Looks aside, amongst aР’В whole raft of changes and improvements are aР’В redesign of the preset system moduleРІР‚вЂlevel and global Amount controls Mid/Side processing options for each of the three multiРІР‚вЂband modules and the reverb aР’В new mode for the Loudness Maximiser, with superior handling of transients optional automatic gain adjustment when the BypassР’В control is applied and 'KРІР‚вЂSystem' metering, which is based on ideas developed by Bob Katz. Ozone 4 benefits from aР’В cosmetic overhaul - the look is now futuristic and generally very pleasing to the eye - but most of the key controls remain in familiar places, which is aР’В good thing if you are upgrading. Readers might, therefore, refer back to the original 2002 review ( /sos/apr02/articles/izotopeozone.asp) for the basics, and I'll focus here on some of the key improvements in this release. The general operation of the plugРІР‚вЂin and its core modules has remained very similar through Ozone's development. Izotope's flagship, allРІР‚вЂinРІР‚вЂone mastering suite was first reviewed by SOS back in the April 2002 issue, and version 4 was launched at the recent NAMM show with aР’В list of new features and improvements.Р”Р„t its heart, Ozone 4 is still based around the six modules found in the original release: Paragraphic Equaliser, Mastering Reverb, MultiРІР‚вЂband Dynamics, MultiРІР‚вЂband Harmonic Exciter, MultiРІР‚вЂband Stereo Imaging and Loudness Maximiser.

Ozone 4's smart new look: note the module and global Amount sliders and the new Intelligent II mode for the Loudness Maximizer.

Izotope's comprehensive suite of mastering tools continues to develop and mature, yet still offers excellent value forР’В money.

Izotope ozone 4 mastering