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Let’s start with a Multiband Harmonic Exciter as our first venture in Ozone multiband 
processing. It’s an easy effect to hear, and is very powerful when used as a multiband effect. 

Before we get started with the Multiband Harmonic Exciter in Ozone, though, here’s a little 

background on the principle of exciters. 

 
An exciter is typically used to add a sparkle or presence to a mix. It’s a sound heard on many 

pop recordings, and was probably used to an extreme on pop in the 80s, but is still commonly 

heard today. A beginner might try to get the same “sound” as an exciter with high frequency 
EQ boost, but with less than similar results. 

 

There are many design strategies used in the exciters commercially available today, from 
waveshaping and distortion to short multiband delays. Distortion in small doses isn’t 

necessarily a bad thing. If designed correctly and applied with restraint, distortion can create 

harmonics that add an excitement or sparkle to the mix. 

 
Ozone provides a selection of exciters modeled on analog tube or tape saturation. When tubes 

saturate, they exhibit a type of harmonic distortion that is surprisingly musical. This distortion 

creates additional harmonics that add presence or sparkle to the mix while still preserving a 
natural analog characteristic. You can see perhaps why boosting high frequency EQ is not 

going to achieve the same effect. Boosting an EQ simply turns up the existing harmonics, 

where a harmonic exciter actually creates additional harmonics. Tape saturation provides a 
similar effect, although the harmonics that are created are more “odd than even”. That is, 

tube saturation typically generates even harmonics that are an octave apart (again, 

musical….), while tape saturation is a slightly more aggressive excitation that generates odd 

harmonics that are a fifth apart.  
 

It’s also very easy to overdo an exciter. What may sound good at 3.0…might sound even a 

little better at 4.0…and once you get used to that you find yourself pushing it up to 5.0 to 
keep the “excitement”. Before you get caught up in the excitement (pun intended we guess) 

and send it off the duplicator, do a little reality check: 

 
1) Compare it to some commercial mixes. OK, in some cases these are overdone as well, but 

it depends on the genre and sound you’re shooting for. What works for a dance mix probably 

isn’t going to sound as appropriate on an acoustic jazz number. 

 
2) Live with the “excited” mix for a while. At first listen an exciter is, well, exciting, but over 

time it can really sound fatiguing or even harsh and annoying. 

 
 

 
This is a very easy effect to use. That could also be why it’s often overused. 

 

Each of the four bands has a pair of controls. In most cases, you’re going to be using the 

Amount control. In addition, you’re probably going to be applying excitation to the upper one 
or two bands, although there are some cases where tube saturation in small amounts across 

the entire spectrum (all four bands) can be musically pleasing. 

 

With your mix playing (of course) adjust the Amt slider in Band 3 upwards. As you move the 
slider up you’ll hear what starts as sparkle and excitement, but can quickly turn against you as 

you go up too far. Take note of the point where it starts sounding “annoying” and then turn it 

back down to 0.0. 
 

Now try moving up the Amt slider for Band 4. Chances are, you’re going to be able to tolerate 

 

Ozone™ Mastering Guide 

Page 37 of 66 

©2003 iZotope, Inc.