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Try it on buses to add a little subtle peak level control before any master bus compression, and to lighten the load of any final mastering limiters. While it’s tempting to think of the Maximizer as strictly a mastering-or at least master bus-processor, it can also be put to good use in a mix. That said, try using it for frequency-specific compression-its different detection modes and more traditional compression controls will give different results than the Dynamic EQ-to tighten up the low end of a bass, enhance midrange transients on a drum bus, or add some parallel high end sparkle to a vocal. Ozone’s Dynamics module is incredibly deep, and entire articles have been written on the topic alone. Anytime you need some classic sounding broad-strokes tone shaping, give the Vintage EQ a try. The Vintage EQ gives you the curves of the legendary Pultec EQP-1A and MEQ-5 and is at home on individual tracks and buses alike.
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Use the included presets to shape individual tracks or buses, limited by frequency if desired. Match synths to vocals-or perhaps more interestingly, vice versa-for interesting blending effects. Match takes recorded on different days, or with different mics. Your imagination is really the limit with Match EQ, but here are a few ideas to get you started: Also, be sure to check out the Equalizer preferences for Soft Saturation mode which can emulate the effects of analog EQs. Now you can have your cake and eat it too. Linear phase filters can be great when EQing parallel buses, but sometimes the phase interactions of a minimum phase filter can provide interesting effects. In digital mode, pop open the Advanced panel on any filter to reveal the phase slider, which allows you to freely adjust between linear (0%) and minimum (100%) phase. The Ozone Equalizer is a great stand-in any time you need EQ, but also has some unique tricks up its sleeve. Also, be sure not to miss the Band Shelf filter shape for crossover-free multiband style processing. Try the upward mode to enhance drum transients, or the downward mode to tame sibilance or specific resonances. Ozone’s Dynamic EQ can be a great alternative to conventional compression or expansion when you need to target a specific frequency or frequency range. So let’s dig in and look at some use cases outside of mastering for every last Ozone module. After all, it’s often the unintended uses of an audio processor-simultaneous boosts and cuts on a Pultec, all-buttons-in mode on an 1176-that yield the most iconic sounds associated with it. From sound sculpting to analog flavor, innovative bus processing to stereoization, it can open a world of possibilities. Ozone is best known as a mastering plug-in, and for good reason, but there are plenty of ways you can put its powerful modules to use in the fields of sound design, production, and mixing.