Ozone 9 Help Documentation - Ozone 9 Help

Ozone 9 brings balance to your master with innovative processing for low end, real-time instrument rebalancing, and lightning-fast workflows powered by machine learning. An expanded Master Assistant helps you build a range of starting points for your master from warm analog character to transparent loudness for streaming. Talk to more iZotope plug-ins in your session with Tonal Balance Control and blur the lines between mixing and mastering. Work faster with improved plug-in performance, smooth metering, and resizable windows.

Standard and Advanced comparison

The following table compares the features available in the Standard and Advanced editions of Ozone 9.

Table of Contents

Common Terms

The following terms are used throughout this manual to specify different features:

• Mothership plug-in: Refers to the main Ozone 9 plug-in included in Ozone 9 Standard and Advanced. The mothership plug-in features a customizable signal chain and multiple processing modules within a single plug-in.
• Component plug-in: Refers to the individual plug-in version of a module that is included in the Ozone 9 Advanced mothership plug-in.
• Application: Refers to the Ozone 9 ‘standalone’ application. See the Ozone App chapter to learn more about the features that are unique to the Ozone application.

Glossary

Check out the Glossary chapter for additional information about terms used throughout this manual.

Quick Start Suggestions

Not sure where to start? You can try using presets or using Master Assistant to get going quickly with Ozone 9.

Using Presets

Ozone includes a wide variety of factory presets to help get you started on your master. You can load different mastering chains using the global preset manager in the Ozone mothership plug-in or application. Global presets can affect the contents and order of modules in the signal chain, as well as the settings in any individual module. You can also load presets for any individual module using the module preset manager.

Using Master Assistant

The intelligent Master Assistant feature allows you to quickly to develop a starting point for your master. The Master Assistant feature is included in the Ozone 9 mothership plug-in and the Ozone 9 application.

Authorization

The first time you open Ozone 9, the Authorization window will appear.

The Authorization window allows you to:

• Run Ozone in Trial mode: Start or continue a Trial period evaluation prior to purchasing.
• Run Ozone in Demo mode: Continue evaluating the product with feature limitations (after your 10 day trial period has expired).
• Authorize Ozone with your serial number.

Trial Mode

Trial mode allows you to evaluate Ozone 9 with full functionality for 10 days. The trial period begins the first time you open the Ozone 9 application or plug-ins. The Authorization window will display the number of days remaining in your trial period. Click the Continue button to start or continue working with Ozone in trial mode.

Demo Mode

When your 10 day trial period has expired, you can continue using Ozone with demo limitations. To continue evaluating Ozone 9 in demo mode, click the Demo button in the Authorization wizard.

Demo Mode Limitations

Ozone 9 plug-ins will periodically output silence when operating in demo mode.
The Ozone 9 application does not allow saving or exporting and will limit continuous playback when operating in demo mode.

Authorize Ozone

To disable Trial or Demo mode, you need to authorize the product with a valid serial number. You can choose from three different authorization methods:

Navigating the Plug-in Interface

The Ozone 9 plug-in interface is divided into the following main sections:

Learn more

See the General Controls chapter for more information about the controls included in the main areas of the Ozone interface.

Signal Flow in Ozone

The following diagram details the high-level signal flow in the Ozone 9 mothership plug-in and application.

Working with the Signal Chain

The Ozone 9 mothership plug-in and Ozone 9 application include a customizable signal chain. The default signal chain includes the Equalizer and Maximizer modules.

Component Plug-in Feature Differences

There are some notable differences between the Ozone mothership plug-in and the Ozone Advanced component plug-ins.

The following global features are only available in the Ozone mothership plug-in or Ozone application:

The Maximizer and Imager component plug-ins include global processing features that are not available in other component plug-ins:

• The Maximizer component plug-in includes Dither in the I/O panel area.
• The Imager component plug-in includes channel operations controls (Sum to Mono and Swap L/R channels) in the I/O panel area.

Tips for Optimizing Performance

Ozone 9 includes a number of performance improvements over previous versions. However, there are a number of factors that can affect performance of an individual plug-in or application and there is a chance you may run into performance issues from time to time. Here are some adjustments you can make to help mitigate performance issues you might encounter:

• Remove any modules you are not using from the signal chain in the Ozone mothership plug-in or application.
• If you are only using one module in the mothership plug-in: Consider using the component plug-in instead. (Advanced Only)
• Try increasing the Buffer Size setting in your DAW/NLE, if possible.
• If using the Ozone Equalizer in Digital mode: Try adjusting the EQ buffer size in the Options menu for optimal performance.
• If using the Digital crossover type in any multiband module: Try adjusting the Crossover Buffer Size in the Options menu.
• If possible, try reducing the number of bands enabled in any of the multiband modules.

Overview

This chapter includes information about general controls and functions you can find in Ozone.

Resizing

You can resize the window by clicking and dragging the bottom right corner of the Ozone interface.

The Ozone header area includes the following features:

Undo History

The Undo History window allows you to view a list of recent parameter changes made in the current instance of Ozone, compare different parameter states in the history list, or reset Ozone’s settings to a given point in the history list.

• CLEAR: Removes all actions from the history list. Clearing the history list does not affect parameters, it simply removes existing entries from the list.
• CLOSE: Hides the Undo History window.
• A/B/C/D: Allows you to set four history snapshot states. Snapshots allow you to quickly toggle between different processing states to compare changes. Assign an event in the history list to a snapshot button by selecting the event in the list and clicking the “Set” button below a snapshot button.

Signal Chain

You can adjust the order and contents of processing modules in the Ozone signal chain. The following image outlines the controls available in the signal chain area of the Ozone mothership plug-in and application:

The following modules are available in the signal chain selection menu:

I/O Panel

The I/O panel is split into two main sections:

Input/Output Gain and Meters

The following image outlines the input and output metering and gain controls available in Ozone.

Clipping Indicators

When the input or output signal exceeds 0 dBFS, the clipping indicator box and level readout text above the meters will be displayed in red.

You can click on the red readout text and/or clipping indicator box to reset the clipping indicator.

I/O Meter Options

Click on the I/O button above I/O meters to toggle the I/O Meter Options pop-over menu open and closed.

• Type: Selects the metering calculation used to display information in the input and output meters.
• Source: Selects between Stereo or Mid/Side metering displays the input and output meters.
• Replace Input with Reference: When checked, the input meter will show metering data based on the currently selected reference track.
• Show Reference Spectrum: When checked, the selected reference track spectrum will be displayed as a secondary spectrum in all module spectrum views.

Additional information

• Learn more about the individual I/O meter Type and Source options in the Options chapter.
• Learn more about working with reference tracks in the Reference chapter.

Global Processing and Auditioning

The section located directly below the I/O meters and gain controls includes:

Channel Processing Modes

Ozone offers different channel processing modes that determine how processing is applied within a given module. When a module supports more than one processing mode, a selection menu will appear in the module header area.

The following options are available in the dropdown menu:

The following modules offer Mid/Side and/or Left/Right channel processing mode options:

Channel Processing Mode Controls

When Mid/Side or Left/Right mode is selected, the following controls become available in the module header area:

• Power Button: Enables/disables processing in the associated channel.
• Solo: Isolates the output of the associated channel.
• Channel selection buttons: Select the associated channel view by clicking the “Mid” or “Side” buttons (in Mid/Side mode) and the “Left” or “Right” buttons (in Left/Right mode).
• Channel Link: Enables/disables linked parameter adjustments on both channels.

Table of Contents

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.

The module interface includes the following main sections:

The module header area includes the following controls:

Views

You can toggle between the different views using the view selector buttons in the module header area.

The Maximizer module includes the following views:

Spectrum Analyzer

Displays the magnitude (amplitude, in decibels) of a signal across the frequency spectrum in real-time. The spectrum analyzer displays the output signal of Ozone.

Gain Reduction Trace

Displays a scrolling waveform with a superimposed trace reflecting the amount of gain reduction applied over time.

Controls

The Maximizer includes the following controls:

Mode

The Maximizer includes the following Intelligent Release Control (IRC) modes:

• IRC LL: Provides the intelligent digital loudness maximization of IRC I with lower latency. IRC LL is the lowest latency and least CPU intensive IRC mode.
• 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).
• 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.
• IRC III: Allows for the most aggressive limiting by using an advanced psychoacoustic model to intelligently determine the speed of limiting that can be applied to the incoming signal, before producing distortion that is detectable to the human ear. 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 III Character Styles: The following character styles will help you manage the limiter’s sound by constraining its release behavior:
  • 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: This mode builds upon our existing IRC technology 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. Most CPU-intensive, and produces high latency, especially at higher sampling rates.
  • IRC IV Character Styles: The following character styles will help you manage the limiter’s sound by constraining its release behavior:
  • 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.

Threshold

Adjust the threshold of the Maximizer to set the level at which the limiting processing takes place and determines the amount of gain added to maximize the output level.

Threshold and Maximizer Output

Setting the Threshold to a non-zero value that doesn’t 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 will be peaking at -11dB.

The threshold control includes the following sub-controls and meter:

Threshold Meter

Displays input level and applied gain reduction.

• The two outer meters display input level to the limiter.
• The two inner meters display gain reduction applied by the limiter.
• The text readout at the bottom of the meter displays the current gain reduction amount that is being applied by the limiter.

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 a more 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 Codec Preview section for more details.

Threshold and Ceiling Link

Enable to link the Threshold and Ceiling controls. Adjusting either control in linked mode will adjust the other control by the same 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. 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 result in a small increase in CPU usage, but if your mixes are running very hot you may want to enable it to ensure that absolutely no distortion is introduced when your audio is finally run through a D/A converter.

Character

Adjust to customize the overall response time (attack and release times) of the maximizer processing. The attack and release times used are dependent on the selected 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 across channels.
• Sustain Slider: Adjusts how the limiter responds to sustained material across channels.
• Link: Links the Transient and Sustain sliders.

Examples

• 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 power button. Adjusting the Amount control allows you to fine-tune the shaping of transients before limiting takes place. This can be useful for preserving sharper sounds, like drums, while still optimizing loudness.

Transient Emphasis Settings

Using higher amount values for Transient Emphasis will result in more pronounced transients after the limiting process.

Overview

The Ozone 9 application allows you to process up to 16 tracks per project using Ozone modules and VST/AU plug-ins.

Application Interface

The key areas of the Ozone application interface are outlined in the image below.

The file menu contains the different commands used to perform functions as described in the table below.

Saving Ozone Projects

An Ozone project contains the following components:

• An Ozone session file (.OZN).
• An Imported Audio Files folder.
• An Exported Audio Files folder.

An Ozone session file (.OZN) contains all of the session data:

• Imported audio tracks
• Ozone module settings
• Track Trim & Fade settings
• Global I/O settings

Importing Audio

You can import up to 16 audio files into an Ozone project using the following methods:

• Click on the File menu. Choose “Import Audio Files” from the File Menu options.
• Use keyboard shortcut Cmd+I or Ctrl+I; A standard dialog box will appear where you can navigate to the desired file, then click “Open” to import it into the project.
• Click on the + icon in the track navigation area.
• Drag and drop audio files into the Ozone interface.

No Duplicate Audio Files

Ozone only allows you to import the same audio file once per project.

Supported Import File Types

Sample Rates

• A projects sample rate defaults to the sample rate of the first file loaded.
• If you attempt to load a file with a different sample rate, it will be converted to the original sample rate set by the first file, or manually set before the second file is loaded.
• The conversion process will not convert previously converted/processed files (which are copied as working files upon load); Ozone will simply go back to the original files, create new copies, and then convert all the files to this new sample rate for their new working copies.

Exporting Audio

You can export processed audio files from the Ozone application using the following methods outlined in the table below.

• Click on the File menu. Choose “Export Audio Files” from the File Menu options.
• Use the keyboard shortcut Command+E (Mac) or Ctrl+E (Windows).

Exporting Audio Options

A dialog box will appear, offering various options for the files you are about to export as outlined in the table and images below.

Current Track vs. All Tracks

There are two tabs in the Exporting Audio Options window:

• Current Track: Used to export the audio file in the currently highlighted tab.
• All Tracks: Used to export separate audio files for each audio file loaded into the current project.

AAC & MP3 Codecs used by Ozone

For AAC, Ozone uses Fraunhofer’s codec. For MP3 the LAME codec is used (www.mp3dev.org). If an MP3 or AAC format is selected, files are exported with a 44.1kHz sampling rate.

SAVE PATH OPTIONS

• If the project is unsaved, the default save path is your Documents folder.
• If the project has already been saved, the default save path is an Exported Audio Files folder in the same location as the project.

Enable Dither

Allows you to preserve the sound quality and dynamic range of a higher bit depth, when exporting the audio file to a lower bit depth. Ozone processes files at 32-bit so dither is desirable for files being exported to values lower than 32-bit.

• For example, a common workflow is to record audio at 24-bit resolution, then import and process the audio in an application such as Ozone, which will process at a higher resolution (32-bit).
• If you are releasing the audio material on a commercial CD, it must be converted to 16-bit audio, the required bit depth of the “Red Book” CD audio format.

Most of the controls and features in the Ozone mothership plug-in are also available in the Ozone Application. Transport controls and readouts are unique to the Ozone Application since it is an audio workspace and not a plugin.

Transport Controls

Ozone provides Transport controls at the top of the interface, which allow you to easily navigate the playback functions of an imported audio file. The transport bar includes the functions outlined in the table below.

Enable Looping

To loop playback of a specific section of audio, click and drag on the mouse and highlight a portion of the audio file; the section will highlight in blue and the “loop” icon in the transport bar will also highlight.

When you next press Play, the transport will repeatedly loop playback for the highlighted section only.

To stop looping audio, click on the Loop button again. The button will de-illuminate and looping will no longer be active, even though the area of the waveform will remain highlighted. To start looping audio again, simply click the Loop button.

Transport Readouts

The transport readouts available in the Ozone 9 application are outlined in the image and table below.

Track Workspace

You can load up to 16 audio files into the same Ozone project. You can interact with your tracks via the Track Tab bar or within the Waveform Display of the individual tracks.

Track Tabs

Each tab represents an audio file and its associated settings within the current Ozone project. You can navigate the Track tabs using the methods and controls outlined below.

Waveform Display

Displays the entire audio file in a waveform format. You can select regions of your audio’s waveform to focus on using the various Waveform Display controls and features outlined below.

Signal Chain And Module Interface

The signal chain and included modules are the same across the Ozone 9 Application and Ozone 9 mothership plug-in. However, the Ozone 9 Application includes an extra module called the Plug-in module.

• Please see the General Controls chapter for more information on the Signal Chain.
• Navigate through the rest of the Help documentation for more information on the modules included in Ozone 9.
• See the Plug-in module section below for more information on how to utilize this module.

