The most popular versions of the program are 6.0, 5.0 and 4.0. The program is included in Multimedia Tools. Also the tool is known as 'iZotope Ozone By YurCompMan'. The latest installer that can be downloaded is 108.8 MB in size. The default filenames for the program's installer are iZotope Ozone 6.exe or UNWISE.EXE etc.

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Ozone level meters display the input and output level for the left and right channels. New for Ozone 5 we added support for BS.1770-2 and EBU128 loudness metering. This very powerful approach to loudness metering and monitoring allows you to analyze the apparent loudness of your mix.

Note: You can set these options by opening theOptions Dialogand selecting the I/O Options tab. The available options for calibrating Ozone's I/O meters are listed below.

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.

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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 metering

Serato scratch live 1. 8 download. Ozone 5 supports Bob Katz's K-System metering with simultaneous peak and RMS displays. There are three different K-System meter scales, with 0 dB at either 20, 14, or 12 dB below full scale, for typical headroom requirements. The three K-System meter scales are named K-20, K-14, and K-12. These meters represent three switchable scales: K-20 with 20 dB headroom above 0 dB, K-14 with 14 dB headroom, and K-12 with 12 dB headroom. The dual-characteristic meters have a bar representing the average level and a moving line or dot above the bar representing the most recent highest instantaneous (1 sample) peak level.

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1. The K-20 meter is intended for wide dynamic range material, e.g., large theatre mixes, 'daring home theatre' mixes, audiophile music, classical (symphonic) music, 'audiophile' pop music mixed in 5.1 surround, and so on. Pop engineers are encouraged to use K-20 when the music has useful dynamic range.

2. The K-14 meter is for the vast majority of moderately-compressed high-fidelity productions intended for home listening. If making 'typical' pop or rock music, or audio for video, then probably choose K-14.

3. The K-12 meter is for productions to be dedicated for broadcast. Broadcast recording engineers may certainly choose K-14 if they feel it fits their program material.

BS.1770 LoudnessMetering

Ozone 5 Advanced now features BS.1770 loudness metering compliant with recommendations by the International Telecommunication Union (ITU-R BS.1770-2)and the European Broadcasting Union (EBU R128) that uses an algorithm for determining subjective program loudness and true-peak signal level. These standards are currently being implemented for broadcast audio, but are also very useful for intelligently measuring subjective loudness for all types of audio.

There are three selectable modes of BS.1770 Loudness metering in the Input and Output meters:

LUFS(m) + TP – Loudness measurement which calculates loudness over the course of a momentary interval of 400ms.

LUFS(s) + TP - Loudness measurement which calculates loudness over the course of a short interval of 3 seconds.

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LUFS(i) + TP - Loudness measurement which calculates loudness over the course of an entire period and generates an overall Loudness Range represented by brackets imposed on the LUFS meters.

Note: All BS.1770 metering settings feature Left and Right True Peak meters represented by dimmer meters while a single solid meter in the forefront represents LUFS.

Loudness Range - The overall dynamic loudness range of an entire period measured. You can monitor the overall Loudness Range as it is calculated over time by watching the brackets imposed on the Integrated Loudness Meter (LUFS(i) + TP mode only).

Setting the Source of the Meters - Mid/Side metering option

By default, the I/O meters will display the Stereo mix of your audio. However, when working with Mid/Side processing, it is often very helpful to have a clear meter indication of the overall Mid and Side levels individually. The small orange and blue button below the meter allows you to choose the source of the input/output meters. When engaged the meters will display the Mid/Side levels and when off (default) the meters will display Stereo (left/right) levels. You can also change the source of the meters from the Source button inside of the I/O Options menu.

When the I/O meters are in Mid/Side mode, they will no longer display your signal in terms of Stereo Left and Right. Instead, on the left side of the meter will be the level of the entire Mid signal, and on the right will be the overall level of the side signal. The Left and Right Gain sliders will still control the Left and right Gain of your signal however. The Mid/Side meters will still adhere to the same Type and Scale settings defined in the I/O options menu.

Setting the Scale of the Meters

By default, the range of the meters is from 0 dB to -96 dB. You can further customize your metering by adjusting the scale of the input and output meters. Clicking the (+) sign below the meters will increase the zoom or resolution of the metering scale, and clicking the (-) sign will decrease or zoom out the resolution of the metering scale.

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You can also adjust the scale by pressing down the Ctrl key under Windows or the Command key under OS X and clicking with the left mouse button to expand the range or the right button to decrease the range.

Scale Options

You can set the following meter scales in theI/O tabof theOptions Dialog, which you can also access by right-clicking (under OS X you can also ctrl-click) on the level meters:

dB (Linear) - decibel scale presented linearly from -60 dB to 0 by default

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

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

Peaks

By default, the meters will hold peaks. You can configure this in the I/O tab of the Options Dialog, which you can also access by right-clicking (under OS X you can also ctrl-click) on the level meters.

To reset a peak that is holding, click anywhere on the meter.

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Clipping

Above the meter is a red LED that serves as a clipping indicator. If the level exceeds 0 dB at any point, this LED will light up and remain lit until you double click anywhere on the LED itself. The clipping indicator will also show the number of samples over 0 dB you have clipped. (Once you have clipped over 99 samples the indicator will show three periods..)

By default the Input/Output meters will only indicate clipping which occurs within the digital domain. To accurately measure the signal that will result from digital to analog conversion select 'Detect 'True Peaks' in the I/O Options tab.

Options

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You can set the I/O meter options by opening the Options Dialog and selecting the I/O Options tab. You can also right-click (under OS X you can also ctrl-click) the I/O meters to bring up these options directly.

iZotope’s complete mastering system in a single integrated plug-in includes eight essential mastering tools:
Maximizer, Equalizer, Multiband Dynamics, Multiband Stereo Imaging, Post Equalizer, Multiband Harmonic Exciter, Reverb, and Dithering. Ozone 5 Advanced adds seven additional component plug-ins, extended features in every module, and a comprehensive suite of configurable meters.

Guided by iZotope’s expertise in DSP research, Ozone 5 combines the best nuances of both analog and digital worlds:
– Analog-modeled processing combined with linear phase precision
– Flexible sonic capabilities for adding realistic warmth, bite, punch, and space to your mix
– New IRC™ III Limiter for louder, fuller masters that preserve crisp transient detail
– Fully-revamped hybrid Reverb module
– Additional Reverb room models and circuit-modeled Exciter modes
– Stereoize feature for widening mono/narrow mixes
– True Envelope peak detection and Detection Circuit filters in the Dynamics module
– Unique Mixed-Phase EQ mode

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