The UK print press seems to have taken to this 5th incarnation, speaking of it “keeping apace of today’s best mixing and mastering software” ( Computer Music) offering “a dazzling array of options for making your mixes sound great” Future Music and toting “a feature set and performance that makes it a truly professional product” ( Music Tech). At launch, announced last October 2011, iZotope’s Nick Dika spoke of Ozone 5 Advanced as offering: “…mixing and mastering engineers an even higher level of flexibility, precision and control.” Nick did not, however, mention muzos who are never happier than when appropriating whatever comes to hand and slapping it capriciously onto the audio canvas, our muses to indulge. Ozone 5 Advanced breaks down into six processing components, each of which is as legitimately employed in the composition, arrangement, recording and mixing stages of music production as in the final meltdown prior to distribution. What use, therefore, is a suite of mastering tools in the creative pursuits of tracking and mixing? The answer, in the way iZotope has engineered things, is: Lots. Mastering is, after all, the domain of an elite breed of engineer, scientist and audio wizard who, in another life, was a bat.
In doing so, obscure outboard (kit you could never afford) and in-box esoterica is brought to bear, its function beyond the ken of mere mortal project studio pilots. It’s long been held that iZotope Ozone is a tool of the mastering engineer, a person steeped in arcane audio lore who exercises some kind of voodoo over final mixes in order to take them from passable to ear-gasmic.
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