Plug-in Module

The Plug-in Module is special to the Ozone Application. The following workflow details how to access and use the Plug-in module:

Plug-in Hosting Options

Click on the Options icon to open the Options window to the Plug-in tab. You can customize the following options:

• Enabled Plug-in Formats
• VST Plug-in Folders

When plug-in formats are enabled, the Ozone application will scan for new plug-ins in the background every time it is opened.

Plug-in Formats

Choose your Plug-in formats using the following options outlined below.

VST Plug-in Folders

Customize your VST plug-in folders using the following options outlined below.

Table of Contents

Overview

Master Assistant is designed to provide an intelligently tailored starting point for your track, to help you create a professional-sounding master, regardless of your experience level.

Master Assistant utilizes target genre curves that were born from a mixture of internal discussion and research. We started by grouping a large variety of audio files into ten classes of musical genre. These genre classes were then analyzed for their spectral characteristics. Based on our research, we created a number of target curves that represent the typical spectral characteristics for each genre class. Master Assistant analyzes your track to determine how similar it is to the different genre curves. Each genre curve is assigned a percentage of similarity and the percentages are used to create a unique target curve for your track.

Workflow Steps

Click the Master Assistant button in the header area to open the Master Assistant panel.

Master Assistant Settings

There are three main sections in the Master Assistant setup panel:

Modules

Determines which modules will be included in the signal chain created by Master Assistant.

Modern

In this mode, only non-vintage modules will be included in the signal chain generated by Master Assistant. The following section details how each of the modules included in the Modern mode chain are affected by Master Assistant.

• EQUALIZER: Compares the input audio to the unique target curve generated by Master Assistant. Band settings are adjusted to match your track to the unique target curve. Master Assistant will always enable band 1 (Low Shelf) and band 8 (High Shelf). Up to six Peak Bell filters may be enabled on bands 2-7.
• DYNAMICS: Uses crest factor measurement of the input to determine if Dynamics processing will positively affect the output of the Maximizer. Sets Threshold values by learning the average input level.
  

  Notes about crest factor measurement

  • Applying light low-end compression to overly dynamic audio allows the Maximizer to operate more transparently. In many cases, crest factor is calculated based on the low frequency band of the input signal. If your track is assigned a high percentage of similarity to the broad “Orchestral” category, crest factor calculation will be based on the full bandwidth of the input signal.
  • The Dynamics module will only be enabled by Master Assistant if the crest factor is higher than a predetermined cutoff value.
  • The full crest factor range used by Master Assistant is -1 to 14. The “ideal” crest factor range is 3 to 10.
  • When the crest factor is lower than 3, a track might be considered “too compressed.” When the crest factor measurement is higher than 10, a track might be considered “too dynamic.”
• MAXIMIZER: Sets Ceiling and Threshold based on the target loudness value and destination settings. Compares the input and output signals of the Maximizer to determine which frequencies are hitting the limiter the hardest.
• DYNAMIC EQ: Sets Dynamic EQ bands to peak frequencies found when comparing the Maximizer input and output signals in order to reduce potential distortion when limiting. Learns and sets Threshold controls based on the input level to the bands.

Vintage

In this mode, a mixture of non-vintage and vintage modules will be included in the signal chain generated by Master Assistant.

The following section details how each of the modules included in the Vintage mode chain are affected by Master Assistant.

• EQUALIZER: Compares the input audio to the unique target curve generated by Master Assistant. Band settings are adjusted to match your track to the unique target curve. Master Assistant will always enable band 1 (Low Shelf) and band 8 (High Shelf). Up to six Peak Bell filters may be enabled on bands 2-7.
• VINTAGE EQ: Adjusts low boost and high cut controls to add warmth and tonal character to your track.
• VINTAGE COMPRESSOR: Analyzes the dynamic range of the input audio. If extreme dynamic range is not detected, the Vintage Compressor will be bypassed but still included in the signal chain.
• VINTAGE LIMITER: Makes linked adjustments to the Threshold and Ceiling controls to add an analog character to the signal without introducing level differences.
• MAXIMIZER: Sets Ceiling and Threshold based on the target loudness value and destination settings.

Loudness & EQ

Informs the target loudness value and target EQ curves (when Reference is selected) used by Master Assistant. You can choose between Manual or Reference mode.

Manual

Sets the target loudness to a preset value associated with the selected Intensity option.

Intensity

Selects the target loudness value (in LUFS) used by Master Assistant. The following choices are available:

• LOW: -14 LUFS
• MEDIUM: -12 LUFS
• HIGH: -11 LUFS

Reference

Determines the target loudness value based on the loudness of a reference track. Select any reference track loaded in the Reference panel from the dropdown menu. If no reference tracks are loaded, click the “Load Reference Track” button to select a file in a system dialog.

Reference track determines target EQ curve and target loudness

In Reference mode, the target loudness and the target EQ curve used by Master Assistant are based on the selected reference track.

Destination

Determines the Ceiling value in the Maximizer to ensure appropriate headroom for the selected destination format.

The Destination options are associated with the following Ceiling values:

• Streaming: -1.0 dB
• CD: -0.3 dB

Table of Contents

Overview

You can use this module to shape the dynamics of your mix, with up to four bands of analog-modeled compression and limiting.

The module header includes the following controls:

Views

You can toggle between the different views using the view selector buttons:

The Dynamics module includes the following views:

Crossover Spectrum

All multiband modules in Ozone support up to four processing bands. All multiband capable modules are single band by default. You can create new processing bands and manage multiband crossovers in the Crossover Spectrum view. Note: crossover cutoff frequencies are not shared or linked across multiband modules.

Dynamics Gain Reduction/Increase in Crossover

The horizontal lines drawn in band colors display gain reduction/addition occuring in the associated processing band. This is only shown in the Dynamics module crossover view.

Adjusting crossovers

• Add band: Hover your cursor over the crossover spectrum view and click the + button to add a new crossover point.
• Enable/disable band: Click the power button to enable/disable processing in the associated band.
• Solo band: Click the S button to isolate playback of the associated band.
• Remove band: Hover over a band in the crossover view and click the x that appears to remove the band.
• Adjust crossover cutoffs: Click and drag a handle to adjust the crossover frequency. You can also double-click on a crossover handle and enter the value manually in the inline edit field that appears.

Gain Reduction Trace

Displays a scrolling waveform with a superimposed trace reflecting the amount of gain reduction applied over time.

Gain Reduction in Multiband

The gain reduction trace shows information for one band at a time. The trace color matches the color of the band it is metering.

Detection Filter

This view includes a spectrum analyzer and detection input filter controls. The detection filter allows you to apply a filter to the signal used by the level detector to trigger dynamics processing.

The following controls are available in the Detection Filter view:

• None: Disables the detection input filter. This is the default setting.
• Highpass: Enables a highpass filter. You can adjust filter slope by clicking the filter node and dragging the node handles horizontally.
• Tilt: Similar to the THRUST circuit found on API compressors, Tilt mode preserves low frequencies using a high-frequency weighted filter curve.
  • Amount: Controls the Tilt filter slope. Adjust Amount by clicking and dragging over the readout or by double-clicking on the readout and entering a new value in the inline edit field.
• Solo: Isolates playback of the detection input signal after filtering.

Band Control Views

There are two different views for band controls in the Dynamics module panel:

You can toggle between these views using the Band View Selectors located on the right side of the Dynamics module controls panel.

Selected Band View

Provides a focused view of the selected processing band. This is the default band view selection.

You can change which band is displayed using the following methods:

• Band View Selector arrows: Click the arrow buttons to the left/right of the Band View button to switch between band views.
• Select band in Crossover Spectrum: Click on a band region in the Crossover Spectrum to show the associated controls in the Selected Band View.

All Bands View

This view offers a consolidated overview of key controls for all four bands. If a band is inactive, the controls will appear greyed out in this view.

Not accessible in All Bands View

The Knee (Limiter/Compressor) control, global Level Detection Mode, and the Dynamics Curve Meter are hidden from the All Bands View, switch to the Selected Band View to access these features.

Controls and Meters

The following sections outline the controls and meters included in the Dynamics module.

Level Detection Mode

Determines how the input signal level is measured by the Dynamics level detection circuit. This is a global setting, shared by all bands in multiband mode.

• Peak: Uses the peak level of the incoming signal. In general, this setting is useful when you are trying to even out sudden peaks in your music.
• Env: (Envelope) Uses the average level of the incoming signal evened out across the frequency spectrum. Similar to RMS mode but with some advantages. Unlike RMS, Envelope mode produces even levels across all frequencies and will not produce the aliasing or artifacts that RMS detection can cause.
• RMS: Uses the average level of the incoming signal. RMS detection is useful when you are trying to increase overall level without changing the character of the sound.

Threshold

Determines the signal level at which the compressor or limiter begins processing. The handle on the left controls the Limiter Threshold, the handle on the right controls the Compressor Threshold.

Threshold Input Meter

Displays the input level to the level detection circuit (outer meters, displayed in grey) alongside the gain change applied as a result of the dynamics processing (inner meters, displayed in the corresponding band color).

Gain reduction is drawn from the top to the bottom of the meter, gain increase is drawn from the bottom to the top of the meter.

Ratio

Determines the amount of gain reduction applied to a signal when the threshold is crossed.

Compressor Ratios

• Compressor Ratio Default: 2:1.
• Compressor Ratio Range: (10):1 to 30:1. Note: (10):1 is shown as 0.1:1 in All Bands View.
• Positive Compressor ratios result in downward compression. Downward compression reduces the level of signals that reach the threshold and leaves signals below the threshold unaffected.
• Negative Compressor ratios result in upward compression. Upward compression raises the level of signals that fall below the threshold and leaves signals above the threshold unaffected. Upward compression can gently raise levels instead of pushing down peaks.

Limiter Ratios

• Limiter Ratio Default: 10:1.
• Limiter Ratio Range: (2.5):1 to 30:1. Note: (2.5):1 is shown as 0.4:1 in All Bands View.
• Positive Limiter ratios result in downward compression (limiting). Higher ratios, particularly 10:1 or greater, result in limiting (more extreme downward compression).
  

  Limiter behavior at maximum Ratio setting

  The Limiter in the Dynamics module is similar to the response of a limiter in the analog domain. When the Dynamics Limiter Ratio is set to 30:1, some overshoot may still occur because it does not function as a Brickwall limiter.

• Negative Limiter ratios result in upward expansion. Upward expansion raises the level of signals that exceed the threshold. Upward expansion can be used to add punch to dull mixes or emphasize the beat in rhythm-heavy music.

Attack

Determines the amount of time, or how quickly it takes (in milliseconds), for the dynamics to react and for the signal to become fully compressed after exceeding the threshold level.

Release

Adjusts the amount of time (milliseconds) it takes for the dynamics processor to return to unity gain (recovers gain) when the input signal falls below the threshold.

Knee

Adjusts a range around the threshold that determines how abruptly processing is applied to a signal as it approaches the threshold.

• Higher values create a “soft knee” effect, which gradually introduces processing as the signal approaches the Threshold level. This provides subtler, more natural sounding compression.
• Lower values create a “hard knee” effect, which abruptly begins processing when the signal crosses the Threshold level. This offers more aggressive sounding compression and is often used on individual tracks, such as kick or snare drum.

Parallel

Adjusts the amount of the “dry” (unprocessed) signal to mix with the “wet” (processed) signal. This technique is also known as “parallel compression”. This control is available for each band individually.

Dynamics Curve Meter

The Dynamics Curve Meter is an interactive plot of the Threshold, Ratio, and Knee controls as they relate to input and output levels. The y-axis represents output level (dB) and the x-axis represents input level (dB). You can zoom in/out by clicking the +/- buttons that appear in the bottom right when hovering your cursor over the meter. Signal activity is drawn below the curve in the associated band color.

Dynamics Curve Meter Nodes

• C (Compressor): This node is associated with the Compressor Threshold and Knee. Moving left/right will affect Compressor Threshold. Adjusting the node handles will affect Compressor Knee.
• L (Limiter): This node is associated with the Limiter Threshold, Limiter Knee, and Compressor Ratio. Moving left/right will affect Limiter Threshold. Adjusting the node handles will affect Limiter Knee. Moving up/down will affect Compressor Ratio (positive Ratios only).
• Leftmost and Rightmost nodes: These nodes indicate the amount of gain reduction/increase applied to signals above/below the threshold.

Band View Selectors

Switch between Selected Band View or All Bands View.

Use the arrow buttons to the left and right of the Band # button to switch between available band views.

Link Bands

When enabled, all band specific control adjustments will be linked relative to their current settings.

Global and Band Gain

Adjusts gain after Dynamics processing, useful for compensating for level differences caused by Dynamics processing. You can make adjustments to Global Gain and Band Gain simultaneously.

• Band Gain: Adjusts the amount of gain applied to the associated band after Dynamics processing. When working in the Selected Band View, the Gain slider for the currently selected band is located on right side of the Dynamics module controls panel. When working in All Bands View, a Gain control is located directly below the threshold meter for each band.
• Global Gain: Adjusts the amount of gain applied to the output signal of all bands after Dynamics processing. The Global Gain control is located on the right side of the Dynamics module controls panel when All Bands View is selected. The Global Gain slider is hidden when you are working in the Selected Band View.

Auto Gain

When enabled, make-up gain is automatically calculated and applied to the output signal to compensate for level differences introduced by dynamics processing. The automatic gain control calculates the RMS levels of the input and output signals independently for each Dynamics crossover band. Gain is automatically applied to the output signal based on the RMS level difference between the input and output signals. Auto gain and manual global/per-band gain adjustments can be applied simultaneously.

Adaptive Release

When enabled, automatically adjusts the Release time of the Compressor based on the peak factor of a signal.

• If a transient signal is detected, the Release time is scaled to be shorter to reduce pumping.
• If a sustained signal is detected, the Release time is scaled to be longer to reduce distortion.

Auto Release Adjustments

The Release time is scaled in relation to the Release value set by the user. For example: if you are using the Compressor with the Release time set to 100 ms, the Release time will be automatically adjusted to a value within a range of 20 ms to 200 ms, depending on the type of signal that is being processed.

Table of Contents

Overview

The Dynamic EQ can be very useful in controlling specific frequencies in your mix that are too loud, with a degree of precision not possible with a static EQ.

There are three main areas of the Dynamic EQ module interface:

The module header includes the following controls:

Spectrum View

The Dynamic EQ module includes a spectrum analyzer with the following features:

Spectrum Scales

• The scales for the filter gain and the spectrum magnitude are different, by design. If they were made to match, you wouldn’t see enough of the spectrum for it to be useful.
• See the Options chapter for more information about spectrum scale options.

Alt-Solo

You can use the alt/option key when clicking on a node or anywhere in the spectrum to momentarily solo a specific frequency region. When you release the mouse click, alt-solo will be disabled.

