Izotope 9 Manual
IZotope Software & Plug-ins Click here for all support articles. IZotope Spire Click here for all support articles. Exponential Audio Plug-ins Click here for all support articles. My Account Click here to visit your iZotope account. Help Manual Book for Mixcraft 9 Pro Studio and Mixcraft 9 Recording Studio, multi-track music recording and production software for the PC. Written with creative wit, a unique sense of humor and comedic analogous rhetoric, if this Mixcraft 9 Help Book was not a manual, it might have landed on the New York Times best sellers list!
What does Tonal Balance Control do?
Tonal Balance Control displays spectrum information for the track it is currently inserted on, relative to a target curve. This is particularly useful when dealing with tonal balance issues that arise during mixing and mastering. It provides context and direction toward resolving issues with a mix or master, helping you work toward the low end power or high end brilliance found in professionally-produced, radio-ready material.
Improved Tonal Balance Control in Ozone 9
For customers familiar with version one of Tonal Balance Control, this new generation features a number of exciting changes, like all-new genre-specific targets you can reference against, and a completely resizable interface. Now, rather than just controlling the EQ of Ozone and Neutron, you can control the EQ of Ozone, Neutron, Nectar and Relay alongside the gain of those plug-ins. Controlling gain over EQ allows you to alter your tonal balance without incurring the artifacts of EQ. Let’s dig into how and when to use Tonal Balance Control in your next mix or master.
How do you use Tonal Balance Control?
First of all, we highly recommend that Tonal Balance Control is inserted at the end of the processing chain on your master bus track. After you’ve placed Tonal Balance Control at the end of your master bus, choose a target that best corresponds to your session’s vibe. The targets you’ll choose from were created in-house at iZotope after analyzing thousands of masters and noting any similar frequency areas across the entire spectrum.
If you’d rather use your own reference track that you know and love, you can load it into Tonal Balance Control and the plug-in will generate a similar curve. You can even load a whole folder of songs to create a composite curve.
With just a few moves in Tonal Balance Control, you can make a positive change to the overall energy of your mix or master.
Overview
Ozone’s acclaimed IRC (Intelligent Release Control) technology lets you boost the overall level of your mixes without sacrificing dynamics and clarity. The Maximizer applies to the entire bandwidth of the mix; it is not a multiband effect.
Module Interface
Ozone 9’s Maximizer module controls and features are outlined in the table below.
| LABEL | SECTION |
|---|---|
| Module Header | |
| Meters & Displays | |
| Controls |
Module Header
| LABEL | SECTION |
|---|---|
| Views Selector | |
| Reset |
View Selector
The Maximizer module includes the following views:
Reset
Returns all controls in the Maximizer module to their factory default values.
UNDO HISTORY TO REVERT SETTINGS
If you wish to return to settings you were using before clicking the Reset button, you can use the Undo History window to revert the settings.
Controls
The Maximizer includes the following controls in the control panel:
IRC Modes
The Maximizer includes the following Intelligent Release Control (IRC) modesoutlined in the table below.
| MODE | EFFECT | CPU PERFORMANCE |
|---|---|---|
| IRC LL | Provides the intelligent digital loudness maximization of IRC I with lower latency. | Lowest latency AND least CPU intensive. |
| IRC I | Provides intelligent digital loudness maximization of the signal. It does this by analyzing the source material and applying limiting in a psychoacoustically pleasing manner, reacting quickly to transients (to prevent pumping) and reacting more slowly to steady bass tones (to prevent distortion). | Not too intensive on CPU performance. |
| IRC II | Similar to IRC I, but optimized to preserve transients even more, so they sound sharper and clearer in the output signal, even when aggressive limiting is taking place. | Moderately CPU intensive. |
| IRC III | Allows for the most aggressive limiting by using an advanced psychoacoustic model to intelligently determine the speed of limiting that can be done to the incoming signal, before producing distortion that is detectable to the human ear. When set to this mode an option to choose between four different character styles, will become available to you. These styles will help you manage the limiter’s sound by constraining its release behavior. | Very CPU-intensive, and produces high latency, especially at higher sampling rates. You may find that at sampling rates greater than 48kHz you are unable to use IRC III mode in real-time. |
| IRC IV | This mode builds upon our existing IRC technology and by shaping the spectrum to further reduce pumping and distortion. As the signal goes farther over the threshold, the IRC IV algorithm limits frequency bands that contribute most to these peaks. This reduces intermodulation between different signal components and uses dozens of psychoacoustically spaced bands in order to react to any type of audio. When no limiting is necessary, the spectrum will be unaltered. When set to this mode an optoin to choose between three different character styles, will become available to you. These styles will help you manage the limiter’s sound by constraining its release behavior. | Most CPU-intensive, and produces high latency, especially at higher sampling rates. |
IRC III Character Styles
| STYLE | EFFECT |
|---|---|
| Clipping | The most aggressive style setting of IRC III and will slightly colorize your mix with distortion or achieve the highest degree of loudness with the greatest risk of clipping. |
| Crisp | Agressively constrains the limiter’s release behavior and will favor distortion over any pumping. |
| Balanced | Constrains the release behavior of the limiter in a generally transparent way and should be suitable for most material. |
| Pumping | The least aggressive style setting for IRC III and does not constrain the limiter’s release behavior. It can tend toward a slower release behavior and may result in pumping. This is the “legacy” setting and is the behavior used in Ozone version 5.01 and earlier. |
IRC IV Character Styles
| STYLE | EFFECT |
|---|---|
| Classic | Provides general enhancement of the overall mix with a sound more reminiscent of Ozone’s earlier limiting algorithms which are still being used by professionals today. |
| Modern | Provides general enhancement and life to your mix but with greater detail and clarity than the Classic style. |
| Transient | Optimized for maximum preservation of all transients resulting in a highly detailed overall sound that may benefit some mixes needing added clarity. |
Learn Threshold
Enable to allow the Maximizer to adjust the Threshold slider inresponse to your input audio so that it meets the pre-defined Threshold Targetvalue.
