone are specifically designed to work together; the sound quality and characteristics of each of the mastering modules is tuned to complement the others, providing consistent and high quality results.
Ozone uses analog modeling to give each of the mastering modules a smooth, natural sound. For example, the Equalizer can recreate the soft limiting exhibited by a vintage valve Equalizer, while the Exciter mimics the musically pleasing harmonic saturation of a vacuum tube component.
Whenever there was a choice between CPU power and sound quality, we chose sound quality. There are less CPU-intensive ways of doing some of the processing that Ozone does, but the sound quality can suer. Since Ozone is optimized for the mastering workflow, you would typically only have one instance of Ozone running on the main bus of a DAW session or used in a two-track editor application. Following this best practice should allow you to utilize Ozone even on computers using lower­powered CPUs.
Powerful Audio and Visual Feedback
We wanted to provide useful visual feedback wherever possible. Your ears and your eyes can be a powerful combination when you’re mastering, and each processing module is complemented with useful spectrums, phase meters, and level histograms. Each module also employs switchable views that highlight dierent aspects of how your mix is aected throughout the mastering process.
We also wanted to make it easy to get comparative audio feedback by providing extensive solo and bypass controls as well as histories with functions for A/B comparisons. Wherever possible, we wanted to give you new ways to really hear what you are doing.
Intuitive, Easy-to-Use Design
We made Ozone as intuitive as possible, from including a complete set of mastering modules in a single plug-in system, to the little things like mouse-wheel support.
While there is a lot of power in Ozone, we think that in no time at all you’ll be making the most of it and getting great results with ease. Whether you’re a seasoned professional, or simply ready to take your productions to the next level, Ozone is the complete solution you need. Your mix isn’t finished until you put it through Ozone.
This user’s manual is a quick reference for basic Ozone functions and controls. We have written a separate Ozone Mastering Guide that provides tips and techniques for mastering with Ozone.
OZONE 7 | INTRODUCTION
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Introduction

New Features in Ozone 7

If you’re moving up from an earlier version of Ozone to Ozone 7, we thank you for your continued support! Here are details of some of the changes and new features that you’ll find in Ozone 7:
Vintage Tape [Advanced only]
The Vintage Tape module brings the distinctive richness and warmth of tape saturation to your modern digital recordings with all the frequency coloration, distortion, and phase eects of tape. Take advantage of analog tone for masters that sound more musical with added dimension, fatness, and depth.
Vintage EQ [Advanced only]
With the richness, warmth, and color of Pultec equalizers, Vintage EQ lets you brighten your master, smooth out heavy lows, and add body to your digital recordings. Discrete frequency value selections let you boost and cut separately — but at the same time! — without ending up with a “boomy” master.
Vintage Compressor [Advanced only]
Vintage Compressor is a single-band compression module for subtle warming and sweetening eects. The program-dependent release tailors release shapes depending on your material to adapt naturally to your music. Thicken the midrange, tighten and round out the lows, let the top sparkle, and get authentic vintage character.
Codec Preview [Advanced only]
Get a real-time listen to how your master will sound in various industry-standard codecs with Codec Preview. Preview the sound of a compressed master within your DAW or the Ozone standalone application. Instantly make adjustments to perfect the audio for streaming or online music stores with this easy-to-use tool that improves your workflow.
Vintage Limiter
Glue a mix together and add character with the Vintage Limiter’s warmer, analog-sounding final-stage limiting while retaining the ease and precision of digital maximizing. Bring a natural feel to harsh and digital-sounding masters. Get a silky warmth and body and the nostalgic vibe of the classic records you grew up with.
Export Formats
Specify the file format for export from a variety of compressed or uncompressed popular choices like MP3, WAV, and AAC. You no longer need to output to .wav and then use a separate MP3 converter. Now you can export your digital formats directly from your source files and add metadata before export, including track name, band name, album name, and more.
Upgraded Maximizer with IRC IV
Ozone’s legendary mastering limiter features a new algorithm (IRC IV) with multiband and frequency­specific operation, so that the limiter doesn’t have to work as hard. Get even more transparent mixes with less pumping at higher volumes — ideal for when you need to tame the kick drum peaks without causing vocals to pump.
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Ozone 7 Standard vs Ozone 7 Advanced

