This is probably what makes Ozone cool, it stages it's work through various algorithms to combine to a pleasing result. This is how pros work, they dont SLAM one unit. SOmetimes it is just a glorified 'overage stopper', sometimes it combines with Ozone.Įven Waves gave me this secret, don t use ONE 元, use a few compressors or multi bands, each one being LIGHTLY used, but together adding to a lot of gain. I then have the choice to bring in the 元 to see if it improves Ozone or not. So, after that, i use the 元 with the thresho hold at the top. Here's what I do, I use Ozone in 'intelligent mode' but then find that it allows overs. Mastering houses have many compressors.not just ONE that makes all the others 'BAD'. Instead of bashing, be like most pros, use the best of everythiing. I like Ozone but find it's brick wall algorithm to NOT be anywhere near as transparent as the 元. L1 is good on sub tracks, but not on a whole mix.that was yrs ago when it was the best at that man. L1 is quite old, I don t know why you dont have L2 or 元.these limiters are very nice and way more transparent than L1, and are of a release era much more in keeping with todays plugs. It's kind of silly to compare the L1 with Ozone, not that you are personally silly. But that plug-in is only avaialble for ProTools formats, and based on what Stephen himself said over on Gearslutz about development time, resources, and other priorities, it is doubtful that it will get ported to VST or AU. If you're interested in single band limiting, SOS gives their top award to Stephen Massey's L2007. It is derived from TC Electronic's System 6000. My next shootout will be between Ozone and Powercore MD3, which won Sound On Sound's award as best multi-band mastering limiter. So far though, Ozone remains at the top of the list for transparency, of all of the limiting plug-ins that I have tried (although I cannot remember whether 元 was part of my Waves evaluation suite or whether I only evaluated L1 and L2 - and of course they never let you try another plug-in again once you've already tried a few, even though it's one you haven't previously tried). Of course it is not a given that the same results would be achieved in native format. Sound-On-Sound had some excellent Pro Tools Mastering Limiter Shootout articles last year, which compared all limiters available for TDM/RTAS plug-in format.

I mean to redo that shootout soon using my 20 hours of free evaluation of the Powercore version of the Sony Limiter. I was surprised recently to find that the Ozone limiter is more transparent than the Sony Oxford Limiter - at least during the few hours that I auditioned a demo of the latter plug-in in Audio Units format.

Limiter waves l2 vs l3 maximizer