FabFilter and Ozone 12 solve mastering differently. FabFilter gives you four separate processors Pro-Q 4, Pro-L 2, Pro-C 2, Pro-MB, each designed to handle one task with surgical precision and zero added color. You route them in your DAW, set every parameter manually, and build the chain from scratch. Ozone 12 gives you 20 modules in one integrated interface with AI-powered analysis, stem separation, and bass management tools that work on elements FabFilter cannot touch. FabFilter is for engineers who want transparent, modular control. Ozone is for engineers who need speed, intelligent workflows, and access to individual stems in a stereo master. This guide compares workflow, processing architecture, sound character, and real-world use cases to help you choose the right approach.
FabFilter’s four plugins are independent processors. Pro-Q 4 is a 24-band parametric EQ with dynamic EQ, mid-side processing, linear-phase and minimum-phase modes, and per-band EQ matching. Pro-L 2 is a brickwall limiter with eight limiting algorithms (Transparent, Punchy, Dynamic, Allround, Aggressive, Safety, Bus, Modern), true-peak metering, and lookahead up to 100 ms. Pro-C 2 is a compressor with eight styles (Clean, Classic, Opto, Vocal, Mastering, Bus, Punch, Pumping), external sidechain, and mid-side operation. Pro-MB is a multiband compressor/expander with up to six freely placed bands, dynamic phase mode, and per-band attack/release/ratio. You load these in any order, route them through your DAW’s signal path, and control each one in its own window. This modularity lets you use Pro-Q 4 on individual tracks during mixing, then load it again on the master for final EQ. The plugins are not locked to mastering.
Ozone 12 is a single plugin with 20 modules that live in one signal chain. You drag modules into the chain, reorder them, and tweak everything in one interface. The modules include EQ, Dynamics (compressor), Maximizer (limiter), Imager (stereo width), Exciter (harmonic saturation), Vintage Limiter, Vintage Compressor, Vintage EQ, Vintage Tape, Low End Focus, Spectral Shaper, Stabilizer, Match EQ, Bass Control, Stem EQ, and Unlimiter. New in Ozone 12, Bass Control uses psychoacoustic modeling to tighten low-end translation across playback systems. Stem EQ separates your stereo master into vocals, bass, drums, and other using AI, then lets you EQ each stem independently. Unlimiter analyzes over-compressed audio and restores lost dynamics. The workflow is faster because everything is in one window, but you cannot use Ozone modules on individual tracks. The modules only work inside Ozone’s signal chain.
FabFilter has no AI. No automatic analysis. No preset generation based on your audio. You set every frequency, every threshold, every ratio by ear. Pro-Q 4’s EQ matching can analyze a reference track and suggest a curve, but you still apply it manually. This requires knowledge of frequency balance, compression ratios, limiting algorithms, and loudness targets. If you do not know where to cut mud or how much limiting to apply, FabFilter will not help you. The benefit is full control. You decide everything.
Ozone 12 has Master Assistant. You load your track, select a genre or upload a reference, set a target LUFS, and Master Assistant analyzes your audio and builds a custom preset. It sets EQ curves to match tonal balance, applies compression to control dynamics, adjusts stereo width for genre-appropriate imaging, and sets limiting to hit your LUFS target. The new Custom Master Assistant flow in Ozone 12 lets you toggle which modules to use, define processing strength (light, medium, aggressive), and upload multiple references. Master Assistant is not automatic mastering. It is a starting point. You tweak the preset or ignore it and start from scratch. The AI speeds up the process for engineers who know what they want but need a faster setup, and it teaches beginners what professional mastering chains look like.
FabFilter processes stereo audio. When you EQ with Pro-Q 4, you affect the entire mix. If the vocals are harsh at 3 kHz and the snare is perfect at 3 kHz, you make a compromise. You cannot EQ vocals separately without a multitrack session. Mid-side processing helps, but it is not stem-level control.
Ozone 12’s Stem EQ uses AI to separate your stereo master into four stems: vocals, bass, drums, and other. You can brighten vocals at 8 kHz without touching the cymbals. You can tighten bass at 200 Hz without affecting the kick. You can reduce harshness in guitars without dulling the snare. This was impossible before Ozone 12. The separation is not perfect, complex mixes with heavy layering can bleed between stems, but it works well enough to fix small issues without asking for a new mix. Bass Control also uses stem separation to analyze and tighten low-end translation. It identifies bass frequencies that cause muddiness on small speakers and tightens them without affecting the rest of the mix.
