Either that means it's almost as good at mastering as I am, or I'm almost as bad as it is Either surprisingly or not surprisingly, the Ozone version sounded very, very close to what I had done manually. I applied it to a couple of songs where I'd already taken a stab at mastering, to see what it would do. What it can do is adjust EQ, dynamics, and imaging. Ozone can't crossfade transitions between songs, skillfully splice out that overindulgent four bars of a solo, determine an album's running order, do deep waveform surgery, run off a vinyl-friendly version, etc. First, with all due respect, any engineers who think it's going to put them out of a job simply means they're not doing their job. Of course, "real" mastering engineers will probably go ballistic, but I'm a real mastering engineer, and I'm not freaking out at all. ![]() ![]() For those not familiar with it, Ozone listens to a piece of music, then adjusts its various processors to produce what it thinks is a good master, or at least a point of departure for additional tweaking. It has a lot of modules so this will develop over time, but of course, I first tried out the AI-driven Mastering Assistant.
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