Tag Archive for: plugin reviews

What Izotope’s Ozone Series Doesn’t Consider

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It was a great surprise to see the release of Izotope’s new Ozone and Neutron update last week. Since I use both products, often I immediately got started looking for whats new.

There will undoubtedly be a ton of new tutorial and youtube review videos posted of these tools, but I want to approach this post around how I use these plugins, and also mention a larger problem I find all too common within the production of software, and an issue I feel Izotope’s Ozone series doesn’t consider.

But firstly, let’s talk about where Izotope really succeeded.

The sound. I can’t put my finger exactly on it, but to my ears, there is a noticeable improvement of the sound quality in Ozone 8. Perhaps it’s an oversampling issue or something with the filters, but the sound is tighter, bright, and more precise over earlier versions.
The workflow – Ozone 8 comes with several new features that provide a faster way for me to achieve the sound I want. The maximizer now includes a loudness target and the reference addition to comparing the versions via the tonal balance control.

Tonal Balance. A fascinating tool that allows you to visualize the frequency levels of your track, and will enable you to match to eq targets from a specific genre of music. Having visual feedback of where your tonal balance per frequency is, and easy access to eq those levels is a great and fast way to achieve a professional sound. I did some testing earlier today and found the target system pretty accurate, but in the end, I found the target ranges slightly off for the lows and highs (see below in my low points).

Visual Mixer. This is the bomb within Neutron 2, and for that feature alone I’d buy the entire package. The visual mixer allows you to place and position your tracks visually across the spectrum, (volume, pan, and width). It’s a beautiful process, and the edit window looks super sci fi and modern. If you work with multiple channels and often have mono tracks this is simply a killer addition. One of the things that blew my mind was that you can actually automate the panning, which opens the doors to many exciting and beautiful options in sound design.

Improved Mix assistant. I really like the mix assistant by the way. I’ve heard many people mock the process, or are jaded to the idea  that it’s impossible for AI to do a man’s job but honestly if the assistant can pull up all the tools I need and set the table for me to tweak fast, you won’t hear me complain.

Communication between plugins. This feature is really cool. You may adjust EQ from one window on another incoming channel, which is reflected in other instances of the plugin. This is super useful when you want to tame the relation between kick and bass as you want to be EQing side by side, both channels. It works and looks seamlessly.

In the end, I’m really loving the update from Izotope and will be using many of the new and improved features. I also want to take a minute to point out a criticism I have with Izotope.

Generalization of customers – It’s unfortunate that I find many large, corporate companies narrow down potential customers into three simple types – pop, edm, and hiphop. I see how that makes marketing more manageable, but what about producers like me who are creating and working on underground and experimental music? I say this because many of the new tools shipped with Ozone and Neutron are built with presets as starting points to mix and master only three types of music. I my opinion, this is quite limiting, and the fact that you can only refer to 3 types of tonal shapes is, to me, a complete fail. It reminds me of LANDR giving only 3 types of loudness range. It’s disappointing because I feel like this software expects you to be either this or that, which is clear from the design of the genre-specific presets – as if there are no other types of musician in the world??

What Izotope’s Ozone series doesn’t consider is people like me, and many friends and colleagues of mine, who make our living from creating music, and don’t fit into the standard pop, edm, or hiphop category.

CPU hungry. I have a newish MacBook, fully geared up for performance, and while running several instances of Ozone my entire screen began flickering and making strange glitches. Izotope support claimed it was likely my CPU over-loading, however, I was only using 5 Neutron and 1 Ozone 8 instance, plus visual mixer. If my custom built computer is hit hard with CPU usage imagine how will the average Joe deal with such demands on the processor.

This goes along with the new mastering plugin by Eventide, Elevate that is so power hungry that it’s barely usable. Funny enough, a few days after Ozone 8 came on the market, Eventide droped the price of its plugin by 50%…

Still, in my opinion, the updated Ozone suite is a serious tool to consider having. It really delivers impressive quality sound. As always, I want to hear about what you think about these tools and feel free to leave a comment below and share your opinion.