Ozone 7 Standard vs. Ozone 7 Advanced

Ozone 7 Standard vs. Ozone 7 Advanced
Ozone 7 comes in two separate versions:
• A standard version with the most commonly used tools
• An advanced version that includes an extra set of tools used in the most high-end, professional settings. These include:
o The separate Insight plug-in
o The Dynamic EQ processing module
o Individual component plug-ins for each Ozone 7 module
OZONE 7 | OZONE 7 STANDARD VS. OZONE 7 ADVANCED
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Getting Started

Getting Started

Standalone vs. Plug-In Version

If you wish to process your audio material within your DAW or two-track editor software of choice, use Ozone 7 in its plug-in form.
If you wish to take an existing audio file and process it without using a DAW or two-track editor, use Ozone in its standalone form. In this mode, you can:
• Launch Ozone as its own executable application
• Load existing audio files into the application
• Apply Ozone’s processing tools to the loaded files, as desired, while monitoring their eects in real time
• Export the separate processed audio files, saved with all of the processing applied
Using Mastering Presets in Ozone 7
Ozone’s presets are designed to give you a quick starting point for mastering your own projects.
Every mix is dierent, so no preset can perfectly master your project. However, we have attempted to provide a wide range of presets that will help you find a good starting point for mastering your own material. By starting with a preset, you’ll be able to tweak these presets to make them more closely fit the session you’re working on.
We recommend you download the Ozone Mastering Guide, to learn the basic principles of mastering with Ozone. Presets can take you a long way, but learning how each of Ozone’s mastering modules works is key to getting the best results. You won’t regret it; your masters will sound better than ever before!
Setting Your Input Level
Setting the input level in Ozone can make a huge dierence in how the Dynamics modules in Ozone behave. Setting your input level is also important when selecting presets, as the presets will sound drastically dierent if your input level is too loud or quiet.
As a starting point, try setting Ozone’s input level so that the input meter is peaking upper half to upper quarter of the meter. It is OK if the input meter peaks close to the top when Ozone’s Maximizer module is enabled, since it will keep the audio from clipping.
Choosing a Starting Point
Start by listening through several of Ozone’s presets. The presets contain helpful descriptions based on the outcome they will produce on your audio. Alternatively, you can start with a genre-based mastering preset, or simply use the general-purpose mastering presets.
Because every mix is dierent, we’ve aimed to give you a lot of starting points so that you can choose the best one for your project. When you’ve found one that sounds like it has what your mix needs, you can start tweaking that preset to your liking.
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Getting Started

Getting to Know Ozone Interface

1. Transport Bar: This set of controls allows you to navigate playback of the audio files that are
loaded into the Ozone program.
2. Audio File Tabs: Click on any tab to switch to its corresponding audio file, where you can play it back and adjust the controls of Ozone’s processor modules to aect the sound of the audio file.
3. Waveform: The waveform display shows a graphical representation of the currently selected audio file. Click on any spot in the waveform, with its accompanying timeline counter, to play back the file from that location.
4. Processor Module Display: This main part of the Ozone 7 interface contains all of the controls and displays for the currently selected processor module.
5. Processor Module Browser: Click on any of the modules in this section to view and adjust the controls for that module, in the processor module display.
6. Presets: Click here to load a signal chain preset, giving you a head start in processing your audio for a wide variety of situations.
7. Master Input/Output Section: This section contains detailed input/output meters, as well as handy master controls such as master bypass, mono check, L/R stereo swap, and a full­featured dither processor.
OZONE 7 | GETTING STARTED
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Standalone Version Operation

Standalone Version Operation
Ozone 7’s standalone version allows you to use its mastering tools as a standalone application; no external DAW or two-track editor is required.
This approach can be advantageous when your un-mastered audio already exists as a standalone audio file, and you wish to process it in as straightforward a manner as possible, without the complexity or CPU overhead of running a separate DAW or two-track editor.
The following is an explanation of the commands and workflows that are unique to the standalone version of Ozone 7, that are not present when using it as a plug-in with your DAW software.

