Insight 2, the intelligent metering plugin that features modules for loudness, levels, sound field and spectrogram, has become an essential tool for providing visual feedback about my masters. While I’m on the topic of iZotope, I need to mention two more of their tools that see regular use when mastering. From tonal sculpting, to stereo imaging, to adding analog-style harmonic coloration and even for final limiting duties, Ozone is what it claims to be: an all-in-one mastering solution. Master Rebalance allows you to fix mix balance issues without access to the original stems, and the Low End Focus feature defines your low end with minimal work.Īs you can see, Ozone has improved with every single iteration, and I find myself using it more often than not when using a strictly digital mastering workflow. Lastly, released in 2019, Ozone 9 features an updated Master Assistant feature, which provides an informed starting point for your masters based on a reference or other user-defined parameters. It also introduced the spectral shaper, which allows MEs to find and fix problem frequencies. Ozone 8 adopted one of my favorite tools, the tonal balance control, which provides incredibly helpful visual feedback. This allowed for more transparent masters, even at loud volumes. Ozone 4 and 5 added mid-side processing and a harmonic exciter.ĭuring the loudness wars in the mid-2000s, iZotope incorporated multiple IRC modes into the maximizer, allowing mastering engineers to tailor Ozone to the program material.
Ozone 3 incorporated modules such as precise paragraphic EQs, multiband stereo imaging, dithering and a transparent-sounding mastering limiter (also known as the IRC Maximizer). Sensing a need for mastering-grade tools that would function within a DAW, iZotope soon updated Ozone to include multiband dynamics, metering tools and some robust presets that helped new users adjust to this new kind of mastering workflow. mp3 files, Ozone debuted in 2001 and was made for use within DirectX or Winamp. Originally designed to enhance the sound quality of. Here are my favorite mastering plugins of all time, and how I’ve used them when finalizing mixes for distribution.
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These plugins can be used to sculpt the timbre and dynamics of your music to professional standards. That said, there are a plethora of tools currently available if your primary goal is to simply enhance the sonics of your recordings before uploading for streaming and/or distributing via compact disc, vinyl, etc. With Apple’s spatial audio option available as part of their music streaming service, MEs will continue to tweak their processes to create masters optimized for an ever-evolving and complex listening format.
Throughout history, MEs have adapted to changes in technology, delivering music optimized for vinyl, 8-track, cassette, CD and now streaming. There are still many skills mastering engineers possess that go beyond processing a stereo mix to sound fuller, clearer and louder. This isn’t to say that one can claim to be a mastering engineer after simply purchasing a few plugin packs. Mastering completely in the box can still render professional results.
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While hardware equalizers, compressors, exciters, high end converters and even analog tape remain tools within the ME’s arsenal, software has improved greatly over the decades. Plugins have gradually found their way into the mastering engineer’s workflow.
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