FabFilter’s design goal is transparency. Pro-Q 4’s minimum-phase mode has zero latency and sounds neutral. The linear-phase mode prevents phase shift but adds latency. Pro-L 2’s Transparent algorithm is clean and artifact-free. The Modern algorithm is louder but still neutral. Pro-C 2’s Clean and Mastering styles are designed to compress without coloring tone. Pro-MB’s dynamic phase mode keeps the low end tight without smearing transients. FabFilter plugins sound like nothing unless you push them hard. This is intentional. The company targets mastering engineers who want surgical precision and zero added character.
Ozone 12 has more character. The Vintage modules (Tape, Tube, Limiter, Compressor, EQ) add analog-style saturation, harmonic distortion, and warmth. The Exciter adds harmonics to brighten or thicken the mix. The Maximizer’s IRC algorithms have different flavors, IRC I is aggressive, IRC II is transparent, IRC III is punchy, IRC IV is modern, and IRC 5 (new in Ozone 12) is the loudest and cleanest yet. Ozone can sound clean or colored depending on which modules you use. If you only use EQ, Dynamics, and Maximizer with IRC 5, Ozone sounds transparent. If you add Vintage Tape, Exciter, and Vintage Limiter, Ozone adds warmth and saturation. FabFilter gives you one sound: transparent. Ozone gives you options.
FabFilter is a Dutch company founded in 2002 by Frederik Slijkerman and Floris Klinkert. The company makes high-end mixing and mastering plugins known for clean sound quality, intuitive interfaces, and precise control. FabFilter plugins are used by mastering engineers at Sterling Sound, Abbey Road Studios, and other top facilities. The company’s design philosophy is transparency and surgical precision. Every parameter is accessible. Every control responds smoothly. The interface design is minimal and functional. FabFilter does not add color or character unless you ask for it.
Pro-Q 4 is a 24-band parametric EQ with dynamic EQ, mid-side processing, and linear phase mode. The dynamic EQ mode lets you set a threshold so the EQ only engages when a frequency exceeds a certain level. This is useful for taming harsh resonances in vocals or controlling boomy bass without affecting the rest of the mix. The mid-side mode lets you EQ the center and sides independently, which is useful for widening the stereo image or tightening the low end in the center. The linear-phase mode prevents phase shift, which is useful for mastering where phase coherence matters. The EQ matching feature analyzes a reference track and suggests a curve, which speeds up tonal balancing. Pro-Q 4’s interface is fast. You double-click to add a band, drag to adjust frequency and gain, and scroll to change Q. The analyzer shows the frequency spectrum in real time.
Pro-L 2 is a brickwall limiter with eight limiting algorithms. Transparent is clean and artifact-free. Modern is louder with minimal distortion. Punchy preserves transients. Dynamic adjusts the limiting based on the input signal. Aggressive pushes the loudest possible level. Safety is for broadcast compliance. Bus is for mix bus limiting. The true peak metering prevents clipping on lossy codecs like MP3 and AAC. The lookahead control (up to 100 ms) gives the limiter more time to react to transients, which reduces distortion. The oversampling (up to 32x) improves high-frequency accuracy. Pro-L 2’s interface shows input level, output level, gain reduction, and true-peak level in real time.
Pro-C 2 is a compressor with eight styles. Clean is transparent. Classic is vintage FET style. Opto is smooth and slow. Vocal is fast and aggressive. Mastering is gentle and musical. Bus is for mix bus glue. Punch preserves transients. Pumping exaggerates the compression for effect. The sidechain filter lets you compress based on specific frequencies, which is useful for de-essing or controlling bass. The mid-side mode lets you compress the center and sides independently. The knee control adjusts how gradually the compression engages. Pro-C 2’s interface shows input level, output level, gain reduction, and the compression curve in real time.