- Double-click the Target LUFS value readout to edit the Lufts Target Value.
Learn Threshold Dynamically Updates
The Learn Threshold control will not disable itself after learning. It can be used tocontinuously update the Threshold to meet the Target value.
Learn Threshold Not Recommended for Loudness Compliance
The Learn Threshold control is not intended to be used to meet loudness compliance standards.
Threshold
Adjust the threshold of the Maximizer to set the level at which the limitingprocessing takes place and determines the amount of gain added to maximize theoutput level. The threshold control includes the followingsub-controls and meter:
Threshold Triggering and Maximizer Output
Setting the Threshold to a non-zero value that doesn’tDjay 2 apk uptodown. trigger the limiter will still increase the output of the Maximizer. For example if the input level to the Maximizer is peaking at -15 dB and the Maximizer Threshold is set to -4dB, limiting will not occur, but the level at the output of the Maximizer willbe peaking at -11dB.
Threshold Meter
Displays the input level to the module alongside the gain reduction applied bythe module’s processing.
- The two meters on the far left and right of the threshold meter display theinput audio level.
- The two meters that appear in between the input meters display the gainreduction applied.
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Ceiling
Adjust to set the maximum output level of the Maximizer.
Ceiling, Dither, and Codec Preview
It is generally recommended to use a setting of -0.3 dB when dithering, or amore dramatic setting (-0.6 dB to -0.8 dB) when mastering audio to be converted to .mp3 or .aac later, in order to prevent clipping in the future. See the CodecPreview section for more details.
Threshold & Ceiling Link
Enable to link the Threshold and Ceiling controls.Adjusting either control in linked mode will adjust the other control by thesame amount and vice versa.
True Peak
When enabled, the limiter will account for the levels of each digital sample and the levels of the analog signal that will eventually be produced by D/A conversion. Enables the limiter to take into account not only the levels of each digital sample but also the levels of the analog signal that will eventually be produced by D/A conversion. This is sometimes necessary, since an analog signal’s peak level can exceed the corresponding digital signal’s peak level by more than 3 dB.
True Peak Limiting & CPU Usage
This option will resultin a small increase in CPU usage, but if your mixes are running very hot you maywant to enable it to ensure that absolutely no distortion is introduced whenyour audio is finally run through a D/A converter.
Character
Adjust to customize the overall response time (attack and release times) of themaximizer processing. The attack and release times used are dependent on theselected Mode, and allows a continuous range from Fast (0.0) to Slow(10.0) in each mode.
Stereo Independence
The Stereo Independence controls represent the next iteration of the Stereo Unlink control in previous versions of Ozone. By default, the Stereo Independence controls (Transient and Sustain) will be linked and set to 0% - mimicking the default settings of the previous Stereo Unlink control.
- Transient Slider: Adjusts how the limiter responds to transient material acrosschannels.
- Sustain Slider: Adjusts how the limiter responds to sustained material acrosschannels.
- Link: Links the Transient and Sustain sliders.
| SLIDER SETTING | EFFECT |
|---|---|
| Both Sliders set to 100% | It is possible to achieve a louder output from the Maximizer, but this can result in a narrow stereo image. To alleviate the narrowing effect of the Stereo Unlink control, we split this feature into two sliders. |
| Sliders independently set to non-zero values | Applies limiting to transient and sustained material separately, based on a level envelope generated from a ratio of the individual channel levels and the entire stereo image. |
Transient Emphasis
Enable Transient Emphasis adjustment by clicking the Transient Emphasis powerbutton.
- Adjusting the Amount control allows you to fine-tune the shaping oftransients before limiting takes place. This can be useful for preservingsharper sounds, like drums, while still optimizing loudness.
Tranisent Emphasis Settings
Using higher amount values for Transient Emphasiswill result in more pronounced transients after the limiting process.
Input Level and Maximizer
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Try setting Ozone’s input level so that the input meter is peaking at the upper half toupper quarter of the meter. It is OK if the input meter peaks close to the topwhen the Maximizer module is enabled, since it will keep the audio from clipping.