• Band Solo: Hold the alt or option key and click on an EQ node. This is equivalent to pressing the Solo button in the HUD.
• Alt-Solo in Spectrum: Hold the alt or option key and click anywhere on the frequency spectrum to solo frequencies surrounding the location of the cursor. You can adjust the bandwidth of the alt-solo filter in the Options window.

Working with Dynamic EQ Nodes

The following sections describe how to add, adjust and remove Dynamic EQ nodes.

Add Nodes

Default Filter Shape Assignment Based on Frequency

Default filter shapes are assigned to nodes depending on their initial frequency value.

• From 20 Hz to 100 Hz: Baxandall Bass. If a Baxandall Bass filter already exists in the curve, the default filter shape will be Proportional Q.
• From 100 Hz to 8 kHz: Proportional Q.
• From 8 kHz to 20 kHz: Baxandall Treble. If a Baxandall Treble filter already exists in the curve, the default filter shape will be Proportional Q.

Adjusting Nodes

The following methods can be used to move/adjust filter nodes:

• Click and drag a node up and down to adjust gain. Click and drag a node left and right to adjust frequency.
• Hold the shift key while clicking and dragging a node to lock the movement to the horizontal axis (for frequency) or vertical axis (for gain).
• Click and drag the handles that appear on the left/right side of a selected node to adjust the Q/Slope value.
• Press the up or down arrow keys to adjust the gain of a selected node. Press the left or right arrow keys to adjust the frequency of a selected node.
• Hold shift while using the arrow keys to make coarse value adjustments.
• Hold command (Mac) or ctrl (Windows) while using the arrow keys to make fine value adjustments.
• Double-click on a node to reset all band parameters to their default values.

Remove Nodes

The following methods can be used to remove filter nodes:

• Select a node and click the X button in the HUD to remove it.
• Click and drag to lasso select multiple nodes. Press delete or backspace key to remove all selected nodes.
• Hold Shift and click on individual nodes to select multiple nodes. Use the delete or backspace key to remove all selected nodes.

Set Dynamic Mode Direction

The arrow buttons directly above and below a node indicate the direction the filter will move when triggered. The filled arrow button indicates the currently selected direction.

Dynamic Mode Direction

Filters will behave as follows in the different modes:

• UP: When a signal exceeds the threshold, the filter will move upwards.
  • Positive Gain: Using the Up trigger mode will move the filter from the center line toward the static node (boost when triggered).
  • Negative Gain: Using the Up trigger mode will apply the full negative gain until it is triggered-when triggered it will move toward the center line.
• DOWN: When the signal exceeds the threshold, the filter will move downwards.
  • Positive Gain: Using the Down trigger mode will move the filter from the static boost value toward the center line (cut when triggered).
  • Negative Gain: Using the Down trigger mode will move the filter from the center line toward the static negative gain value.

Dynamic EQ HUD Controls

Click on a node to view the HUD panel for a given band.

The HUD panel includes the following sections:

• General Controls: Enable/disable, Solo, and Remove.
• Filter Controls: Filter Shape, Frequency, Gain, and Q.
• Threshold Controls: Threshold, Threshold Input meter, and gain change readout.
• Advanced Panel: Auto Scale, Attack, Release, and Static Offset Gain.

General Controls

You can enable/disable, solo, or remove a band with the buttons along the left edge of the HUD.

• POWER: Click the power button to enable or disable processing for the selected band.
• SOLO: Click the S button to isolate playback of the selected band.
• REMOVE: Click the X button to remove the associated band.

Filter Controls

You can adjust filter shape, frequency, gain, and Q/bandwidth in this section of the HUD.

• Filter Shape Selects the filter shape for the associated band. Filter shape types include:
  • Baxandall: Inspired by the Baxandall EQ, with the addition of freely adjustable frequency. Choose between Bass for a gentle low shelf filter or Treble for a gentle high shelf filter. When to use: Transparent way of addressing extreme lows and extreme highs for a more natural, gentle sounding effect.
  • Band Shelf: Bell filter with wide, flat top. When to use: To change the relation between the harmonics in your audio. Useful for boosting or attenuating a block of frequencies.
  • Peak Bell: Smoothly boosts or cuts an adjustable region around a specific frequency. Looks like a bell, come on what do you want from me. When to use: Changes the overall color or texture of the sound with larger gain adjustments (boost or cut). This will be a more noticeable change than Proportional Q.
  • Proportional Q: Unique filter that varies shape in proportion to the amount of boost or cut applied. As you increase or decrease the gain, the change is proportional to bandwidth. When to use: Tight, precise corrective cuts-the bigger gain adjustment, the tighter the cut will become.
• Freq: Determines the center or cutoff frequency of the selected band. Units: Hz (Hertz); Range: 20 Hz to 20 kHz.
• Gain: Determines the amount of gain applied to the selected filter. Units: dB (decibels); Range: -30 dB to +15 dB.
• Q: Determines the width or slope of parameteric/bell filters. Units: cF/Bandwidth.

Tip: HUD value adjustments

• Click and drag on a HUD text readout to scrub the value.
• Double-click on a text readout in the HUD, type a value in the inline edit field, press enter or click outside of the field to change the value.

Threshold Controls

You can adjust the Threshold and view related meters in this section of the HUD.

• Threshold Input meter: Vertical meter bars displayed behind the Threshold slider.
  • Input Level Meter: Displays the input signal of the selected filter in the outer vertical meter bars.
  • Gain Reduction/Addition: Displays the amount of level adjustment applied to the selected filter in the inner vertical meter bars.
• Threshold (dB): Determines the signal level at which dynamic gain adjustments will be triggered for the selected filter. Adjustment methods:
  • Click and drag the slider up and down.
  • Click on the slider handle then use the Up or Down arrow keys.
  • Double-click on the value readout, type the value into the inline edit field, and press enter to save it.
• +/-: Displays the gain reduction/addition applied to the filter as a text based readout.

Advanced HUD Controls

Click the arrow on the right side of the HUD to expand the Advanced panel.

The Advanced Panel includes the following controls:

• Auto Scale: When enabled, the attack and release values will be scaled automatically depending on the frequency of the associated band.
• Attack: Adjusts how long it takes the dynamic trigger to react to a signal crosses the Threshold value. You can adjust the Attack value by clicking and dragging on the value readout or by double-clicking on the value readout and typing a value into the inline edit field.
• Release: Adjusts how long it takes for the dynamic trigger to return the filter to its static settings when the input signal falls below the Threshold value. You can adjust Release by clicking and dragging on the value readout or by double-clicking on the value readout and typing a value into the inline edit field.
• Offset: Sets a static gain offset for the associated band.

Table of Contents

Overview

Ozone’s versatile Equalizer allows you to add warmth and character with analog-matched filters, or precisely boost and cut frequencies with digital linear-phase filters.

The module interface includes the following sections:

The module header includes the following controls:

Views

You can switch between HUD View and All Bands View using the view selection buttons.

HUD View

This is the default view in the Equalizer module. In this view, a HUD panel will appear when you select a node.

All Bands View

When selected, band controls are displayed in a table format below the spectrum. The HUD panel is not displayed when nodes are selected in All Bands View.

Spectrum and EQ Curve

The main spectrum view of the Equalizer includes the following features:

Spectrum scales

• The scales for the filter gain and the spectrum magnitude are different, by design. If they were made to match, you wouldn’t see enough of the spectrum for it to be useful.
• See the Options chapter for more information about spectrum scale options.

When the Show Extra Curves option is enabled in the EQ options tab, three additional rulers appear on the right-hand side of the spectrum analyzer: Phase Response (degrees), Phase Delay (ms), Group Delay (ms).

You can hide and show each curve individually by clicking on the buttons that appear in the legend along the top of the spectrum view.

• Phase Delay: A calculation of phase response represented in time (ms).
• Phase Response: A calculation of phase response represented in degrees. This curve is most useful when using analog or minimum phase equalization.
• Group Delay: A calculation of the delay of amplitude envelopes in time (ms). This curve is most useful when working with transients.

Alt-Solo

You can use the alt/option key when clicking on a node or anywhere in the spectrum to momentarily solo a specific frequency region. When you release the mouse click, alt-solo will be disabled.

• Band Solo: Hold the alt or option key and click on an EQ node. This is equivalent to pressing the Solo button in the HUD.
• Alt-Solo in Spectrum: Hold the alt or option key and click anywhere on the frequency spectrum to solo frequencies surrounding the location of the cursor. You can adjust the bandwidth of the alt-solo filter in the Options window.

Working with EQ Nodes

The following sections describe how to add, adjust and remove EQ nodes.

Adding Nodes

Default Filter Shape Assignment Based on Frequency

Default filter shapes are assigned to nodes depending on their initial frequency value.

• From 20 Hz to 100 Hz: Baxandall Bass. If a Baxandall Bass filter already exists in the curve, the default filter shape will be Proportional Q.
• From 100 Hz to 8 kHz: Proportional Q.
• From 8 kHz to 20 kHz: Baxandall Treble. If a Baxandall Treble filter already exists in the curve, the default filter shape will be Proportional Q.

Adjusting Nodes

The following methods can be used to move/adjust filter nodes:

• Click and drag a node up and down to adjust gain. Click and drag a node left and right to adjust frequency.
• Hold the shift key while clicking and dragging a node to lock the movement to the horizontal axis (for frequency) or vertical axis (for gain).
• Click and drag the handles that appear on the left/right side of a selected node to adjust the Q/Slope value.
• Press the up/down arrow keys to adjust the gain of a selected node. Press the left/right arrow keys to adjust the frequency of a selected node.
• Hold shift while using the arrow keys to make coarse value adjustments.
• Hold command (Mac) or ctrl (Windows) while using the arrow keys to make fine value adjustments.
• Double-click on a node to reset all band parameters to their default values.

Removing Nodes

The following methods can be used to remove filter nodes:

• In the HUD view: Select a node and click the X button in the HUD to remove it.
• In All Bands View: Click the power button associated with the band you want to remove in the controls section.
• Click & drag to select multiple nodes. Press delete or backspace key to remove all selected nodes.
• Hold Shift and click on individual nodes to select multiple nodes. Use the delete or backspace key to remove all selected nodes.

Controls

The following sections detail the EQ filter controls in the context of the HUD View. Any All Bands View differences or exceptions are noted in the control descriptions below.

The HUD panel is divided into the folowing sections:

General Controls

You can enable/disable, solo, or remove a band with the buttons along the left edge of the HUD.

• Power: Click the power button to enable or disable processing for the selected band.

  Power button behavior in All Bands View

  When All Bands View is selected, clicking on a band power button will remove the associated band, rather than disable it.

• Solo: Click the S button to isolate playback of the selected band.
• Remove: Click the X button to remove the associated band.

Filter Controls

You can adjust filter shape, frequency, gain, and Q/bandwidth in this section of the HUD.

Filter Shape

Selects the filter shape for the associated band. The filter shapes are organized into sub-menus based on filter type and usage.

• BELL menu: These filters can be used to boost or cut a specific center frequency level (Peak type filters). The following filter shapes are included in this menu:
  • Bell: Smoothly boosts or cuts an adjustable region around a specific frequency.
  • Proportional Q: Unique filter that varies shape in proportion to the amount of boost or cut applied. As a cut or boost is increased further away from center of the EQ curve, the shape tightens for more precision.
  • Band Shelf: Bell filter with wide, flat top. Useful for boosting or attenuating a block of frequencies.
• LOW SHELF and HIGH SHELF menus: These filters can be used to boost or cut the frequency content above or below a specified frequency (Shelf type filters). The following filter shapes are included in the sub-menu:
  • Analog: Efficient shelf filter for simple boosts and cuts.
  • Baxandall: Gentle shelf filters. Modeled after the Baxandall EQ, with the addition of adjustable frequency.
  • Vintage: Inspired by the renowned Pultec analog equalizer. Exhibits a complementary frequency dip, creating a complex slope with one node.
  • Resonant: Exhibits a complimentary resonance at both ends of the filter slope creating a complex shape with one node.
• LOWPASS and HIGHPASS menus: These filters can be used to attenuate frequency content that is below (for highpass) or above (for lowpass) a specified cutoff frequency (Pass type filters). The following filter shapes are included in this sub-menu:
  • Flat: Butterworth filter; optimized for maximum flatness without ripple or resonance in the passband or stopband (stability).
  • Resonant: Filter equipped with a resonance control to emphasize the cutoff frequency with positive gain. Boosts content at the cutoff frequency to add character and emphasize the lowest or highest part of the signal.
  • Brickwall: Elliptic filters. Optimized for steepness with minimal ripple in the passband and stopband.
• SURGICAL:(Digital mode only) Precise digital filter shape available in all filter shape sub-menus when Digital Filter Mode is selected in the module header.

Frequency

Determines the center or cutoff frequency of the selected band. Units: Hz (Hertz); Range: 20 Hz to 20 kHz.

Gain

Determines the amount of gain applied to the selected filter. Units: dB (decibels); Range: -30 dB to +15 dB.

Q/Slope

• Q: Determines the bandwidth (cF) of the selected filter.
• Slope: Determines the Slope of the filter below or above the set cutoff frequency. Slope is measured in decibels per octave (dB/oct).
  

  Fixed Q/Slope

  The Baxandall Bass, Baxandall Treble, HP Brickwall and LP Brickwall filter shapes do not have adjustable Q/Slope values.

Advanced Controls

You can access the Advanced panel by clicking the arrow button on the right hand side of the HUD. If the Global Filter Mode is set to Analog, the Advanced panel button will be disabled. You can only access the Advanced panel of the HUD when the Global Filter Mode is set to Digital.

Phase

Adjusts the phase response of the currently selected filter.

• 0% Phase: the selected band will have a Linear phase response.
• 100% Phase: the selected band will have a Minimum phase response.

Phase Control Availability

• Phase is only adjustable when Digital Global Filter Mode is selected.
• Phase is not included in the controls table of the All Bands View. You can only access Phase from the Advanced panel of the HUD.

Table of Contents

Overview

Ozone’s Exciter module offers up to four bands of configurable saturation with numerous modes giving you the ability to customize how saturation is introduced into your music.

The Exciter module header includes the following controls:

Views

You can toggle between the different Exciter views using the view selector buttons in the module header area.

The Exciter module includes the following views:

Crossover Spectrum

All multiband modules in Ozone support up to four processing bands. All multiband capable modules are single band by default. You can create new processing bands and manage multiband crossovers in the Crossover Spectrum view. Note: crossover cutoff frequencies are not shared or linked across multiband modules in the main Ozone plug-in.

