iZotope released Ozone 6, an audio mastering platform built around a redesigned interface and workflow. The idea behind the redesign was to make mastering feel like a continuation of the creative process rather than a technical afterthought, with tools built to take a good mix toward a finished, full-sounding master.
The Advanced version of Ozone 6 added a new Dynamic EQ, along with eight component plug-ins and a set of configurable meters, giving engineers more granular control over each stage of the master.
iZotope has kept building on Ozone since. The suite is now up to Ozone 12, a much larger collection than that original six-tool release: 20 individual plug-ins built around an AI-assisted Master Assistant that iZotope describes as guiding rather than deciding, leaving the engineer in control of the actual sound. Newer additions include Stem EQ, which uses source separation to adjust the level of vocals, drums, or bass within an already-mixed stereo file, and Bass Control, aimed at keeping low end consistent across different playback systems.
iZotope’s plugin lineup has grown well beyond Ozone, too. We covered VocalSynth from iZotope not long after this piece first ran, and the company has continued building out tools across mixing, vocal processing, and audio repair since, alongside the mastering-focused Ozone line this piece originally covered.
iZotope itself has also changed hands more than once since this piece first ran. The company spent time under the Native Instruments umbrella before recently moving to Boris FX, the visual-effects company behind tools like Sapphire and Mocha Pro that has been expanding into audio production. iZotope says the move doesn’t change anything for existing users: licenses and subscriptions remain active, support continues through the same channels, and the same engineers are still building RX, Ozone, Neutron, and Nectar.
