But iZotope was somehow able to make both vintage dynamics modules perform like their hardware counterparts. This is very challenging thing to do in the computer domain where things don’t happen in real time. Conversely, feedback processors base the processing on the output signal. Most modern compressors are feed-forward and control the levels based on the input signal. Like the Vintage Limiter, the Vintage Compressor is a feedback-style dynamics processor. The Gain Reduction Trace in the Spectrum view is very helpful for monitoring the limiting characteristics. Modern mode works really well with practically any source material. I found the Analog mode more suited for music with drums and percussion, while Tube mode sounds great on instrumental recordings. Different modes have a direct impact on the transient response. The limiting is very smooth and even, but allows the transients through to keep the sound tight and punchy. You can also enable or disable True Peak Limiting to ensure the output level never exceeds 0.0 dB The Character slider allows you to further craft the attack and release.
Each mode offers subtly different types of limiting through a combination of fixed and variable attack/release times, as well as adapting those characteristics based on the source material. The Vintage Limiter offers the same kind of gentle, transparent limiting as the hardware device after which it is modeled, but includes IRC (Intelligent Release Control) in all three of its modes: Analog, Tube, and Modern. Its dynamic control is based loosely on the all-tube Fairchild 670 limiter, a hardware mastering device of great renown, cost, and rarity. While the Maximizer module is a powerful mastering limiter, the new Vintage Limiter has a distinctly analog flavor and response. Both versions run in standalone mode or as plug-ins. The advanced version adds three new vintage modules (Vintage Tape, Vintage Compressor, Vintage EQ), Codec Preview feature, and the Insight metering plug-in. Basically, the standard version now comes with one new vintage module (Vintage Limiter), the Dynamic EQ module, the updated Maximizer module, and MP3/AAC exporting. iZotope have a feature-by-feature comparison on their website. Ozone 7 comes in both standard and advanced versions, and Ozone 7 Advanced is part of the new Music Production Bundle that comes with Nectar 2, Alloy 2, and Trash 2 Expanded. For more information about the Ozone standalone program and individual modules, see our reviews of Ozone 6 and Ozone 6.1. In this review, I’m going to concentrate on the new features and modules of Ozone 7. Not wanting to rest on their laurels, iZotope has truly gone back to the future and added several vintage-style modules, yet retains all the modules found in Ozone 6.1.
Ozone has been a perennial favorite for users who need either a ‘one stop shop’ mastering program, or high-performance mastering plug-ins to run in a host program, or both.
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