From humble beginnings in the early days of digital audio, iZotope\u2019s tools have risen to become a staple of the modern recording workflow. Their flagship mastering software Ozone<\/a> has led the charge since the beginning, making it easier to get great-sounding records by blending machine learning with an increasingly intuitive user interface.<\/p>\n As with all trailblazing technology, Ozone has changed the way producers and audio engineers work. Its advancements over the years have transformed in-the-box mastering and empowered creators across skill levels and backgrounds to achieve stunning results.<\/p>\n In this blog post, let\u2019s explore the evolution of iZotope’s Ozone, from its initial launch to the recent release of Ozone 9 Advanced.<\/a><\/p>\n When iZotope released the very first version of Ozone back in 2001, the following statement was published on their website:<\/p>\n \u201cOzone is the result of our research and development in the area of analog modeling and mastering effects. Ozone technology is available in two formats for two distinct purposes.\u201d<\/p>\n The two formats available at that time were for DirectX or Winamp. DirectX was a 64-bit analog modeled mastering effects suite, and Winamp was a consumer-focused product that was used to enhance the sound of early MP3s in certain digital media players.<\/p>\n By 2003, iZotope defined their vision for Ozone and developed it into a more powerful pro audio toolset. It was now able to be used in more applications such as Cubase, Nuendo, and Sonic Foundry.<\/p>\n New features included presets that were integrated directly into the interface, multi-band dynamics for more advanced processing, and metering options for additional visual feedback.<\/p>\n Presets were a big step towards making Ozone a user-friendly plugin. They made it much faster for users to achieve a great sound, and made the process of getting started much less intimidating. Multi-band dynamics set the stage for future modules, advancing the possibilities of digital audio and providing the flexibility that many mastering engineers were looking for.<\/p>\n While Ozone was still imperfect and early in its development, the core concept for an all-in-one interface with powerful features was already there. Now, it just needed to grow up a bit.<\/p>\n By the time Ozone 3 came out, computer-based workstations were becoming more powerful and prevalent. The democratization of making records was well underway, and people were turning to places like YouTube to learn about software.<\/p>\n Ozone 3 provided even more robust presets that helped people get started in just a few clicks. iZotope\u2019s focus on making it as easy as possible to get professional-sounding tracks was evident in their choice to develop the usability of their software alongside its power. Additional modules such as paragraphic EQs, multi-band stereo imaging, dithering,<\/a> and the mastering limiter (known as the IRC Maximizer) entered the picture.<\/p>\n Ozone 4 and Ozone 5 continued the tradition of adding features that were useful for beginners and professionals alike. Advanced techniques like mid-side processing became available, and a new harmonic exciter expanded the sonic capabilities of Ozone.<\/p>\n One feature in particular had a profound impact on workflows across commercial music. The new automatic gain bypass control allowed users to level match the pre- and post-processed signals, making it easier than ever to hear exactly what all of that compression, limiting, EQ, and harmonic exciting were doing to your audio.<\/p>\n If you paid any attention to the recording industry in the mid-2000s, you probably remember how mastering engineers were seemingly given one directive: make it loud. At the demand of record labels and against their best judgment, engineers smashed records into highly-compressed and limited files that made them \u201clouder.\u201d This period came to be known as the Loudness Wars, because everyone was trying to have the loudest record out.<\/p>\n The Loudness Wars spurred much debate in the audio community. Engineers weren\u2019t necessarily happy about having to degrade the musical integrity of mixes by squashing them with limiters.<\/p>\n During this period, iZotope was continually developing better and better algorithms for Ozone\u2019s IRC Maximizer module. One thing remained constant \u2014 iZotope cared about making the tools the industry wanted and needed. Ozone\u2019s Maximizer quickly became a favorite tool for many mastering engineers. It provided extreme transparency and a great overall sound. With multiple IRC modes to choose from, it was easy to get the sound you were looking for, even at loud levels.<\/p>\n During this same time period, people started making records anywhere and everywhere. With laptops and computer-based systems becoming the norm in bedroom studios around the globe, this new wave of musicians needed tools that made daunting tasks like mastering possible.<\/p>\n Ozone was the first tool many producers knew they needed in order to give their recordings that final touch. Adam Young of Owl City was a fan of iZotope\u2019s tools from the start. Young, who famously recorded the hit single \u201cFireflies\u201d in his parents’ basement, said, \u201cAll in all, my career wouldn\u2019t be where it is today without iZotope products.\u201d<\/a><\/p>\nThe first release<\/h2>\n
Some preliminary developments<\/h2>\n
Getting stronger, faster, and sleeker<\/h2>\n
The Loudness Wars<\/h2>\n
Empowering bedroom producers<\/h2>\n