File Menu

Ozone’s file menu contains the dierent commands you use to perform functions such as:
• Loading audio files into an Ozone project for processing
• Saving the project
• Exporting the processed audio files
The file menu’s dierent commands are detailed below, in the context of describing the workflow of loading, processing, and saving audio files.
Loading Files
Upon launching the standalone Ozone application, a new project will automatically be created. The first step is to import an audio file into the new project.
To do so, you can:
• Click on the File menu at the top of the screen, then “Import Audio Files.”
• Click on the “plus” icon at the top-left area of the interface.
• Use keyboard shortcut Cmd+I or Ctrl+I
A standard dialog box will appear where you can navigate to the desired le, then click “Open” to
import it into the project.
Supported file formats that
can be loaded include:
P .wav P .ai P .mp3 P .flac
Supported bit
depths include:
P 16-bit P 20-bit P 24-bit
Supported sample
rates include:
P 11,250 P 22,050 P 44,100 P 48,000 P 88,200 P 96,000 P 176,400 P 192,000
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Standalone Version Operation
You can also import an audio file by dragging and dropping the audio file from your computer desktop/ folder onto the Ozone window.
The imported audio file displays as a tab in the upper portion of the screen, with the title of the imported file. Each audio file tab, when clicked on, will display its audio file as a waveform, with an accompanying timeline displayed in minutes/seconds/milliseconds.

