There I had an option to set frequency range for this Matching EQ and the end result finally sounded almost the same as some well-known action tracks. I set that file as the input to Master Assistant and it made a difference, but I achieved an even bigger difference by using this reference file inside the chain, after setting Master Assistant without the reference file and using it only at the end of the chain, before the Limiter, inside the new Matching EQ processor.

There is a preset called Action Thriller Music, but I’d rather browse the net for some other cinematic piece by a known composer that sounds somewhat similar to my piece, cutting out the most dramatic part and setting it as the source material for comparison. A cinematic action piece that provides some challenges to Ozone 8, as it’s quite a non-typical mastering material. Of course, I immediately opened my most problematic mix, one that I was never totally satisfied with. The graphical design is updated, looking more futuristic and slick, and there are new features in the Master Analyze section along with some quite interesting new modules that don’t just offer new colors but can actually change the whole mastering picture. There were enough new interesting things that grabbed my attention. I watched a few videos to see what’s new in Ozone 9, wondering whether it’s worth the update and as you can see I decided to go for it. It has rescued my songs many, many times. I already own Ozone 8, and I’m very satisfied with it. Izotope did it, and now we can also become a master of mastering.

Mastering with ozone 9