Pro-MB is a multiband compressor/expander with up to six bands. You can place bands anywhere in the frequency spectrum, overlap them, or snap them together to form a traditional crossover. The dynamic phase mode keeps the low end tight without smearing transients. The per-band attack/release/ratio controls let you compress each band independently. The expander mode reduces level below a threshold, which is useful for controlling noise or reducing muddiness. Pro-MB’s interface shows the frequency spectrum, the band placement, and the gain reduction per band in real time.
FabFilter sells all of its plugins directly through its own website, where you can choose between several bundles depending on how deep you want to go. The biggest option is the Total Bundle at around €899, which gives you every FabFilter plugin in one package. If you do not need everything, you can pick a more focused bundle: the FX Bundle sits at about €799 for creative and mixing effects, the Pro Bundle is roughly €659 and centres on the main “Pro” series tools, the Mixing Bundle is around €619 for everyday mix work, the Mastering Bundle is about €439 for finishing your tracks, and the Essentials Bundle starts at roughly €359 for a smaller core selection. Prices can change during promotions, so it is always worth checking the current deals on the official FabFilter site before you buy.
On Plugin Boutique you can buy the same FabFilter bundles you see on the official site, but the deal is simply better. The Total Bundle with all FabFilter plugins is available there, as well as the more focused FX Bundle and Pro Bundle if you mainly want the most tools. You can also pick up the Mixing Bundle, the Mastering Bundle or the Essentials Bundle if you are building your collection step by step. In every case you receive the exact same official FabFilter license you would get from FabFilter’s own shop, with full updates and support, but Plugin Boutique often beats the official price during sales. On top of that, they add a free bonus plugin or sample pack to your order. So you get the same FabFilter bundle, often pay a bit less, and walk away with an extra plugin on top, which makes buying FabFilter through Plugin Boutique a no-brainer.
We use Pro-Q 4 on almost every project. Our default mastering EQ chain starts with a high-pass filter at 30 Hz (12 dB/oct, minimum-phase) to remove sub-bass rumble. We add a gentle low shelf at 80 Hz (+0.5 to +1.5 dB) to add weight if the mix feels thin. We cut mud at 200–400 Hz (-1 to -2 dB, Q 1.5–2.0) if the low mids are cloudy. We add presence at 3–5 kHz (+0.5 to +1.5 dB, Q 1.0–1.5) if the mix feels dull. We add air at 10–12 kHz (+0.5 to +1.0 dB, high shelf) if the top end needs sparkle. We use dynamic EQ on harsh frequencies (2.5–4 kHz, -2 to -4 dB, threshold set so it only engages on loud transients). We use mid-side EQ to tighten the low end in the center (cut 100–200 Hz in mid, -1 to -2 dB) and widen the stereo image in the sides (boost 8–12 kHz in sides, +0.5 to +1.0 dB). We use linear-phase mode only when phase coherence is critical, because it adds latency and can cause pre-ringing.
We use Pro-L 2 with the Modern algorithm for most streaming masters. We set the output ceiling to -1.0 dB True Peak to prevent clipping on lossy codecs. We set the lookahead to 10–20 ms for fast material (EDM, trap, pop) and 20–50 ms for slower material (ballads, jazz, classical). We set the oversampling to 4x or 8x. We push the input gain until we hit our target LUFS (-8 to -10 LUFS for streaming, -12 to -14 LUFS for dynamic genres). We use the Transparent algorithm if the Modern algorithm causes distortion. We use the Punchy algorithm if transients are getting squashed. We use the Dynamic algorithm if the mix has a wide dynamic range and we want the limiter to back off during quiet sections.
We use Pro-C 2 for glue compression on the master bus. We use the Bus or Mastering style with a 2:1 ratio, slow attack (30–50 ms), medium release (auto or 200–500 ms), and 1–3 dB of gain reduction. We use the sidechain filter to prevent the compressor from reacting to bass frequencies (high-pass at 100–150 Hz). We use mid-side compression if the sides need more control than the center (compress sides more aggressively to tighten the stereo image).