Cheers,

JP

 

Plugin Review: Circle 2 VSTi

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Okay guys, this is a first. I’ve been thinking about writing reviews for a little while now, mainly because I get asked sometimes what I use to make my sounds. So I thought I’d share some feedback about the tools I appreciate most and why.

Here’s the important thing for me though: I usually hate reading reviews. So this is my chance to find a way to talk about my experience as a user without focusing necessarily on the overly technical aspects, which are all covered in the product description anyway.

First up: the Circle 2 VSTi plugin.

 

Opening Circle 2: First impressions

Circle 2 VSTi is a delight to play with fresh out of the boxI got a good feeling the minute I opened this plugin for the first time, which is a rare pleasure for me. With all my years of experience, I’ve grown pretty grumpy about the interface of synths. I often find them counter-intuitive and frustrating to learn, which frequently results in me never using them. With all the options available, it’s clear that you need your VST synth to be giving you what you want as quickly as possible.

Circle 2 delivers right away by getting you excited to play with it fresh out of the box.

 

Layout

The synth has 3 columns,  each with its own functionality. From left to right, you have the oscillators, then the effects/mixer, and finally the modulation. Personally, I’d swap the columns, since I figure that it’s the modulation that goes through effects and mixing on the way to affecting the oscillators, rather than it the other way around. But that’s just my own preference, and it was not in any way a problem to work with once I got into the logic of the synth.

 

Presets

Screen Shot 2016-04-25 at 13.03.17Although I avoid using presets, I still give them a quick listen when I first get a new plugin. This allows me to get a scope of the sound potential and to learn how to use the knobs/gizmos by getting a feel for how they move. Circle 2’s presets are named Sounds, and the presentation is simply outstanding. By using Class/Type/Style, you can apply filters that will help you see all the options available. It reminds me a bit of Omnisphere’s classification, but way more slick. This will really be useful later when I save my own sounds.

 

The sound

Circle 2 VSti plugin is a wonderful sound design toolWhenever I test a new synth, I’ll immediately check how it manages bass and low-end sounds, as well as extremely high-pitched ones, mainly by using a sine oscillator. For Circle 2, I used a preset named “Deep Bass” and heard right away that the low end was very warm and heavy. My kind of sound! The slight modulation for a high pitched sound gave the impression of a modular rack that you paid tons of money for.

You see, the first 2 things that make Circle 2 stand out as a wonderful sound design tool are its wavetable oscillator design and its modular approach for shaping sounds. You’ll notice that the modulators have a little circle that you can drag to what you want to modulate. Think of Reason, but minus the graphical cables.

The sound is eloquent and beautiful. And one practical thing about the interface is that it lets you see the envelope and LFO being animated. It’s nothing too fancy, but just enough to orient you.

Circle 2's wavetable oscillator is mind-blowingThe wavetable oscillator is mind-blowing. You can select from a vast amount of shapes, combine it with another one, and then decide the amount of mutation between the two to produce something completely new. Very well done.

 

 

To finish off

You can control the amount of randomization applied, so this feature is a great way to take a chance on unexpected discoveries.Now that you’re getting excited about the sounds you can make, the last thing you’ll want to try is to play a bit with the randomization options. You’ll find these in the lower menu. You can control the amount applied too, so this is a great way to take a chance on unexpected discoveries. In a few clicks, I went from a nice bass to something abrasive, while still keeping it under control. You could use this feature as a way to create a sound that’s complementary to your previous one.

 

Overall appreciation

I’d say that this plugin is certain to remain a favourite in my production routine. I’ve been using it for 2 weeks now and have already become addicted to its powers of sound design. Its sounds are thick and solid.

The only downside I found was the lack of GUI control over the filters. I had to use knobs to control the frequency or resonance. That is an irritant to me because I like to make quick changes, and so I prefer to use my mouse. Oddly enough, the envelope can be controlled in this way, so I don’t know why the feature wasn’t included for the filters as well.

You can get your copy of the Circle 2 VSTi plugin here.