You can also enable or disable True Peak Limiting to ensure the output level never exceeds 0.0 dB The Character slider allows you to further craft the attack and release. Each mode offers subtly different types of limiting through a combination of fixed and variable attack/release times, as well as adapting those characteristics based on the source material. The Vintage Limiter offers the same kind of gentle, transparent limiting as the hardware device after which it is modeled, but includes IRC (Intelligent Release Control) in all three of its modes: Analog, Tube, and Modern. Its dynamic control is based loosely on the all-tube Fairchild 670 limiter, a hardware mastering device of great renown, cost, and rarity. While the Maximizer module is a powerful mastering limiter, the new Vintage Limiter has a distinctly analog flavor and response. Both versions run in standalone mode or as plug-ins. The advanced version adds three new vintage modules (Vintage Tape, Vintage Compressor, Vintage EQ), Codec Preview feature, and the Insight metering plug-in. Basically, the standard version now comes with one new vintage module (Vintage Limiter), the Dynamic EQ module, the updated Maximizer module, and MP3/AAC exporting. iZotope have a feature-by-feature comparison on their website. Ozone 7 comes in both standard and advanced versions, and Ozone 7 Advanced is part of the new Music Production Bundle that comes with Nectar 2, Alloy 2, and Trash 2 Expanded.
For more information about the Ozone standalone program and individual modules, see our reviews of Ozone 6 and Ozone 6.1. In this review, I’m going to concentrate on the new features and modules of Ozone 7. Not wanting to rest on their laurels, iZotope has truly gone back to the future and added several vintage-style modules, yet retains all the modules found in Ozone 6.1. Ozone has been a perennial favorite for users who need either a ‘one stop shop’ mastering program, or high-performance mastering plug-ins to run in a host program, or both.
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