Adjusting Crossovers

• Add band: Hover your cursor over the crossover spectrum view and click the + button to add a new crossover point.
• Enable/disable band: Click the power button to enable/disable processing in the associated band.
• Solo band: Click the S button to isolate playback of the associated band.
• Remove band: Hover over a band in the crossover view and click the x that appears to remove the band.
• Adjust crossover cutoffs: Click and drag a handle to adjust the crossover frequency. You can also double-click on a crossover handle and enter the value manually in the inline edit field that appears.

Post Filter

Displays harmonic highlights that represent the saturation being applied to your signal across the frequency spectrum. You can adjust a high-shelf filter that affects the wet (processed) output of the module to tame any high frequency content that may have been introduced by the module’s processing.

The affected frequencies on the spectrum are indicated by a bright white fill. Non-affected frequencies on the spectrum will not display a fill color. The histogram display is calculated after the Post Filter is applied. Adjusting the Post Filter will update the histogram display to show the saturation occurring at the output of the Exciter module.

Controls

The Exciter module includes the following controls:

Oversampling

Increases the sampling rate of the applied distortion to reduce aliasing. This option applies to all bands.

Oversampling and CPU

Oversampling utilizes more processing power to increase the quality level of the Exciter module.

Link Bands

When enabled, adjustments made to a control will be linked and applied to all other bands by the same amount.

Modes

Select one of the egg cider’s different modes to find the sonic characteristic that fits your in your mix. You can choose between the following Mode options:

• Analog: Emulates the sound of transistor type odd harmonics giving a driven grit to your audio.
• Retro: Based on characteristics of transistors, with a slowly decaying row of odd harmonics.
• Tape: Offers a brighter sounding saturation, due to the odd harmonics found when saturating analog tape.
• Tube: Characterized by its clear “tonal” excitation with an emphasis on dynamic or transient attacks.
• Warm: Generates only even harmonics that decay quickly.
• Triode: Modeled after a tube circuit for realistic analog warmth. It uses one half of a tube circuit for a subtler overdrive than the Dual Triode mode.
• Dual Triode: Models a full circuit using a vacuum tube, introducing more pronounced overdrive with a warmer tone.

Amount

Controls the amount of the harmonic excitation for the associated band.

Mix

Controls the amount of processed signal that is blended back into the unprocessed signal.

Table of Contents

Overview

The Imager allows you to adjust the stereo width of your mix using multiband stereo imaging. The Imager module interface is divided into four main sections:

The Imager module header includes the following controls:

Views

You can toggle between the different Imager views using the view selector buttons in the module header area.

The Imager module includes the following views:

Crossover Spectrum

All multiband modules in Ozone support up to four processing bands. All multiband capable modules are single band by default. You can create new processing bands and manage multiband crossovers in the Crossover Spectrum view. Note: crossover cutoff frequencies are not shared or linked across multiband modules in the main Ozone plug-in.

Adjusting Crossovers

• Add band: Hover your cursor over the crossover spectrum view and click the + button to add a new crossover point.
• Enable/disable band: Click the power button to enable/disable processing in the associated band.
• Solo band: Click the S button to isolate playback of the associated band.
• Remove band: Hover over a band in the crossover view and click the x that appears to remove the band.
• Adjust crossover cutoffs: Click and drag a handle to adjust the crossover frequency. You can also double-click on a crossover handle and enter the value manually in the inline edit field that appears.

Correlation Trace

Draws stereo correlation values over time. Negative correlation (out of phase) values are drawn in red; positive correlation (in phase) values are drawn in white.

The correlation trace displays information based on the output signal of Ozone, so adjustments to the Imager controls are reflected in this meter.

Stereo Width Spectrum

Displays a hybrid mirrored spectrum analyzer of the signal’s stereo width.

When the signal is fully mono, only a straight line will be drawn in the center of this view.

Controls

The Imager module includes the following controls:

Width

Adjusts the amount of gain applied to side channel content. Positive values will increase perceived stereo width, and negative values will decrease the perceived stereo width of a band. A setting of -100 will make the output of the associated band effectively mono.

Note

If the input signal to the Imager is either: mono (i.e. single channel) or effectively mono (i.e. a stereo file with the same content on both channels), you will need to enable the Stereoize feature for Width adjustments to have an effect on the signal.

Link Bands

Enable to link Width controls adjustments across all bands. When enabled and a Width control is adjusted for one band, all other Width controls will be adjusted by the same amount.

Stereoize

Stereoize processing is applied to all processing bands equally. The following controls allow you to enable the effect and adjust the associated settings.

• Stereoize power button: Enables/disables stereoize processing.
• Stereoize Amount: Adjust the slider to add natural-sounding stereo width to narrow recordings and to control the character of the stereo effect in conjunction with the width sliders.
  

  Stereoize is Mono Compatible

  The Stereoize effect is completely mono compatible. Even if you add width to audio, it can still be played back in mono without producing unpleasant artifacts.

• Stereoize Modes: There are two different stereoize processing modes available in the Imager:
  • Mode I: Haas Effect-based decorrelation processing. This mode creates a delayed copy of the mid channel signal and injects it into the side channel.
  • Mode II: A newly developed alternative to the classic stereoize mode. This new mode has a slightly different tonal quality from the original and helps to preserve transients at higher settings.

Vectorscope

The vectorscope meters provide a view of the stereo image of the signal after all other processing is applied, regardless of the Imager’s position in the signal chain.

Polar Sample

Plots dots per sample on a polar coordinate display to highlight the stereo image of the incoming signal.

Patterns that appear within the 45-degree safe lines represent in-phase audio. Patterns outside these lines represent out-of-phase audio. The history of the Polar Sample Vectorscope fades out slowly. You can reset the display by clicking on the meter.

Polar Level

Plots rays on a polar coordinate display that represent sample averages and displays the stereo energy of a recording.

The length of the rays represents amplitude. The angle of the rays represents their position in the stereo image. Rays within the 45-degree safe lines represent in-phase audio. Rays beyond the safe lines represents out-of-phase audio.

Lissajous

Plots per-sample dots on a traditional oscilloscope display similar to the Polar Sample vectorscope.

Typically, stereo recordings produce a random pattern on a Lissajous Vectorscope that is taller than it is wide. Vertical patterns mean left and right channels are similar (approaching mono). Horizontal patterns mean the two channels are very different, which could result in mono compatibility problems.

Clipping in the Vectorscope

Clipped samples are drawn in red along the edges of the vectorscope meter frame. Click on the meter to reset the clipped samples display.

Correlation Meter Bar

The vertical bar meter to the right of the vectorscope indicates the degree of similarity (or correlation) between the left and right channels.

Tips

• If the left and right channels are exactly the same, the correlation value would be +1 and the meter tick would be drawn at the top.
• If the left and right channels are exactly out-of-phase the correlation would be -1 and the meter tick would be drawn all the way at the bottom.
• In general, most recordings have phase correlations in the 0 to +1 range. A brief readout towards the bottom half of the meter is not necessarily a problem but could represent a possible mono compatibility issue.
• As you increase stereo widening, the phase correlation will tend to draw more towards the bottom half of the meter, as the left and right channels will become “wider” and less similar.

Stereo Balance Meter

The horizontal bar meter directly below the vectorscope meter indicates the stereo balance of the signal. When the meter tick is drawn all the way to the left, it indicates there is only information on the left channel. When the meter tick is drawn all the way to the right, it indicates that there is only information on the right channel.

Table of Contents

Overview

Low End Focus is designed to intelligently reduce muddiness, increase low end impact, and address other common low end issues that may not be easily improved with traditional tools such as EQ or Dynamics.

The module interface is comprised of three main sections:

The module header includes the following controls:

Action Region Spectrum View

Displays action region cutoff handles over a spectrum analyzer. Low End Focus allows for an action region range of 20 Hz to 300 Hz.

• Action Region Cutoff Adjustments: Drag a handle to adjust a single cutoff value, click between the two handles to move them together, or single-click on the value readout and manually enter a cutoff value.
• Solo: Isolates playback of the input signal (before processing) within the action region cutoffs.

Controls

Low End Focus includes the following controls:

Modes

Determines the response time of Low End Focus processing. These modes influence how processing is applied to sustained and transient content within the action region. You can choose between the following modes:

• Punchy: Uses faster response times to emphasize transient content.
• Smooth: Uses slower response times to enhance sustained content.

Contrast

Adjusts the spectral contrast between low and high level signals within the action region.

• Positive values: Increases the difference between low and high level content. Attenuates ‘out-of-focus’ low level content, bringing out transients and leading to a punchier sound.
• Negative values: Decreases the difference between low and high level content. Blurs the low end in a similar way to saturation. Transients will lose focus similar to the smoothing effect of some analog compression.

Gain

Sets the amount of makeup gain applied to the action region.

Listen

Enables isolated playback of the difference between the input (unprocessed) and output (processed) signals within the action region.

Table of Contents

Overview

Master Rebalance leverages a machine learning algorithm trained to identify different instrument types in a track. You can use Master Rebalance to make real-time gain adjustments to a selected focus element in your master without needing to adjust stems or individual tracks from the original mix.

The Master Rebalance module is divided into the following sections:

The module header includes a Reset control:

Returns all module controls to their default values.

Spectrum View

The Master Rebalance spectrum view differs from the spectrum metering included in other Ozone modules. The following image outlines the key components of the Master Rebalance spectrum view:

Controls

The following controls are included in the Master Rebalance module:

Focus

Selects the focus element (instrument type) that will be detected and adjusted. The following focus options are available: Vocals, Bass, and Drums.

Focus selection

Only one Focus mode can be selected at a time.

Gain

Adjusts the level of the selected focus element.

Table of Contents

Overview

The Match EQ module is a digital linear-phase EQ with the ability to use over 8,000 bands of frequencies for very precise matching.

The module interface includes the following sections:

The module header includes the following controls:

Spectrum and Matched EQ Curve

The spectrum view includes the following features:

• Spectrum Analyzer (grey): Displays the magnitude (amplitude, in decibels) of a signal across the frequency spectrum in real-time. The spectrum analyzer in the Match EQ module displays the output signal of Ozone.
• Matched curve (white): The filter response of the matched curve. Represented by a thick white line drawn across the spectrum. This is only displayed after a Reference and Apply To snapshot have been captured.
• Reference Spectrum Snapshot (goldenrod): Display of the captured Reference snapshot.
• Apply To Spectrum Snapshot (blue): Display of the captured Apply To snapshot.
• Matched Curve Cutoff handles: Sets low and high frequency cutoffs for the matched curve processing.
  • Drag the cutoff handles to set lower and upper range boundaries for the matched curve processing. As you drag a cutoff toward the middle of the spectrum, the matched curve will flatten out to indicate no processing is being applied.
  • Click on the value readouts for the cutoff handles to manually enter a frequency value in the inline edit field that appears.
  • These can be useful when you want to concentrate on matching a particular region of the frequency spectrum. For example: apply the matched curve to the low end without affecting the high end.
• Spectrum Scales:
  • Spectrum Magnitude Scale: (dB) Vertical scale displayed on the left side of the spectrum view.
  • Spectrum Frequency Scale: (Hz) Horizontal scale displayed along the bottom of the spectrum view.
  • Matched Curve Gain Scale: (dB) The gain scale for the matched filter curve is located on the right side of the spectrum view.

Reference Spectrum Snapshot

Capture a spectrum snapshot of a reference or source track that you want to match your track to.

• Capture: Click and playback the track you want to use as a reference curve to begin recording a snapshot.
  

  Capture Reference panel playback

  If you want to use a track loaded in the Reference panel, enable Reference playback in the I/O panel and capture the Reference track directly from the Reference panel.

• Stop: Click to stop capturing and freeze the Reference spectrum snapshot.
• Clear: Clears the current Reference spectrum snapshot.

Snapshots and Presets

• Reference Spectrum snapshots are saved with Ozone presets.
• Apply To spectrum snapshots are not saved with with Ozone presets.
• Loading a preset with a saved Reference snapshot will overwrite any currently captured Reference snapshot with the snapshot saved with the preset.
• Loading presets will not affect the Apply to spectrum snapshot.

Apply To Spectrum Snapshot

Capture a spectrum snapshot of the track you are working on. The captured curve will be shown in blue in the snapshot view and spectrum view.

• Capture: Click Capture and playback your current track to begin capturing a snapshot.
• Stop: Click to stop capturing and freeze the Apply To spectrum snapshot.
• Clear: Clears the current Apply To spectrum snapshot.

Fine Tune

The Fine Tune controls can be used to adjust the shape and intensity of the matched curve.

• Smoothing: Determines the amount of precision to apply to the matched curve. Higher smoothing is less precise. Lower smoothing is more precise.
• Amount: Determines the amount of processing (intensity) to use when matching the Reference curve to the Apply To curve.

Recommendations

• A Matched Curve amount of 100% and a Smoothing amount of 0% might be technically the closest match to your “Reference” mix, but in reality it’s probably not the most effective combination of the settings. Those settings will try to capture every peak, valley, and level, which can result in extreme, unnatural EQs.
• We suggest working with the Matched Curve amount under 50%. If your Matching EQ curve has narrow peaks and valleys, increase the Smoothing parameter to smooth them out. Your goal is to capture the overall tonal shape of the Reference as opposed to an exact match.

Table of Contents

Overview

The Spectral Shaper can be used to apply high-resolution attenuation to problematic frequencies across the frequency spectrum with configurable time constants, timbre adjustment, and a variable full spectrum action region.

The Spectral Shaper interface includes the following sections:

The module header includes the following controls:

Views

You can toggle between the different views using the view selector buttons.

The Spectral Shaper module includes the following views:

Action Region Spectrum

Allows you to adjust and audition the Spectral Shaper Action Region range. This view offers Action Region controls superimposed over a spectrum analyzer.

The Action Region Spectrum includes the following controls:

• Action Region Range Cutoff Handles: Adjusts the low and high cutoff frequency values for the action region.
  • Click and drag a handle left or right to adjust the cutoff frequency.
  • Click in between both handles and drag left or right to move both handles together.
  • Single-click on the text readout next to the bottom of a handle, type in a new frequency value and press enter to set the handle to that value.
• Action Region Solo: Solos the input signal to the Action Region before processing.

Gain Reduction Trace

Displays a scrolling waveform with a superimposed trace reflecting the amount of gain reduction applied over time.

Controls

You can adjust the following controls in the Spectral Shaper:

Mode

Sets the intensity of reduction applied by the Spectral Shaper. Options include: Low, Medium, High.

Threshold

Sets the level at which spectral gain reduction is applied to the action region.

Threshold Input Meter

The two outer meter bars display the highest level of all bands included in the Action Region input signal. The inner meter bars and text readout at the bottom of the meter display gain reduction.

Spectral Shaper Threshold Input Meter

The threshold input meter in the Spectral Shaper displays different information than it does in the Maximizer or Vintage Limiter module. In the Maximizer and Vintage Limiter, the threshold input level is based on the full frequency spectrum of the input signal. The Spectral Shaper threshold input level is based on the highest level of the frequency bands included within the action region.

