izotope ozone 사용자 설명서

 

 

 

 

 

 

 

 

 

 
 

 

Technically, Ozone is a plug-in, although it really encompasses several modules to 
provide a complete system for mastering (or technically “pre-mastering” as it addresses the 

processing but not the CD layout, file conversion, etc.) In addition to providing audio 

processing, it provides meters, tools for taking snapshots of mixes, comparing settings, and 
rearranging the order of the mastering modules within the system.

 

 

 

When processing audio, Ozone can perform hundreds of calculations on a single sample of 

audio. In a digital system, each of these calculations has a finite accuracy, limited by the 
number of bits used in the calculation. To avoid rounding errors from interfering with the 

audible portion of the audio, Ozone performs each calculation using 64-bits. Can you hear 64 

bits? No. But that’s the point. The rounding errors (inherent not just in Ozone but in any 
digital system) are pushed down into the inaudible range with Ozone.

 

 

 

Ozone is the result of extensive research in analog modeling, i.e. creating digital processing 

algorithms that mimic the character of analog equipment. While it’s technically impossible to 
model analog equipment exactly with digital 1s and 0s, Ozone provides compression, 

equalization, and harmonic excitation that recreates the behavior exhibited by analog 

equipment. 
 

So what is this “character” of analog? There have been volumes written on this topic, and 

we’re not sure if anyone really can explain it completely. But in the most general sense, 
analog processing has certain nonlinear aspects that a mathematician would consider "wrong" 

but many people believe sounds better musically. Any analog equalizer, for example, applies a 

small phase delay to the sound. These types of “imperfections” provide the analog 

characteristics of warmth, bass, sparkle, depth and just an overall pleasing sound.  
 

While analog modeling can provide a pleasant character or “colorization” of the sound, in some 

situations precise or “transparent” signal processing is desired. For example, you may wish to 
equalize or notch out a frequency without introducing the phase delay inherent in analog 

filters as which was mentioned above. For these applications, Ozone also provides digital or 

“linear phase” equalizer modes and multiband crossovers. Which should you use? It’s entirely 

subjective, and with Ozone you have the choice of processing modes.

 

 

Meters and DSP 
 

Some mastering engineers don’t need meters. They only need to listen. They can hear a 

sound and know its frequency, or hear a level and know when it’s compressing. For the rest of 
us, though, each module within Ozone combines audio processing controls with visual 

feedback through appropriate meters. When equalizing, you can see a spectrum. When 

compressing, you can see a histogram of levels. When widening, you can see phase meters. 

There is no substitute for using your ears, but think of it like driving a car. When you first start 

 

Ozone™ Mastering Guide 

Page 7 of 66 

©2003 iZotope, Inc.