Playing Back Audio Files: The Transport Bar

Ozone provides a handy transport bar, located at the top of the screen, that allows you to easily navigate the playback functions of an imported audio file.
The transport bar includes the following functions:
Play
Click the Play button to play back the currently imported audio file. Playback can also be initiated by pressing the space bar.
Playback will begin and you will see a playhead cursor move from left to right across the waveform.
To play back the file from a spot in the middle of the song, simply click on any desired spot of the waveform, then press the Play button.
Stop
Click the Stop button to stop playback. The cursor will always return to the last insertion point.
Return to Zero/Skip Back
Clicking on this button has two dierent functions, depending on the current position of the playhead within the audio file:
• If the playhead is located more than two seconds into the audio file, clicking the button invokes a “return to Zero” function, moving the playhead back to the beginning of the current file.
• If the playhead is near the very beginning of the file, clicking the button acts as a “skip back” button, skipping back to the previous audio file (if there is one loaded).
Skip Forward
Click this button to skip to the next audio file that has been loaded into the software. If no other files have been loaded, the button will have no function.
Playhead Follows Playback
Clicking this button toggles the ‘stop’ behavior for the space bar and Play button. When unselected, and playback is stopped using the space bar or Play button, the play head will return to the last selected position. When selected, and playback is stopped using the space bar or Play button, the playhead will retain the current position.
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Standalone Version Operation
Loop
To loop playback of a specific section of audio, click and drag on the mouse and highlight a portion of the audio file; the section will highlight in blue and the “loop” icon in the transport bar will also highlight.
When you next press Play, the transport will loop playback repeatedly for the highlighted section only.
To stop looping audio, click on the Loop button again. The button will de-illuminate and looping will no longer be active, even though the area of the waveform will remain highlighted. The Loop button can be manually clicked again if you wish to again loop the audio.
Ozone’s transport bar also contains three helpful displays, as follows:
Track Number
This number displays the track number of the currently selected track.
Time Counter
This counter will display the current time position within the audio file, displaying in minutes/ seconds/ milliseconds.
Total Time
This smaller display shows you the total length of all songs in the session.
To play back the imported audio file, press the space bar or click on the Play button. The audio file will be played back, with a moving playhead indicating the current position in the file.
• Press the space bar again or click on the Stop button to stop playback.
This function is very useful when dialing in the desired processing for a particular section of your audio file.
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Standalone Version Operation
Multiple File Workflow
You can load multiple files into the same project. To do so, simply repeat the Import File process; each newly imported file will display in its own separate tab on the top of the screen.
To play back audio from any given file, simply click on its corresponding tab. The waveform file will change to display that tab’s audio, and the playback controls will control playback for that audio file.
Note that any audio processing that is applied for an imported file, aects the audio for that file only; it does not aect the audio of the other files represented by the other tabs. This allows you to apply separate audio processing settings to each separate audio file in a session.
This is crucial in a mastering session, since you will apply dierent processing to each song within a larger collection of work, unique to the needs of that specific song. This also allows for the dierent songs to all fit together nicely as a cohesive album.
To re-order the layout of the audio files tab within a session, simply click and hold on any tab in a project, then drag it to the left or right.
To delete an imported audio file in a session, you can either:
• Right-click on the audio file’s tab and select “Remove Track.”
• Click on a tab to highlight it, then click on the “X” button.
When deleting a file, a dialog box will appear oering you three dierent options:
• Click the Cancel button to cancel out of the delete operation.
• Click the Delete button to delete the original file that was loaded into the session. You would normally not want to do this, since you would be deleting your original audio file.
• Click the “Keep” button to delete the track from the session, but keep the file in the Imported Audio Files folder
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Standalone Version Operation
Using Ozone’s preset system, you can also copy and paste processing settings from one imported song to another, using the following steps:
• Eect the first track with your desired settings.
• Save these settings as a preset.
• Click the tab of the next track you wish to apply the preset to.
• Load the previous preset you have just saved.
• Continue working from there as a starting point.
Ozone Projects
An Ozone project is the overlying “master project file” that encompasses:
• • The data of all of the one or more audio files that have been imported into the project.
• • The specific audio processor settings that have been separately applied to each imported file in the project.
By saving the above as a project, you can always re-open a project at a later time, and perform functions such as re-ordering the audio files within a project, or adjusting the audio processing of any audio file within the project.
Exporting Audio
Once you have applied the specific audio processing to your imported audio file(s), it is time to export the files. A new copy of the audio file will be saved, with all of the processing from the Ozone modules permanently applied to the exported file.
Click on the File menu, and then select “Export Audio Files.” A dialog box will appear, oering various options for the files you are about to export. These choices include:
Current Track vs. All Tracks:
• Click on “Current Track” to only export the audio file in the currently highlighted tab.
• Click on “All Tracks” to export separate audio files for each audio file loaded into the current project.
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Standalone Version Operation
Filename (Available on Current Track Only)
Type the desired name into this field; the exported file will be labeled with the name you have typed.
Append Text (Available on All Tracks Only)
Type in the desired text into the field; it will be automatically added to each of the exported tracks. You can also select whether to add the text before or after the file name.
This function is useful for “tagging” the titles of a group of audio files with a common label; for example, you could append a group of files with a label such as “January 18th 2014 session.”
Add Track Numbers (Available on All Tracks Only)
You can add track numbers to your exports in the “All Tracks” section of the Export dialog. Select the “Add Track Numbers” checkbox and your exported files will be numbered in the order they appear in your Ozone project.
Format
Select the format of the exported file(s): WAV, AIFF, MP3, or AAC. For AAC Ozone uses Fraunhofer’s codec. For MP3 the LAME codec is used (www.mp3dev.org).
Bit Rate (Available on MP3 and AAC Only)
Set the bit rate for compressed file formats. Audio quality improves with increasing bit rate.
Save Path
Click on the Set Path button to select, through the resulting dialog box, where your exported audio file(s) will be saved.
• If the project is unsaved, the default save path is your Documents folder.
• If the project has already been saved, the default save path is an Exported Audio Files folder in the same location as the project.
Sample Rate
Select the sample rate with which you wish to export your audio file. If you select a sample rate that diers from the original sample rate of the imported file, Ozone will apply high-quality sample rate conversion to the file.
• The project sample rate defaults to the sample rate of the first file that is loaded.
• If a file is loaded after with a dierent or higher sample rate, it is converted to the original sampling rate set for the project by the first file, or manually set before the second file is loaded.
• The conversion process will not convert previously converted/processed files (which are copied as working files upon load); Ozone will simply go back to the original files, create new copies, and then convert all files to the new sample rate for their new working copies.
Please note, if MP3 or AAC format is selected, files will be exported with a 44.1kHz sampling rate.
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Standalone Version Operation
Bit Depth
Select the bit depth you want to export your file to. If you select a bit depth other than 32-bit, you may want to apply dither to your export. Ozone processes files at 32-bit so dither is desirable for files being exported to values lower than 32-bit.
Dither settings will default to ideal settings for 16 bit exports (CD quality bit depth). Checking the Dither on export box will apply these default settings or any custom settings you choose in the Dither module.
Enable Dither
When exporting to a bit depth lower than 32-bit, checking this box will apply high-quality dithering to the exported file.
This allows you to preserve the sound quality and dynamic range of a higher bit depth, when exporting the audio file to a lower bit depth.
For example, a common workflow is to record audio at 24-bit resolution, then import and process the audio, in an application such as Ozone, which will process at a higher resolution of 32-bits.
However, if you are releasing the audio material on a commercial CD, the audio content must, at some point, be converted to 16-bit audio, since that is the required bit-depth of the “Red Book” CD audio format.
By applying iZotope’s dithering to a 24-bit file, you can preserve the sound quality of the 24-bit file, when exporting it to a 16-bit file that can be burned to an audio CD.
Help
Click this button to launch the help documentation for Ozone 7.
Cancel
Click this button to cancel out of the export process and return to the main interface.
Export
Click this button to begin the export process (or launch the Track Info screen for MP3 and AAC). A dialog box will appear that shows the progress of the export operation, which occurs in faster than real time.
Track Info (Available on MP3 and AAC Only)
When MP3 or AAC is selected the Track Info screen will become available after clicking Export. Here you can enter metadata for the encoded audio file that will used by MP3 & AAC players to display information about the file. MP3 will be tagged using ID3v2.3. AAC uses iTunes style tags.
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Standalone Version Operation