Listen

Toggles isolated playback of the signal that is reduced as a result of Spectral Shaper processing. This signal is the difference between the input and output signals.

Tone

Adjusts the spectral tilt of the Spectral Shaper processing. Positive values tilt towards a brighter overall spectral character, negative values tilt towards a darker overall spectral character.

Attack

Set the amount of time it takes for the Spectral Shaper to apply gain reduction to signals that exceed the Threshold.

Release

Set the amount of time it takes for the Spectral Shaper to stop applying gain reduction to signals that fall below the Threshold.

Table of Contents

Overview

The Vintage Compressor is an emulation of a feedback compressor with a detection filter in the feedback loop. The Vintage Compressor includes a versatile detection filter in the feedback loop that filters the signal passed into the level detector to change which components of the signal are triggering the compressor. Some compressors use a highpass filter or a high shelf boost to reduce pumping. Others have a wide boost in the high frequencies to let high frequency content drive the compressor. The Vintage Compressor in Ozone includes all of these filters. We combined some of the best elements of vintage analog compressors to create this feedback compressor algorithm.

The Vintage Compressor module interface is divided into the following sections:

The Vintage Compressor module header area contains the following controls:

Views

You can toggle between the different views using the view selector buttons in the module header area.

The Vintage Compressor module includes the following views:

Detection Filter

This view includes a spectrum analyzer and detection input filter controls. Use the filter nodes to adjust the frequency response of the detection circuit used by the Vintage Compressor, so that it is more or less sensitive to specific frequencies.

Detection Filter Solo

Click the (S) button in the upper left corner of this view to listen to the filtered input to the detection circuit. This is useful for quickly listening to the input signal being used to trigger the Vintage Compressor processing.

Gain Reduction Trace

Displays a scrolling waveform with a superimposed trace reflecting the amount of gain reduction applied over time.

Controls

The following controls are available in the Vintage Compressor:

Mode

Adjusts the overall character of the Vintage Compressor. Mode options include:

• Sharp: Provides crisp dynamics and a greater emphasis on transients while maintaining the body of the signal.
• Balanced: Gives a signal-dependent balance between dynamics preservation and overall enhancement to the body of the signal.
• Smooth: Smoothes out transient and dynamic material while enhancing and bringing out the rest of the signal, resulting in a thicker and fuller sound.

Threshold

Adjust the threshold to set the point where the dynamics processing takes place. Since some modes have a soft knee, mild compression may occur below this point.

Threshold Meter

Displays the input level to the module alongside the gain reduction applied by the module’s processing.

• The two meters on the far left and right of the threshold meter display the input audio level.
• The two meters in between the input meters display the gain reduction applied.

Ratio

Sets the amount of attenuation applied to the signal once it has passed the threshold. Higher ratios will result in more compression.

Attack and Release

Adjust the attack and release controls to set how quickly the Vintage Compressor reacts to audio that crosses the threshold.

• Attack: Determines how quickly the Vintage Compressor reacts when the threshold is reached.
• Release: Determines the amount of time before the Vintage Compressor returns the level to normal once the signal is no longer above the threshold. This control sets the release time for transients; for sustained compression, the release time will be significantly longer.

Gain

Adjusts the output gain of the Vintage Compressor module to makeup for decreases in volume.

Auto Gain

When enabled, Auto Gain calculates the RMS levels of both the input and output signals of the Vintage Compressor in order to apply the appropriate gain to the output signal.

Auto Gain acts as a smart “make-up gain” control that adapts over time and adjusts your levels to a comparable level of your unprocessed audio.

Table of Contents

Overview

The Vintage EQ module can be used to add the emulated frequency response of the Pultec EQP-1A and Pultec MEQ-5. The module interface is divided into the following sections:

The module header area includes the following controls:

Spectrum and EQ Curve

The Vintage EQ module includes a spectrum analyzer and a composite EQ curve.

• Spectrum Analyzer: Displays the magnitude (amplitude, in decibels) of a signal across the frequency spectrum in real-time. The spectrum analyzer in the Equalizer module displays the output signal of Ozone.
• Composite curve: The combined filter response of all bands. Represented by a thick white line drawn across the spectrum. Each band contributes to the overall shape of this curve.

Controls

The Vintage EQ control panel includes two sections of controls. The controls along the top are modeled after the Pultec EQP-1A Equalizer and the controls along the bottom are modeled after the Pultec MEQ-5 Equalizer.

Pultec EQP-1A Controls

The top row of controls includes filters modeled after the Pultec EQP-1A.

A unique feature of the Pultec EQP-1A is the ability to simultaneously adjust the boost and cut parameters for the low frequency band. While the original manual warns “Do not attempt to boost and attenuate simultaneously,” these controls interact in a way that many engineers have found to be desirable. Rather than canceling each other out, combining these controls results in a boost in the low frequencies, followed by a dip at slightly higher frequencies. This unique shape is also available in the Ozone Equalizer module with the “Vintage Low Shelf” filter shape.

Low Boost/Cut Controls

• Low Frequency (Hz): Sets the frequency of the low shelf filter. Options include: 20 Hz, 30 Hz, 45 Hz, 60 Hz, and 100 Hz.

  45 Hz option

  The original hardware unit did not include a 45 Hz option, but we’ve added this frequency because we found it to be useful for mastering.

• Low Boost (dB): Adjusts the amount of positive gain (boost) applied to the filter.
• Low Cut (dB): Adjusts the amount of negative gain (cut) applied to the filter.

High Boost Controls

• High Boost Frequency (Hz): Sets the center frequency of the high boost peaking filter. Options include: 3 kHz, 4 kHz, 5 kHz, 8 kHz, 10 kHz, 12 kHz, and 16 kHz.
• High Boost Amount (dB): Adjusts the amount of positive gain (boost) applied to the filter.
• High Boost Q: Adjusts the bandwidth of the high frequency boost filter. The boost amount and bandwidth interact (i.e. the Q changes as you boost), as they do in the EQP-1A.

High Cut Controls

• High Cut Frequency (Hz): Sets the frequency of the high shelf filter. Options include: 5 kHz, 10 kHz, and 20kHz.
• High Cut (dB): Adjusts the amount of negative gain (cut) applied to the filter.

Pultec MEQ-5 Equalizer Controls

The bottom row of controls includes filters modeled after the Pultec MEQ-5.

All of the mid frequency controls are peaking filters. As in the original MEQ-5, the filter bandwidths are affected by the boost/cut amount.

Low-Mid Controls

• Low-Mid Frequency (Hz): Sets the center frequency of the low-mid peaking filter. Options include: 200 Hz, 300 Hz, 500 Hz, 700 Hz, and 1000 Hz.
• LM Boost (dB): Adjusts the amount of positive gain (boost) applied to the filter.

Mid Controls

• Mid Cut Frequency (Hz): Sets the center frequency of the Mid peaking filter. Options include: 200 Hz, 300 Hz, 500 Hz, 700 Hz, 1 kHz, 1.5 kHz, 2 kHz, 3 kHz, 4 kHz, 5 kHz, and 7 kHz.
• Mid Cut (dB): Adjusts the amount of negative gain (cut) applied to the filter.

High-Mid Controls

• High-Mid Frequency (Hz): Sets the center frequency of the high-mid filter. Options include 1.5 kHz, 2 kHz, 3 kHz, 4 kHz, and 5 kHz.
• HM Boost (dB): Sets the amount of positive gain (boost) applied to the filter.

Table of Contents

Overview

The Vintage Limiter, modeled after the Fairchild 670, allows you to create a louder and fuller master by limiting the dynamic range and boosting the overall level of your mix.

The Vintage Limiter module interface is divided into the following sections:

The module header includes the following controls:

Views

You can toggle between the different views using the view selector buttons in the module header area.

The Vintage Limiter module includes the following views:

Spectrum Analyzer

Displays the magnitude (amplitude, in decibels) of a signal across the frequency spectrum in real-time. The spectrum analyzer displays the output signal of Ozone.

Gain Reduction Trace

Displays a scrolling waveform with a superimposed trace reflecting the amount of gain reduction applied over time.

Controls

The Vintage Limiter includes the following controls:

Modes

There are three different modes that affect the overall character of the Vintage Limiter.

• Analog: With a fast attack and variable release time, this mode provides a tight bass response with a “thick” limiting quality. Brings out the low-end transients while still providing the smoothness that is characteristic of analog circuitry.
• Tube: A more balanced limiter with variable attack and release times. Provides smooth feedback limiting with a wider range of sonic characteristics that vary depending on your incoming signal. Despite its non-linearity, it still allows for modern precision in preventing any clipping or peaks.
• Modern: Blends thicker vintage characteristics and wide range of non-linearity with modern IRC limiting, variable release times, and transient reproduction.

Threshold

Determines the level at which limiting will start.

Threshold Input Meter

• The two outer meters display input level to the limiter.
• The two inner meters display gain reduction applied by the limiter.
• The text readout at the bottom of the meter displays the current gain reduction amount that is being applied by the limiter.

Ceiling

Adjust to see the maximum output level of the Vintage Limiter.

Recommendation

It is generally recommended to use a setting of -0.3 dB when dithering, or a more dramatic setting (-0.6 dB to -0.8 dB) when converting to MP3 or AAC formats in order to prevent clipping during conversion. See the Codec Preview section for more details.

Link

Enable to link the Threshold and Ceiling controls. Adjusting either control in linked mode will adjust the other control by the same amount and vice versa.

True Peak

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 its corresponding digital signal’s peak level by more than 3 dB.

True Peak Limiting & CPU Usage

Enabling True Peak Limiting will result in a small increase in CPU usage. If your mixes are running hot, you may want to enable it to ensure that no distortion is introduced when your audio is finally run through a D/A converter.

Character

Adjusts the attack and release times of the Vintage Limiter. The attack and release times used are dependent on the selected Mode, and allows a continuous range from Fast (0.0) to Slow (10.0) in each mode.

Table of Contents

Overview

The Vintage Tape module is inspired by a well-maintained Studer A810 two-track tape deck, a clean and accurate machine perfect for mastering. Add the frequency response (magnitude plus phase) and saturation characteristics of magnetic tape without the crosstalk, hiss, wow, and flutter that could ruin a master.

The Vintage Tape module interface is divided into the following sections:

The module header includes a Reset control:

Returns all module controls to their default values.

Spectrum Analyzer

Displays the magnitude (amplitude, in decibels) of the signal across the frequency spectrum in real-time. The spectrum analyzer displays the output signal of Ozone.

Controls

The Vintage Tape module includes the following controls:

Speed

Sets the tape speed in inches per second (IPS). You can choose between the following tape speeds in the Vintage Tape: 7.5, 15, or 30 IPS. In a hardware tape machine, this setting determines the rate at which the magnetic tape physically moves past the tape head during playback or recording. Faster speeds can improve high frequency response and overall quality. Slower speeds can cause a uniform decrease in the linear frequency response of tape, a shift in background noise toward lower frequencies, and increased background noise.

Input drive

Adjusts the gain of the input signal before tape emulation. The Vintage Tape module internally compensates for gain changes as you make adjustments, in order to avoid large or unexpected jumps in output level.

Bias

Adjusts the shape of the distortion curve. Negative bias values will boost high frequency content, resulting in more high frequency distortion than postive bias values. Positive bias values can begin to limit the dynamic range of the signal, lending a different type of saturation to the output.

Harmonics

Adjusts the amount of even-order harmonic distortion added to the output signal. Increasing even-order harmonic distortion can help to emulate the character of AC bias design inaccuracies or the distortion from machine electronics.

Low Emphasis

Adjusts the gain and shape of the low end “head bump” (resonant peak) of the tape.

• Lower Values: Removes the resonant peak, flattening out the frequency response while maintaining the low-end rolloff. This can help achieve the warmth of analog without adding mud or too much bass.
• Higher Values: Boosts the resonant peak up to 10dB, adding low end punch and emphasis.

High Emphasis

Compensates for high-frequency losses to give your audio extra energy without being too harsh or bright. The default setting of 4.0 gives you an authentic, close-to-flat high frequency response.

• Lower Values: Adds gentle, roll-off at high-frequencies.
• Higher Values: Adds a high-end shimmer.

Table of Contents

Overview

Lossy audio formats, such as MP3 or AAC, use psychoacoustic algorithms to identify and remove less audible portions of an audio file in order to reduce the overall file size. This process can introduce artifacts ranging from subtle to obvious artifacts in the compressed file. Codec Preview allows you audition lossy compression formats and compensate for any undesirable artifacts they introduce before exporting your master.

Working with Codec Preview

You can access the Codec Preview panel by clicking on the Codec button in the I/O panel area of the Ozone 9 Advanced application and Ozone 9 Advanced mothership plug-in.

You can enable or disable Codec Preview by clicking on the power button to the left of the Codec button in the I/O panel.

Using Codec Preview in a DAW or NLE

When working with Codec Preview within a DAW or NLE, you should insert the Ozone 9 mothership plug-in after all other inserts on the master bus to ensure you are monitoring Codec Preview on the signal that is closest to the uncompressed export.

Controls

The Codec Preview panel allows you to adjust codec properties (format and bit rate) and listen to the artifacts introduced by the selected codec in isolation.

Format

Selects the codec format to preview, options include: AAC and MP3.
Codec Preview makes use of the following encoders:

Apple silicon: AAC option is Rosetta only

The AAC format option is only available when Ozone is opened using Rosetta on Apple silicon-based Macs. MP3 is available in native and Rosetta.

Bit Rate (Constant)

Sets the constant bit rate value used to preview the selected codec format. Bit rate is measured in units of kbps (or kbit/s, kilobits per second) and represents the number of bits processed (encoded) within a given period of time. Constant bit rate (CBR) encoding indicates that the bit rate is the same for the entire duration of the file. You can choose from the following constant bit rate values:

• 96 kbps
• 112 kbps
• 128 kbps
• 160 kbps
• 192 kbps
• 224 kbps
• 256 kbps: Maximum supported bit rate value for previewing mono files.
• 320 kbps

Solo Artifacts

Isolates playback of the signal content that is removed or modified by the currently selected lossy compression settings. This signal is the difference between the output of Ozone before and after Codec Preview is applied.

Sample rates and performance

AAC and MP3 file formats don’t support sample rates greater than 48kHz. When using Codec Preview in a session with a sample rate greater than 48 kHz, high-quality real-time resampling will be applied in order to accurately represent AAC or MP3 compression.

If you encounter performance issues when working with Codec Preview in high sample rate sessions, we recommend increasing the session buffer size to avoid discontinuities or performance issues. Additionally, real-time resampling is mathematically intensive and may incur significant latency.

