So we figured there is no better place to start, than with perhaps its most notable one, the mastering assistant. Featuresįrom the beginning, we expected iZotope to hit us with many features in Ozone 9. Because of this, the design gets a strong mark of approval from us. Overall however, it would be easy for anyone to come to understand Ozone 9 a little better, simply with some tutorials, and time spent. With that said, because there are so many moving parts and visuals on screen, we could see how the plugin’s layout may intimidate more beginner users. In-use and engaged effects appear across the top which can be toggled between by clicking on each one individually. When not actively analyzing a track, Ozone 9’s look is similar to that of its its vocally-focused brother Nectar 3. This is especially helpful, because it blocks off the rest of the plugin to let the assistant do its thing, while also setting expectations ahead of time.

For example, once the mastering assistant is engaged and analysis starts, a checklist appears on the screen to let you know what is being done in real time.

The visual frequency spectrum meter also seemed very responsive and accurate to our ears.įrom the start, the design of Ozone 9 can make it very easy for one to understand what’s happening. As always seen in prior iZotope releases, the metering and visualizers are very quick to respond to audio changes. Albeit a strange color palette choice, it fits the brand very well and gives Ozone 9 a very professional look. Other, smaller highlighted colors that present themselves occasionally are a more royal blue, red, yellow, and teal. When a feature is engaged, a light blue color turns on to tell you so. The majority of the plugin is coated in either black, or dark grey with a blue-ish tint. IZotope’s Ozone 9 follows the same color scheme as the majority of the company’s other flagship products.

Ozone 9 advanced review