Saving

The standalone version of Ozone 7 oers three separate save commands, located within the file menu. They work as follows:
Save
Project Click on File/“Save Project” to save the Ozone project to your computer.
A dialog box will appear, allowing you to specify the save path of the project, as well as the project name.
Once the project has been initially saved, you can click on the Save Project command again at any time, and it will automatically update your changes, saving over the previous version.
A saved Ozone project contains the following three components, all placed in an automatically created folder named after the project:
• An Imported Audio Files folder, that contains a copy of the imported audio files, in their original state.
• An Exported Audio Files folder, that contains a copy of the exported audio files, in their processed state.
• A session file (with the file extension “.ozn”) that contains all parameter values that have been applied to the imported audio files.
This file uses the project name specified by the user.
This is the file you would click on to launch and reload the session, if you wished to make further adjustments to the audio files and then perform a new export.
Save Project As
Clicking the Save Project As command will always bring up the save dialog box, where you can give a new name and save the project as a new, separate file from the previously saved version.
This is very useful if you wish to save dierent mastering versions of the same project, and do not wish to overwrite the old version with new changes you have made.
For example, you could create a mastering session with a very loud, bright mix, intended for radio and then save that project using the save command. You could then create an alternate mastering, that is quieter and with more dynamic range, intended for a vinyl release. By using the Save As command, both versions of your mastering have been saved and preserved.
Note that when using the Save As command, only a new version of the project file (the file containing the mastering settings) is created. No new version of the actual audio files is created.
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Standalone Version Operation

Other File Menu Commands

Close Project
Click this menu item to close the currently loaded project.
Ozone will present a dialog box asking you what you wish to do with the currently loaded project; options include:
• Cancel: Cancels out of the close operation; the current project will stay loaded.
• Don’t Save: The current project will be closed and no changes will be saved since the last save operation.
• Save: All of the latest changes will be saved before closing the project.
Create New Project
Click this menu item to create a new Ozone project.
If a dierent project is currently loaded, Ozone will close out the current project, oering the options described above.
Open Project
Click this menu item to open up a previously saved Ozone project. A dialog box will appear, allowing you to navigate to the saved project you wish to open.
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Standalone Version Operation