Headroom and clipping

Any lossy encoder introduces an approximation error, a noise which can increase peak levels and cause clipping in an audio signal, even if the uncompressed source audio file appears to peak under 0 dB. When mastering for compressed audio formats like AAC and MP3, it’s a good idea to leave between -1 dB and -1.5 dB of headroom to prevent clipping due to file compression.

Codec Preview can help you tailor your processing in order to avoid clipping that might occur as an artifact of lossy codecs. When Codec Preview is enabled, you can use the clip indicators above the Ozone output meters to help inform you of clipping caused by a codec before exporting.

Table of Contents

Overview

Ozone includes a comprehensive set of dithering tools to help you prepare studio-quality audio for different delivery formats. The Dither panel includes iZotope’s MBIT+ dither algorithm along with a unique set of meters to offer a complete view of the conversion process.

Working with Dither

You can open the Dither panel by clicking on the Dither button in the I/O panel area of the mothership plug-in, application, and Maximizer component plug-in. You can enable/disable Dither processing using the power button to the left of the Dither button.

Using Dither in a DAW

• Dither should be applied after all other processing.
• Add Ozone to the last insert slot of the track you are exporting if you plan to add Dither.
• Use a post-fader insert to ensure Dither is applied after any output gain adjustments.
• Disable any dithering options in the export dialog of your DAW to avoid applying dither twice.

Controls

The Dither panel includes the following controls:

Bit Depth

Sets the target bit depth for the exported file. Choices include: 24, 20, 16, 12, or 8.

8 & 12 bit: preview only in Ozone app

The 8 and 12 bit Dither options can only be previewed in the Ozone application. The Ozone app export dialog does not include 8 or 12 as export bit depth options.

Auto-Blanking

Mutes dither output (i.e. dither noise) automatically when silence is detected (i.e. 0 bits of audio) in the input signal for at least 0.7 seconds.

Dither Amount

Selects the target number of bits (amplitude) of Dither to add to the signal. The following options are available:

• Strong: Completely eliminates the non-linear distortion issues that may result from using Off or Low with the tradeoff of a slightly increased noise floor.
• Medium: Recommended setting.
• Low: Can leave some non-linear quantization distortion or dither noise modulation.
• Off: Can leave some non-linear quantization distortion or dither noise modulation.

Harmonic Suppression

Enables modification of truncation rules. Truncation can result in harmonic quantization distortion that adds overtones to the signal and distorts the timbre. Enabling this option will modify truncation rules in order to move harmonic quantization distortion away from overtones of audible frequencies. This can help maintain better tonal quality in the resulting signal. Harmonic Suppression doesn’t create any random dithering noise floor.

Harmonic Suppression and Artifacts

Harmonic Suppression can only be enabled when Dither Amount is set to Off.

Limit Peaks

Suppresses peaks in the output signal that can be caused by more extreme dither settings. Dither noise is random in nature and has a very low amplitude, so peaks will not often be an issue. In cases where you need to apply more aggressive dithering, high frequency dither noise can be amplified significantly after noise shaping, resulting in spurious peaks in the dither signal (up to -60 dBFS for 16-bit quantization).

Noise Shaping

Determines the amount of noise shaping applied during the dithering process, ranging from Off (no noise shaping) to Max (roughly 14 dB of audible noise suppression). Noise shaping pushes the dither noise into less audible frequency ranges, allowing for greater dithering with less perceived noise.

Noise Shaping Curve

Displays the general frequency curve of the selected noise shaping profile.

Bit Meter

Displays information about the digital activity of your program material. The bit meter is not a level meter, it displays which bits are being used. If a bit is used (goes from 1 to 0 or vice versa), the box representing that bit will light up.

Generally, you want to see activity in each of the bits that are relevant to the bit depth you are exporting to. A signal like DC offset will toggle a lower bit once (lighting the outside column), but would never toggle it after that since the bit is being held. If you’re dithering down, you only want to see 16, 12, or 8 bits lit (corresponding to the output bit depth of the dither).

Why doesn't the top bit light up in the Bit Meter?

When samples are stored as a binary number, negative samples are specially encoded. Since the binary representation of negative numbers is not intuitive, Ozone takes the absolute value of each sample before plotting it on the bit meter. Since the MSB (most significant bit) is only set when a sample is negative, this bit will never light up. We simply included the top bit as placeholder for completeness.

Reset

Clears the state of the Bit Meter. Clicking on the Bit Meter will also reset the peak hold information.

DC Offset

This section allows you to monitor and filter DC Offset from your track before limiting.

Audio signals are normally represented by an alternating current (AC) signal with an average value of zero. DC offset can be caused by things like malfunctions in analog recording equipment or faulty A/D conversion. In an FFT (Fast Fourier Transform) analyzer, DC offset is represented with energy at zero frequency (0 Hz). DC offset can be effectively removed with a high-pass filter set to a very low frequency value.

It is important to distinguish DC offset from waveform asymmetry. Asymmetry skews the waveform shape towards positive or negative levels, but the average current stays at zero. Many audio signals are naturally asymmetric in nature. Unlike DC offset, asymmetry has no particular energy near 0 Hz and can be reduced using phase rotation filters.

DC Offset Meter

Displays the amount of DC Offset present in the signal.

Click on the DC Offset meter to clear and reset the calculation.

Filter

Enables a highpass filter with a cutoff frequency of 1 Hz to filter DC offset before limiting is applied.

DC Offset Filter Module Dependency

In the mothership plug-in or application, the DC offset meter and filter are only available if the Maximizer or Vintage Limiter module is in the signal chain. When the Filter is enabled, it is applied to the signal before it enters the Maximizer or Vintage Limiter module (whichever comes first, if both are present in the signal chain).

Table of Contents

Overview

Referencing in Ozone 9 helps you compare and contrast audio in your DAW by allowing you to import up to 10 reference tracks, visualize differences in your music with overlaid spectrum metering, and quickly A/B your audio right in the audition panel. Access the Referencing panel by clicking on the Reference button below the I/O meters. Enable/Disable Referencing by clicking Reference’s power button.

Importing References

Click on the “+” button in the middle of the empty Reference panel to select a reference files to load.

• Supported file formats: wav, aif/aiff, mp3, AAC, FLAC.
• The Reference panel supports up to 10 reference tracks at a time.
• When using the Reference panel in the Ozone application, the loaded references will be shared across different tracks (i.e. Each track in a given Ozone project will display the same 10 reference tracks in the Reference panel.)

Reference Track Tabs

Each tab represents an imported reference file. You can manage the reference track tabs using the following methods:

• Add Tracks: Click on the + button to add a new reference track. (You can add up to 10 at a time.)
• Re-ordering Tabs: Click and drag track tabs to change their order.
• Removing Tracks:
  • Right-click on a track tab and select “Remove Track”.
  • Click on a tab to select it, then click on the X button.

Reference Loop Segments and Playback Controls

When tracks are initially loaded into the Reference panel, handles will appear overlaid on the waveform display. The handles represent boundaries of predetermined loop points. The loop boundaries are placed based on similar segments detected in the track, this uses the same machine learning technology used to generate the segmentation bar under waveforms in the Ozone application. By default, the segments will be named with a letter (A/B/C/D/E).

Managing Reference Loop Segments

You can customize, add, and remove loop segments:

• Adjust loop segment length: Click and drag the Region Selector handles LEFT or RIGHT to adjust the length of a loop segment.
• Rename loop segments: Click on the text above a loop segment to open an inline edit field. Enter the desired loop name and press the Enter or Return key or click anywhere in the interface to save the loop segment name.
• Insert loop: Right-click on the waveform where you would like to add a new loop, select “Insert Loop” from the menu.
• Remove loop: Right-click on a loop segment and select “Remove Loop” from the menu.
• Select loop for playback: Click anywhere within a loop segment and press the spacebar to loop reference playback on a specific segment.
  • Note: The Reference power button in the I/O panel needs to be enabled in order to hear reference track playback.

Reference Playback Controls

• Select All: Enable to loop the entire reference track.
• Gain: Adjusts the output gain of reference track playback.

Reference Metering Options

The I/O options pop-up menu above the I/O meters contains metering options for Reference tracks.

• Replace Input with Reference: When enabled, the Ozone input meter will display the reference track level.
• Show Reference Spectrum: When enabled, the Reference track spectrum will be displayed in the module spectrum meters alongside the spectrum meter of your current track.

Table of Contents

Overview

Ozone’s presets are designed to give you a quick starting point for mastering your projects. You can load, save, or customize presets with the preset manager. There are two types of preset manager windows in Ozone:

Factory and Custom Presets

The preset manager windows are divided into two tabs:

• iZotope: lists all factory presets installed with Ozone 9.
• Custom: lists all custom presets you have saved or modified in Ozone 9.

Default and Working Settings

There are two common options that are always available at the top of the preset list in the iZotope and Custom tabs, named Working Settings and Default.

• Working Settings: Loads your most recent changes that are not otherwise associated with a preset.
• Default: Loads the factory default settings.

Custom Default Preset

You can override the factory <Default> preset by selecting any preset as your custom default.

Setting a Custom Default Preset

Reverting a Custom Default Preset

You can revert to the factory default preset by:

Custom Preset Names and Comments

You can modify preset file/folder names and preset comments when the Custom tab is selected.

• Edit custom preset name: Double-click on a preset name to open an inline edit field. Press return to dismiss the inline edit field and save your changes.
• Edit custom preset comment: The area below the preset list displays descriptive text about the currently selected preset. Single-click the comment text box to open an inline edit field, press return to save changes to the comment.

Special characters in Preset Names

Some characters such as * or / cannot be used as preset names. If you try to type these characters in the name they will be ignored.

The following buttons are located in the footer of the Preset Manager window:

Dirty state indicator

When you make changes to a preset an asterisk (*) will be shown at the beginning of the preset name to indicate that it has been modified. You can add a new preset to save your settings or update the preset to dismiss the dirty state indicator.

Organize Custom Presets

In the Custom tab, you can click and drag presets or folders over other folders in the list to move them into that folder.

Preset Locations

Factory presets are installed to the following locations:

• Windows: C:\Program Files\iZotope\Ozone 9\Presets\
• Mac: /Library/Application Support/iZotope/Ozone 9/Presets/

Custom presets are saved to the following default locations:

• Windows: C:\Users\Username\Documents\iZotope\Ozone 9\Presets\
• Mac: /Users/Username/Documents/iZotope/Ozone 9/Presets/

Override custom preset save locations

A ... button will appear in the upper left hand corner of the preset window when the Custom tab is selected.
Click the button to open a system dialog and select a new directory to save your custom presets to.
The custom path for global and per module presets are set individually in their respective preset manager windows.

Table of Contents

Overview

You can adjust global and module-specific settings in the Options window. You can open the Options window by clicking the gear button in the upper right hand corner of the Ozone interface.

You can access different groups of options by clicking on a tab in the upper portion of the Options window. You can reset, save or cancel changes to options using the buttons in the footer area of the options window.

The bottom of the options window includes the following global parameters:

• ?: Opens the Ozone help documentation in your default web browser.
• Reset: Resets all Options in the currently selected options tab to their factory default values.
• Version information: Displays the current Ozone version and build number.
• Cancel: Closes the Options window without saving changes.
• Ok: Closes the Options window and saves changes.

General Options

The General Options tab allows you to adjust settings related to graphics, authorization, updates, usage tracking and undo history.

General: Graphics

• Show Tooltips: Enables the display of a descriptive text box when hovering your cursor over a control.
• Dim Controls When Bypassed: Enables an overlay that dims the appearance of controls in the module control panel when Ozone is bypassed.

General: Authorization & Updates

• Check for Updates: The Check for Updates button has the following states:
  • Download Product Portal: To stay up to date with new versions of Relay, download the iZotope Product Portal application.
  • Check for Updates: Manually check for available updates. Clicking this button will open the Product Portal application and check for updates.
  • Download Update: If an update is available, a small blue dot will appear. Clicking the Download Update button in the options window will launch the Product Portal application and display the Updates page.
• Authorization:
  • Current Authorization Status Text: Displays the current Ozone authorization state.
  • Authorize: Opens the iZotope Authorization wizard.
  • Remove Authorization: Removes the current authorization.

General: Other

• Enable Analytics: Enables anonymous usage data to be sent to iZotope to help improve Ozone in the future.
• History Depth: Determines the number of parameter change events to store in the Undo History list.

Spectrum Options

The Spectrum options tab allows you to manage options related to the Spectrum view in all Ozone modules.

• Type: Selects the type of spectrum display used by spectrum analyzer views in all Ozone modules. The following options are available:
  • Linear: A continuous line connecting the calculated points of the spectrum.
  • 1/3 Octave: Splits the spectrum into bars with a width of 1/3 of an octave. Although the spectrum is split into discrete bands, this option can provide excellent resolution at lower frequencies.
  • Critical: Splits the spectrum into bands that correspond to how we hear, or more specifically how we differentiate between sounds of different frequencies. Each band represents sounds that are considered “similar” in frequency.
  • Full Octave: Splits the spectrum into bars with a width of one full octave.
• Fill Spectrum: Allows you to display the real-time spectrum as a solid graph as opposed to a line graph. This option can be used to differentiate the real-time spectrum from the peak hold spectrum.
• Peak Hold Time (ms): Sets the length of time the peak hold display will hold before updating. You can choose between specific hold times (in milliseconds) or Infinite, where the peak display is held indefinitely.
• Show Peak Hold: Toggles whether Ozone displays and holds the peaks of the spectrum.
• Window Type: Sets the window type for the spectrum. In most cases the default window type will work well, but you can choose from a variety of window types. Each window type has different amplitude and frequency resolution characteristics.
• Window Size: Controls the tradeoff between time and frequency resolution in the spectrum analyzer. Higher values offer greater frequency resolution.
• Average Time: Averages the spectrum according to this setting. Higher average times can be useful for viewing the overall tonal balance of a mix, while shorter average times provide a more real-time display. Options include: Real Time, 1 sec, 3 sec, 5 sec, 10 sec, and Infinite.
• Frequency Scale: Modifies the distribution of frequencies along the frequency axis of the spectrum analyzer. The default frequency scale is Extended Log.
  • Mel: Displays a frequency scale based on human perception of sound that visually corresponds to how we hear differences in pitch.
  • Logarithmic (Flat, Extended) Logarithmic: Displays non-linear scales that offer detail on the low end and midrange, useful for the vast majority of EQ tasks.

EQ Options

The EQ tab includes EQ Spectrum and Performance options. These options affect Equalizer 1 and Equalizer 2 modules.

EQ: Spectrum

• Alt-Solo Filter Q: Sets the bandwidth (Q) of the Alt-Solo feature in the Equalizer module(s).
• Show Extra Curves: Toggles the display of Phase Delay, Phase Response, and Group Delay curves in the EQ spectrum.

EQ: Performance

• Soft Saturation: Select to enable soft saturation to in the EQ module. When enabled, signals that clip as a result of being boosted by the EQ will saturate with an analog character, rather than harsh digital clipping.
• Buffer Size: Select to adjusts the memory buffer size, measured in samples, when applying equalization to the signal.
• Frequency Resolution: Select to set the minimum resolution, in Hz, the Equalizer can be adjusted by. You can choose from: 3 Hz, 6 Hz, 12 Hz, 24 Hz, and 48 Hz.
• Filter Size: Displays the calculated steepness of the filter setting used in the EQ module.

Dynamics Options

This tab allows you to adjust multiband crossover settings and lookahead time for the Dynamics module.

• Crossover Type: Sets the type of crossover used for multiband processing in the Dynamics module.
  • Analog: Provides a natural analog character.
  • Digital: Provides a more transparent sounding crossover.
  • Hybrid: A perfect reconstruction IIR analog crossover designed to reduce phase distortion and frequency distortion found in other analog crossovers while maintaining precise crossover points and the warm characteristics of analog crossovers.
• Crossover buffer size: Determines the digital audio buffer size that is used when the Digital crossover type is selected. Adjusting this value can affect CPU performance.
• Crossover Q: When using the Digital crossover type, you can manually set the bandwidth of the crossover points in the Dynamics module. A higher Q value results in tighter crossovers, while a lower Q provides a more gradual transition from one band to the next.
• Look ahead [ms]: Determines the look ahead time window for input level detection in the Dynamics module. Ranges from 0ms (instantaneous level detection) to 10 ms (level detection based on )

Imager Options

This tab includes options related to metering, processing, and crossovers in the Imager module.

• Prevent Antiphase: Select to automatically prevent any settings from being applied that would result in phase cancellation of the stereo signal, when summed to mono.
• Vectorscope Detection Method: Determines the type of amplitude detection method used by the Vectorscope.
  • Peak: Uses the peak level of the incoming signal.
  • RMS: Uses the average level of the incoming signal.
  • Envelope: Similar to RMS, uses average level of the incoming signal evened out across all frequencies.
• Crossover Type: Sets the type of crossover used for multiband processing in the Imager module.
  • Analog: Provides a natural analog character.
  • Digital: Provides a more transparent sounding crossover.
  • Hybrid: A perfect reconstruction IIR analog crossover designed to reduce phase distortion and frequency distortion found in other analog crossovers while maintaining precise crossover points and the warm characteristics of analog crossovers.
• Crossover buffer size: Determines the digital audio buffer size that is used when the Digital crossover type is selected. Adjusting this value can affect CPU performance.
• Crossover Q: When using the Digital crossover type, you can manually set the bandwidth of the crossover points in the Imager module. A higher Q value results in tighter crossovers, while a lower Q provides a more gradual transition from one band to the next.

Dynamic EQ Options

This tab includes general display options for the Dynamic EQ module.

• Show Musical Units: Select to display frequency points as musical notes (for example, A4) instead of measured in Hz.
• Alt-solo filter Q: Adjust to set the bandwidth (Q) of the Alt-Solo feature in the Dynamic EQ module. Ranges from 0.2 to 12.0.

Exciter Options

This tab includes options related to the multiband crossover in the Exciter.

• Crossover Type: Select from analog, digital or hybrid as the crossover type used for multiband processing in the Exciter module.
  • Analog: Provides a natural analog character.
  • Digital: Provides a more transparent sounding crossover.
  • Hybrid: A perfect reconstruction IIR analog crossover designed to reduce phase distortion and frequency distortion found in other analog crossovers while maintaining precise crossover points and the warm characteristics of analog crossovers.
• Crossover buffer size: Determines the digital audio buffer size that is used when the Digital crossover type is selected. Adjusting this value can affect CPU performance.
• Crossover Q: When using the Digital crossover type, you can manually set the bandwidth of the crossover points in the Exciter module. A higher Q value results in tighter crossovers, while a lower Q provides a more gradual transition from one band to the next.

I/O Options

• Enable I/O meters: Select to enable/disable the meters in Ozone’s master I/O section.

• Detect true peaks: Select Detect True Peaks to accurately measure the signal that will result from digital to analog conversion. By default the Input/Output meters will only indicate clipping which occurs within the digital domain.

• Enable legacy bypass gain match behavior: Determines the behavior of the Gain Match feature in the I/O auditioning section.

  • Behavior when checked: Gain matching is applied to the bypassed output of Ozone and does not affect the I/O gain. The bypassed output level will be adjusted by the amount of gain introduced by Ozone processing. This allows you to A/B your processing without noticeable jumps in level between the bypassed and unbypassed signals. This gain adjustment is only applied to the output signal when Ozone is bypassed and Gain Match is enabled in the I/O auditioning section.
  • Behavior when unchecked: Gain matching is applied to the processed output of Ozone. Ozone’s output gain will be automatically adjusted to match the unprocessed input level. The output level sliders will be colored blue when this gain matching is active. Unlike the legacy auto gain match behavior, we recommend turning Gain Match on and off as needed rather than keeping it enabled all the time. This behavior does affect the output level of Ozone.

• Meter Type: Choose from one of the following options to set the meter type displayed in the I/O meters:

  • RMS: RMS (Root Mean Square) is a software-based implementation of an analog-style level meter. Using different integration times, you can model popular VU or PPM meters. The RMS meter displays the average level calculated over a short window of time. The RMS meter readout will typically be lower than an equivalent PPM meter (Digital/Analog), since it is averaging peaks into the overall loudness.
  • PEAK: The Peak meter is a fast meter that measures instantaneous maximum sample value or peak analog waveform values, depending on the “detect inter-sample peaks” checkbox. If you are tracking the peaks for possible clipping, the Peak meter is appropriate.
  • RMS + PEAK: This is a combined RMS and Peak meter. This meter displays a lower bright bar representing the average level (RMS) and a higher dimmer bar representing peak level. There is also a moving line above the bar representing the most recent peak level or peak hold.
  • K-SYSTEM: Ozone 9 supports Bob Katz’s K-System metering with simultaneous peak and RMS displays.
  • MOMENTARY: This measurement is a calculation of loudness over the course of 400ms.
  • SHORT TERM: This measurement is a calculation of loudness over the course of 3 seconds.
  • INTEGRATED: This measurement is a calculation of loudness over the course of an indefinite period of time.

• Meter Scale: Choose from one of the following options to set the range and scale of the I/O Meters:

  • dB (Linear): Decibel scale presented linearly from -60 dB to 0.
  • dB (Non-linear): Full decibel scale (dBfs) presented non-linearly.
  • BS.1771: Loudness scale recommended by the ITU that spans from -45 LUFS to -14.0 LUFS.
  • EBU +9: Loudness scale recommended as a default by the EBU that spans from -41.0 LUFS to -14.0 LUFS.
  • EBU +18: Loudness scale recommended for material with a wide Loudness Range by the EBU that spans from -59.0 LUFS to -5.0 LUFS.

    LUFS

    LUFS is Loudness Units Full Scale and 1 LUFS = 1 dB.

• Meter Source: The following meter source options are available: Stereo and Mid/Side. The I/O meters display Stereo information by default. When the I/O meters are in Mid/Side mode, the meter in the center represents the Mid channel level information and the meters on the left and right represents Side channel level information.
  
  

  Gain sliders control Left/Right gain in Mid/Side mode

  The input and output gain sliders always control the left and right input/output gain, regardless of the Meter Source selection.

• Peak Hold Time (ms): Choose from the following options to set how many consecutive samples of audio must exceed 0 dBFS (full scale) before registering as a peak: 5 ms, 250 ms, 500 ms, 1,000 ms, 5,000 ms, and Infinite.

• Integration time (ms): Choose from the following options to specify the integration time for the RMS calculation: 10 ms, 50 ms, 300 ms (VU), 1,475 ms, 2,650 ms, 3,825 ms, and 5,000 ms. In most RMS meters, the integration time is set to around 300 ms.

• Readout: Selects whether the peak hold section of the meters displays the current peak status (current) or instead displays the highest peak that has occurred in the audio file (max peak).

• Show Peak Hold: Displays peak hold bars in the I/O meters.

Ozone App Options

The Ozone application options menu includes tabs that are specific to the application. These tabs allow you to manage plug-in scanning and application specific behaviors.

Plug-in Options

• Enabled Plug-in Formats: Allows you to individually select which plug-in formats (VST and AudioUnit) will be automatically loaded into Ozone’s “Plug-ins” section.
• Scan Plug-ins: Click this button to re-scan the selected plug-in locations and load in any newly installed plug-ins.
• VST Plug-in Folders: Displays the currently monitored folder path of where your VST plug-ins reside that are loaded into the “Plug-ins” section of Ozone. Use in conjunction with the “Add VST Folder” to add a new location, or the “Delete VST Folder” to delete a currently displayed folder path.

App Options

• Enable Waveform Segments Overlay: Enables/disables a segmentation bar display below the track waveform display in the Ozone application. Every audio file imported into an Ozone app project is scanned for matching “segments” which are displayed as colored bars just below the waveform. The corresponding audio can be selected by clicking on the colored segment, this allows you to easily select a loop region or quickly jump to different sections of a file.
• Playhead Follows Playback: When this control is checked, the playhead will always stop at the location that the stop button is pressed, as opposed to returning to the start position.

Bias

The process in analog tape recording by which a supersonic signal is introduced to the incoming audio in order to improve the distortion and frequency response specifications of the recording.

Band

Short for “frequency band” which is a range or interval in the frequency spectrum often divided into low, mid or high-frequency bands.

Band shelf

Hybrid filter shape combining attributes of a shelving filter and a peaking filter.

Bandwidth

Describes the range of frequencies being affected by a signal processor. Inversely proportional to Q.

Baxandall

A type of first order shelving equalizer typically found in the tone control of high fidelity home audio components.

Butterworth filter

A filter shape designed to have a flat frequency response in the passband.

Detection circuit

The component that evaluates signal amplitude to trigger a processor.

Envelope

The varying amplitude of sound over time. This can be broken into four stages: attack, decay, sustain, and release.

Fairchild 670

A feedback-based tube compressor/limiter with a soft knee, unique attack, and release envelopes. An IRC I limiter is applied after the tube processing to transparently prevent clipping to the entire bandwidth of the mix.

FFT (Fast Fourier Transform)

A procedure for the calculation of a signal frequency spectrum. The greater the FFT size, the greater the frequency resolution, i.e., notes and tonal events will be clearer at larger sizes.

Filter

Audio filters are frequency dependent amplifier circuits that boost (amplify), cut (attenuate), or pass ranges of the audible frequency spectrum.

HUD (Heads-Up Display)

A panel through which you can access module controls.

MBIT+ Dither

This is a proprietary iZotope word length reduction technology that reduces quantization distortion with minimal perceived noise. While this might sound like a paradox, MBIT+ is a very smooth, quiet, and almost “analog sounding” technology.

Q

In an equalizer, it is the center frequency divided by bandwidth.

Resonant Filter

Has a complex nature of adjustment such that at the cut off point you can increase or attenuate the resonance. Typically is accompanied by significant phase shift or ringing.

Resonant Peak (Vintage Tape)

In reference to a tape head bump, this describes the prominence of the amount of gain at the low-end frequency at which the tape head bump is being reproduced.

Saturation

A harmonic type of non-linear distortion.

Sidechain

The signal that feeds the detection circuit in a processor.

Spectrum Analyzer

A meter that measures amplitude across the frequencies which encompass the spectrum of human hearing. The vertical axis represents amplitude while the horizontal axis represents frequency.

Tape Saturation

A wavelength (tape speed divided by frequency) dependent process so the exact sound of the saturation is a complex interplay between tape speed, bias-level, program material and other factors.

Waveform

A visual representation of the envelope of the soundwave. (amplitude representation).

How to purchase the full version of Ozone 9

If you are using the demo version of Ozone 9 and would like the full version, you can purchase directly from the iZotope online store: https://www.izotope.com/en/shop.html

Once your purchase is complete, you will be sent an email confirmation and a full version serial number that can be used to fully authorize your current installation of Ozone 9.

iZotope customer care policy

iZotope is happy to provide professional technical Customer Care to all registered users absolutely free of charge. https://support.izotope.com/hc/en-us/

We also offer valuable pre-sales technical Customer Care to customers who may be interested in purchasing an iZotope product. Before contacting iZotope Customer Care, you can search our Knowledgebase to see if the solution to your problem has already been published.

How long does iZotope provide customer support for purchased products? You can email us with any question for 12 months after you buy any iZotope product. Past 12 months, we’ll still help you with your account and authorization but will not provide technical support for in-depth product questions. If you need more detailed help on how to use the product, please check out our FAQs and Tutorials.

How long does iZotope support its products? Although we can’t guarantee it, we do our best to keep our products up to date with the operating systems and plug-in hosts that we support. Sometimes, other companies make changes that we’re not able to support, but we actively work with other companies to avoid these sorts of compatibility problems. We also do our best to address bug fixes within the product itself to ensure our products operate in accordance with our specifications.

We will provide software updates for 12 months from product release. After 12 months, no software updates will be provided.

For details on what operating systems and plug-in host software are officially supported for a product, please check that product’s Specs page.

For additional help with Ozone 9:

iZotope’s highly trained Customer Care team is committed to responding to all requests within one (1) business day and frequently respond faster. Please try to explain your problem with as much detail and clarity as possible. This will ensure our ability to solve your problem accurately, the first time around. Please include all system specs and the build/version of Ozone 9 that you are using.

Once your Customer Care request is submitted, you will receive a confirmation email from iZotope Customer Care. If you do not receive this email within a few minutes, please check your spam folder and make sure our responses are not getting blocked. To prevent this from happening please add support@izotope.com to your list of allowed email addresses

International Distribution

Customer Care is also available from our international distributors worldwide for any customers who purchased their iZotope products through a certified iZotope distributor.

Check with your local distributor for availability. If you would like help locating your local distributor please contact iZotope Customer Care.

Thanks for using Ozone 9!

-The iZotope Team

Table of Contents

Anti-Grain Geometry

Version 2.4

Copyright (c) 2002-2005 Maxim Shemanarev (McSeem).

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

THIS SOFTWARE IS PROVIDED BY THE AUTHOR ‘‘AS IS’’ AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE AUTHOR BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

Better Enums

Version 0.11.1

Copyright (c) 2012-2016, Anton Bachin. All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

Bravura

Copyright © 2015, Steinberg Media Technologies GmbH http://www.steinberg.net/, with Reserved Font Name “Bravura”.

This Font Software is licensed under the SIL Open Font License, Version 1.1. This license is copied below, and is also available with a FAQ at: http://scripts.sil.org/OFL

SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007

PREAMBLE
The goals of the Open Font License (OFL) are to stimulate worldwide development of collaborative font projects, to support the font creation efforts of academic and linguistic communities, and to provide a free and open framework in which fonts may be shared and improved in partnership with others.