Edit Menu

Ozone’s edit menu contains dierent menus that allow you to configure the audio aspects of the Ozone 7 standalone application. These menus include:
Audio Devices
Click this menu to select which audio hardware device you wish to monitor Ozone’s audio playback from, as well as the buer size of the device.
Options will include:
• The onboard sound circuitry of your Windows or OS X computer.
• Any CoreAudio compatible audio hardware (OS X).
• Any ASIO compatible audio hardware (Windows).
If working in sample rates or bit depths higher than CD quality, make sure you have selected audio hardware that supports it.
Sessions
The saved .ozn files are referred to as an Ozone “session,” and its hierarchy is similar to that of other audio DAW programs. It contains:
• A project folder that contains all files that are relevant to that project.
• The session file references audio in the “Imported Audio Files” folder.
Initially each project has only one session, but you could have many sessions in one project.
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General Functions

General Functions

Ozone Processing Modules

Ozone oers its processing modules in a horizontal signal chain at the bottom of the screen.
By default, the order of processing in Ozone is as follows:
• Equalizer
• Dynamics
• Maximizer
The visual phase and spectrum meters that display information about the audio level and spectrum are based on the final output signal, after all processing from the modules has occurred.

Module Browser

The module browser displays the available Ozone modules. To open the module browser screen, click the “Click to insert module” button at the end of the signal chain. Then click on any one of the available Ozone modules to add it to the chain.
To change the order of the processing, simply click and drag any of the modules, moving them left or right to a dierent order.
To add a third-party plug-in to the signal chain, click on the Plug-ins tab in the module browser. From there you can select any third-party plug-in you have installed.
Ozone 7 supports VST and AudioUnit (AU) plug-in formats.
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General Functions

Input/Output Gain

The panel on the right side of the Ozone interface is the main input/output section for Ozone. This is used for setting and monitoring gain levels going in and coming out.
Setting Input and Output
Gain You can adjust the input or output gain by sliding the faders with the mouse, as well as clicking and using the mouse wheel.
Adjusting the Left and Right Channels Independently
By default, the left and right gain levels are linked; moving one moves the other. You can adjust left and right gain independently by clicking on the “lock” icon. You can also oset the two channels and then “relock” them, so that later adjustments move both channels by the same amount.
The faders will remember their oset, even if they are temporarily turned up or down all the way, so that when you bring the faders back to the middle the oset will be preserved.
Double-Click to Reset Faders
If the left and right faders are locked, double-clicking on either fader will reset both of them to 0 dB. If the left and right faders are unlocked and set at dierent levels, double-clicking a specific fader will reset it to 0 dB.
If the left and right faders are locked but had been previously been set to dierent levels, doubleclicking on a fader will reset it to match the level of the other fader. Another double-click will reset both faders to 0 dB.
Setting the Scale of the Meters
You can further customize your metering by adjusting the scale of the input and output meters.
• Clicking the “(+)” sign below the meters will increase the zoom or resolution of the metering scale.
• Clicking the “(-)” sign will decrease or zoom out the resolution of the metering scale.
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General Functions