The OFL allows the licensed fonts to be used, studied, modified and redistributed freely as long as they are not sold by themselves. The fonts, including any derivative works, can be bundled, embedded, redistributed and/or sold with any software provided that any reserved names are not used by derivative works. The fonts and derivatives, however, cannot be released under any other type of license. The requirement for fonts to remain under this license does not apply to any document created using the fonts or their derivatives.

DEFINITIONS
“Font Software” refers to the set of files released by the Copyright Holder(s) under this license and clearly marked as such. This may include source files, build scripts and documentation.

“Reserved Font Name” refers to any names specified as such after the copyright statement(s).

“Original Version” refers to the collection of Font Software components as distributed by the Copyright Holder(s).

“Modified Version” refers to any derivative made by adding to, deleting, or substituting – in part or in whole – any of the components of the Original Version, by changing formats or by porting the Font Software to a new environment.

“Author” refers to any designer, engineer, programmer, technical writer or other person who contributed to the Font Software.

PERMISSION & CONDITIONS
Permission is hereby granted, free of charge, to any person obtaining a copy of the Font Software, to use, study, copy, merge, embed, modify, redistribute, and sell modified and unmodified copies of the Font Software, subject to the following conditions:

TERMINATION
This license becomes null and void if any of the above conditions are not met.

DISCLAIMER
THE FONT SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM OTHER DEALINGS IN THE FONT SOFTWARE.

C++ Rest SDK

Version 2.10.15

Main Library:

Copyright (c) 2014, Peter Thorson. All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

• Neither the name of the WebSocket++ Project nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL PETER THORSON BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

Bundled Libraries:

****** Base 64 Library (base64/base64.hpp) ******
base64.hpp is a repackaging of the base64.cpp and base64.h files into a single header suitable for use as a header only library. This conversion was done by Peter Thorson (webmaster@zaphoyd.com) in 2012. All modifications to the code are redistributed under the same license as the original, which is listed below.

base64.cpp and base64.h

Copyright (C) 2004-2008 René Nyffenegger

This source code is provided ‘as-is’, without any express or implied warranty. In no event will the author be held liable for any damages arising from the use of this software.

Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

René Nyffenegger rene.nyffenegger@adp-gmbh.ch

****** SHA1 Library (sha1/sha1.hpp) ******

sha1.hpp is a repackaging of the sha1.cpp and sha1.h files from the shallsha1 library (http://code.google.com/p/smallsha1/) into a single header suitable for use as a header only library. This conversion was done by Peter Thorson (webmaster@zaphoyd.com) in 2013. All modifications to the code are redistributed under the same license as the original, which is listed below.

Copyright (c) 2011, Micael Hildenborg
All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
• Neither the name of Micael Hildenborg nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY Micael Hildenborg ‘‘AS IS’’ AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL Micael Hildenborg BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

****** MD5 Library (common/md5.hpp) ******
md5.hpp is a reformulation of the md5.h and md5.c code from http://www.opensource.apple.com/source/cups/cups-59/cups/md5.c to allow it to function as a component of a header only library. This conversion was done by Peter Thorson (webmaster@zaphoyd.com) in 2012 for the WebSocket++ project. The changes are released under the same license as the original (listed below)

Copyright (C) 1999, 2002 Aladdin Enterprises. All rights reserved.

This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.

Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

L. Peter Deutsch
ghost@aladdin.com

****** UTF8 Validation logic (utf8_validation.hpp) ******
utf8_validation.hpp is adapted from code originally written by Bjoern Hoehrmann bjoern@hoehrmann.de. See http://bjoern.hoehrmann.de/utf-8/decoder/dfa/ for details.

The original license:

Copyright (c) 2008-2009 Bjoern Hoehrmann bjoern@hoehrmann.de

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

Eigen

Version 3.4.99

Distributed under the Mozilla Public License v2.0 (MPLv2.0).

Full text of the license is available here: https://www.mozilla.org/en-US/MPL/2.0/

To receive a copy of the source code for the Eigen library distributed with this product under the under the terms of the MPLv2.0 please contact devsupport@izotope.com.

FLAC

libFLAC and libFLAC++

Version 1.3.2

Copyright (c) 2000-2009 Josh Coalson

Copyright (c) 2011-2016 Xiph.Org Foundation

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

• Neither the name of the Xiph.org Foundation nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE FOUNDATION OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

FreeType

Version 2.4.6

Portions of this software are copyright © 2011 The FreeType Project (www.freetype.org). All rights reserved.

GLEW

The OpenGL Extension Wrangler Library
Copyright (C) 2002-2008, Milan Ikits <milan ikits[]ieee org>
Copyright (C) 2002-2008, Marcelo E. Magallon <mmagallo[]debian org>
Copyright (C) 2002, Lev Povalahev
All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

• The name of the author may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

Mesa 3-D graphics library Version: 7.0

Copyright (C) 1999-2007 Brian Paul All Rights Reserved.

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL BRIAN PAUL BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

Copyright (c) 2007 The Khronos Group Inc.

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and/or associated documentation files (the “Materials”), to deal in the Materials without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Materials, and to permit persons to whom the Materials are furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Materials.

THE MATERIALS ARE PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE MATERIALS OR THE USE OR OTHER DEALINGS IN THE MATERIALS.

gsl

Copyright (c) 2015 Microsoft Corporation. All rights reserved.

This code is licensed under the MIT License (MIT).

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

IcoMoon

IcoMoon-Free licensed under: CC BY 4.0

Intel® Integrated Performance Primitives (Intel® IPP)

Version 2019.0.5

LIMITATION OF LIABILITY. IN NO EVENT WILL INTEL BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. YOU AGREE TO INDEMNIFY AND HOLD INTEL HARMLESS AGAINST ANY CLAIMS AND EXPENSES RESULTING FROM YOUR USE OR UNAUTHORIZED USE OF THE SOFTWARE.

No support. Intel may make changes to the Software, at any time without notice, and is not obligated to support, update or provide training for the Software.

Termination. Intel may terminate your right to use the Software in the event of your breach of this Agreement and you fail to cure the breach within a reasonable period of time.

Feedback. Should you provide Intel with comments, modifications, corrections, enhancements or other input (“Feedback”) related to the Software Intel will be free to use, disclose, reproduce, license or otherwise distribute or exploit the Feedback in its sole discretion without any obligations or restrictions of any kind, including without limitation, intellectual property rights or licensing obligations.

Compliance with laws. You agree to comply with all relevant laws and regulations governing your use, transfer, import or export (or prohibition thereof) of the Software.

Governing law. All disputes will be governed by the laws of the United States of America and the State of Delaware without reference to conflict of law principles and subject to the exclusive jurisdiction of the state or federal courts sitting in the State of Delaware, and each party agrees that it submits to the personal jurisdiction and venue of those courts and waives any objections. The United Nations Convention on Contracts for the International Sale of Goods (1980) is specifically excluded and will not apply to the Software.

Other names and brands may be claimed as the property of others.

JsonCpp

Version 1.2.1

Copyright (c) 2007-2010 Baptiste Lepilleur and The JsonCpp Authors

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

LAME

libmp3lame

Version 3.99.5

Copyright (c) 1999-2011 The L.A.M.E. Team

Distributed under the GNU Library General Public License v2 (LGPLv2).

Full text of the license is available here: https://www.gnu.org/licenses/old-licenses/lgpl-2.0.txt

To receive a copy of the source code for the LAME library distributed with this product under the under the terms of the LGPLv2 please contact devsupport@izotope.com.

LibXML2

Version 2.7.8

Except where otherwise noted in the source code (e.g. the files hash.c, list.c and the trio files, which are covered by a similar licence but with different Copyright notices) all the files are:

Copyright (C) 1998-2003 Daniel Veillard. All Rights Reserved.

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is fur- nished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FIT- NESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE DANIEL VEILLARD BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CON- NECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

Except as contained in this notice, the name of Daniel Veillard shall not be used in advertising or otherwise to promote the sale, use or other deal- ings in this Software without prior written authorization from him.

Material Docs Theme

Copyright (c) 2016 Digitalcraftsman digitalcraftsman@protonmail.com
Copyright (c) 2016 Martin Donath martin.donath@squidfunk.com

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NON-INFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

nanomsg

Version 0.5-beta

Copyright (c) 2012-2013 Martin Sustrik All rights reserved.
Copyright (c) 2013 GoPivotal, Inc. All rights reserved.

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

“nanomsg” is a trademark of Martin Sustrik.

Netlib numeralgo na10 Aberth’s method

All the software contained in this library is protected by copyright. Permission to use, copy, modify, and distribute this software for any purpose without fee is hereby granted, provided that this entire notice is included in all copies of any software which is or includes a copy or modification of this software and in all copies of the supporting documentation for such software.

THIS SOFTWARE IS BEING PROVIDED “AS IS”, WITHOUT ANY EXPRESS OR IMPLIED WARRANTY. IN NO EVENT, NEITHER THE AUTHORS, NOR THE PUBLISHER, NOR ANY MEMBER OF THE EDITORIAL BOARD OF THE JOURNAL “NUMERICAL ALGORITHMS”, NOR ITS EDITOR-IN-CHIEF, BE LIABLE FOR ANY ERROR IN THE SOFTWARE, ANY MISUSE OF IT OR ANY DAMAGE ARISING OUT OF ITS USE. THE ENTIRE RISK OF USING THE SOFTWARE LIES WITH THE PARTY DOING SO.

ANY USE OF THE SOFTWARE CONSTITUTES ACCEPTANCE OF THE TERMS OF THE ABOVE STATEMENT.

AUTHOR:

REFERENCE:

• NUMERICAL COMPUTATION OF POLYNOMIAL ZEROS BY MEANS OF ABERTH’S METHOD NUMERICAL ALGORITHMS, 13 (1996), PP. 179-200

SOFTWARE REVISION DATE:

• JUNE, 1996

SOFTWARE LANGUAGE:

OGG / Vorbis

libogg and libvorbis

Version 1.3.2

Copyright (c) 2014, Xiph.org Foundation

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/ or other materials provided with the distribution.

• Neither the name of the Xiph.org Foundation nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE FOUNDATION OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

readerwriterqueue

Copyright (c) 2013-2015, Cameron Desrochers All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

Roboto font family

Font data Copyright Google 2012

Licensed under the Apache License, Version 2.0 (the “License”); you may not use this file except in compliance with the License. You may obtain a copy of the License at:

http://www.apache.org/licenses/LICENSE-2.0

Unless required by applicable law or agreed to in writing, software distributed under the License is distributed on an “AS IS” BASIS, WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. See the License for the specific language governing permissions and limitations under the License.

Skia

Copyright (c) 2011 Google Inc. All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution. Neither the name of Google Inc. nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

TagLib

Version 1.9.1

Copyright (c) 1995-2015 Scott Wheeler, Lukas Lalinsky, Ismael Orenstein, Allan Sandfeld Jensen, Teemu Tervo, Mathias Panzenböck, and Tsuda Kageyu.

Distributed under the Mozilla Public License v1.1 (MPLv1.1).

Full text of the license is available here: https://www.mozilla.org/en-US/MPL/1.1/

To receive a copy of the source code for the Eigen library distributed with this product under the terms of the MPLv2.0 please contact devsupport@izotope.com.

TinyXML

Copyright (c) 2000-2002 Lee Thomason (www.grinninglizard.com)

This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.

Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

Tipue Search

Copyright (c) 2017 Tipue

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

vectorize

Copyright (c) 2012 Aaron Wishnick. All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

• Neither the name of the <organization> nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL <COPYRIGHT HOLDER> BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

xsimd

Copyright (c) 2016, Johan Mabille, Sylvain Corlay, Wolf Vollprecht and Martin Renou Copyright (c) 2016, QuantStack All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

• Neither the name of the copyright holder nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

Yoga

Version 1.9.0

MIT License

Copyright (c) 2014-present, Facebook, Inc.

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

ZeroMQ

Copyright (c) 2007-2015 iMatix Corporation
Copyright (c) 2009-2011 250bpm s.r.o.
Copyright (c) 2010-2011 Miru Limited
Copyright (c) 2011 VMware, Inc.
Copyright (c) 2012 Spotify AB
Copyright (c) 2013 Ericsson AB
Copyright (c) 2014 AppDynamics Inc.

Distributed under the GNU Lesser General Public License v3 (LGPLv3) with the following “Static linking exception”:

The copyright holders give you permission to link this library with independent modules to produce an executable, regardless of the license terms of these independent modules, and to copy and distribute the resulting executable under terms of your choice, provided that you also meet, for each linked independent module, the terms and conditions of the license of that module. An independent module is a module which is not derived from or based on this library. If you modify this library, you must extend this exception to your version of the library.

Full text of the license is available here: https://www.gnu.org/licenses/lgpl-3.0.txt

To receive a copy of the source code for the ZeroMQ library distributed with this product under the under the terms of the LGPLv3 please contact devsupport@izotope.com.

zlib

Copyright (c) 1995-2004 Jean-loup Gailly and Mark Adler.

This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.

Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

Jean-loup Gailly jloup@gzip.org

Mark Adler madler@alumni.caltech.edu

End User License Agreement

READ CAREFULLY THE TERMS AND CONDITIONS OF THIS END USER LICENSE AGREEMENT (“AGREEMENT”) BEFORE YOU CLICK ON THE “ACCEPT” BUTTON OR OTHERWISE DOWNLOAD, INSTALL OR USE THE PRODUCT. DOING SO AND/OR USING THE LICENSED SOFTWARE OR ANY TECHNOLOGY, IDEA, DATA AND DATABASES, ALGORITHMS, PRESETS, INFORMATION OR DOCUMENTATION CONTAINED THEREIN OR PROVIDED THEREWITH (COLLECTIVELY, THE “SOFTWARE”) ESTABLISHES A BINDING AGREEMENT BETWEEN YOU AS THE PERSON LICENSING THE SOFTWARE, EITHER ON BEHALF OF YOURSELF AS AN INDIVIDUAL OR OF ANY THIRD-PARTY ENTITY (“YOU” OR “LICENSEE”) AND IZOTOPE, INC. (“IZOTOPE”). YOU (WHETHER AN INDIVIDUAL OR DULY AUTHORIZED REPRESENTATIVE OF A LEGAL ENTITY) WARRANT AND AGREE THAT YOU HAVE THE LEGAL CAPACITY AND AUTHORITY TO ENTER INTO A BINDING AGREEMENT, THAT YOU SHALL ADHERE TOTHE TERMS AND CONDITIONS SET FORTH IN THIS AGREEMENT, AND THAT YOU SHALL USE THE SOFTWARE ONLY IN ACCORDANCE WITH THIS AGREEMENT AND WITH ALL APPLICABLE LAWS.

1.5.0

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