Audio Audition Section

Ozone’s audition section is located underneath the master stereo meters on the right-hand side of the screen.
It provides a useful set of tools for monitoring the master stereo signal, and works as follows:
Bypass
Click this button to bypass all processing, from all modules, on the audio signal. The graphical interface for the modules will turn a light grey as a reminder that these modules are not in the signal path.
The bypass control provides a handy “one-click comparison” tool, where you can quickly compare how your song sounds with and without the processing that you have added using Ozone. You can always make sure, with a single click, that the processing you have added is improving your audio as desired.
Auto-Match Gain
Clicking on the “ear” icon underneath the master I/O meters activates the Automatically Match Eective Gain When Bypassed feature.
When Ozone is on there are many modules such as the multiband dynamics and loudness maximizer that can aect the overall or perceived loudness of the mix. This makes it very hard to compare “Ozone on” to “Ozone bypassed.”
The “Automatically Match Eective Gain When Bypassed” feature solves this problem. Ozone determines how much perceived gain is being added by all of the active Ozone modules and then automatically adds this amount of gain when Ozone is put into bypass mode. You can bypass Ozone, and the gain is automatically adjusted so that when you A/B Ozone on and o, the apparent volume is the same.
This gain processing is the only processing that is applied when Ozone is bypassed, and it is of course only applied when Ozone is actually bypassed.
Note: In the plug-in version of Ozone, this may not work if you use the host application to bypass Ozone. If the host application reports that it is bypassed, it will work and the Bypass button in Ozone will automatically depress accordingly.
If the host does not report that it is bypassed, Ozone doesn’t know and therefore cannot apply the “gain when bypassed.”
Mono
Click on the Mono button to have Ozone collapse the stereo signal to mono, allowing you to check your song for mono compatibility.
It is always important to check any stereo material for mono compatibility, and make sure that any processing you have done does not cause any elements of your mix to “cancel out” and disappear when listening in mono.
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General Functions
Swap Button
Click this button to swap the left and right sides of the stereo signal, allowing you to monitor the signal in reverse.
Codec (Advanced only)
Click this button to bring up the codec preview window and its various settings. See the Codec Preview section for more details.
Dither
Click this button to bring up the dither window and its various settings. See the Dither section for more details.
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General Functions

Undo History Window

The Undo History window is a unique and powerful feature for comparing settings in Ozone. To access the History list, click on the History button in the lower right-hand corner of the interface.
As you tweak controls, each movement is captured and displayed in the History list.
To go back and hear a previous setting, simply click on the list at the point you want to audition. The changes that you’ve undone will show up in a lighter color.
Clear button
Press the Clear button to clear the history list at any time.
Close button
Press the Close button to close the History window; processing resumes from the point you had last selected, so you can continue building on the History list from an earlier point.
A, B, C, and D Buttons
You can assign up to four points in the History list to A, B, C, and D buttons. To do so:
• Select the point in the list you want to capture
• Click on the Set button below the A, B, C, or D button.
• Clicking on the appropriate button will then recall the setting assigned to that button.
History Depth
The history list has a depth setting which controls how many edits it remembers. You can change this setting in the General Options tab. For the plug-ins, the history is saved at the system level, while for the standalone the history is saved in the Project file.
While using Ozone, you can press Ctrl+Z repeatedly to undo edits you’ve made, and Ctrl+Shift+Z to redo edits (CMD+Z and CMD+Shift+Z on Mac OSX). See Shortcut Keys and Mouse Support for more keyboard shortcuts.
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General Functions
Buer Size
The Buer Size Viewer dialog lets you inspect the buer sizes that your host uses.
If you are using Ozone at low latencies, you may experience unusually high CPU usage. Ozone allows you to tweak several buer sizes in order to optimize CPU usage for your host application settings.
Some host applications make it very easy to see what your buer sizes are, but it can be more dicult to determine in others. For that reason, Ozone provides this dialog to let you find out exactly what buer sizes are being sent to the plug-in.
To use this dialog, simply launch it by clicking the View Buers button on the General tab of the Options screen. Then use the following controls:
Captured Buer Sizes
This list-box shows the buers you have captured thus far. The number on the left is the input buer size, and the number on the right is the output buer size.
Note that the input and output buer sizes will be equal in Pro Tools, VST, AU, and MAS versions of Ozone, but in the DirectX version if delay compensation is enabled then the sizes may dier. When tweaking buer sizes, you’re interested in the number on the left, which is the host application’s buer size.
Start/Stop
Push “Start” to begin capturing buer sizes. Now each time a buer is sent to the plug-in, it will be added to the list of captured buer sizes for you to see. Push “Stop” to stop capturing buer sizes.
Note that buers are sent in very rapid succession to the plug-in, and after 100 buer sizes are captured, the capturing will automatically be stopped.
Clear
Clears the list of captured buer sizes.
Copy
Copies the list of gathered buer sizes to the Windows/OS X clipboard, useful for pasting into a support e-mail if necessary. See Buer Sizes for more info.
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