We use Pro-MB to control problem frequencies in mastering. We tighten muddy bass (band 1: 50–200 Hz, 2:1 ratio, fast attack, medium release, 1–2 dB gain reduction). We reduce harshness (band 2: 2.5–4 kHz, 2:1 ratio, fast attack, fast release, 1–2 dB gain reduction). We add air (band 3: 8–12 kHz, expander mode, 1.5:1 ratio, slow attack, medium release, +1 to +2 dB gain). We use dynamic phase mode to keep the low end tight.
iZotope is an American company founded in 2001 by Jay LeBoeuf and Mark Ethier. The company pioneered AI-assisted audio processing with products like RX (audio repair) and Ozone (mastering). Ozone was one of the first all-in-one mastering suites for home studios. The company focuses on intelligent workflows and integrated tools. Master Assistant in Ozone analyzes your track and builds a custom preset based on thousands of professional masters. iZotope was acquired by Native Instruments in 2021. Ozone is used by bedroom producers, professional engineers, and everyone in between.
Why Ozone 12 works
Ozone 12’s EQ module is a 8-band parametric EQ with dynamic EQ, mid-side processing, and linear-phase mode. The interface is similar to Pro-Q 4 but less detailed. The dynamic EQ mode works the same way: set a threshold and the EQ only engages when a frequency exceeds that level. The mid-side mode lets you EQ the center and sides independently. The linear-phase mode prevents phase shift. The EQ matching feature (Match EQ module) analyzes a reference track and applies the curve automatically.
Ozone 12’s Dynamics module is a compressor with multiple styles (Vintage, Modern, Tube, Solid State, Digital). The interface shows threshold, ratio, attack, release, and knee. The mid-side mode lets you compress the center and sides independently. The sidechain filter lets you compress based on specific frequencies. The learn feature analyzes your track and suggests settings.
Ozone 12’s Maximizer is a brickwall limiter with five IRC algorithms. IRC I is aggressive and loud. IRC II is transparent. IRC III is punchy. IRC IV is modern and clean. IRC 5 (new in Ozone 12) is the loudest and cleanest yet. The interface shows input level, output level, gain reduction, and true-peak level. The transient emphasis control adjusts how much the limiter preserves transients. The character control adds saturation. The stereo independence control adjusts how the limiter reacts to the left and right channels (linked, unlinked, or hybrid).
Ozone 12’s Imager adjusts stereo width. You can widen or narrow specific frequency bands. The stereoize control adds width by creating artificial stereo information from mono sources. The vector scope shows the stereo image in real time.
Ozone 12’s Exciter adds harmonics. You can add warmth (low-frequency harmonics), presence (mid-frequency harmonics), or brightness (high-frequency harmonics). The amount control adjusts the intensity. The mix control blends the processed signal with the dry signal.
Ozone 12’s Vintage modules (Tape, Tube, Limiter, Compressor, EQ) add analog-style saturation and character. Vintage Tape adds tape saturation, wow/flutter, and noise. Vintage Tube adds tube saturation and warmth. Vintage Limiter adds analog-style limiting. Vintage Compressor adds analog-style compression. Vintage EQ adds analog style EQ curves.
Ozone 12’s Bass Control (new in Ozone 12) uses psychoacoustic modeling to tighten low-end translation. It analyzes bass frequencies and adjusts them so they sound consistent across playback systems (headphones, car speakers, club systems). The punch control adjusts how much the bass hits. The contrast control adjusts how much the bass stands out from the rest of the mix.
Ozone 12’s Stem EQ (new in Ozone 12, Advanced only) separates your stereo master into vocals, bass, drums, and other using AI. You can EQ each stem independently. The separation quality depends on the mix, simple mixes with clear separation work best. Complex mixes with heavy layering can bleed between stems. The interface shows four EQ curves (one per stem) and lets you solo each stem to hear the separation quality.
Ozone 12’s Master Assistant analyzes your track and builds a custom preset. The new Custom Master Assistant flow lets you pick a genre, upload a reference track, set a target LUFS, toggle which modules to use, and define processing strength (light, medium, aggressive). Master Assistant sets EQ curves, compression ratios, limiting thresholds, stereo width, and exciter settings based on your inputs. You can accept the preset, tweak it, or ignore it and start from scratch.
On the official iZotope website, Ozone 12 is sold in three main versions. Ozone 12 Elements costs about €65 and gives you the basic assistive mastering tools, Ozone 12 Standard is about €240 with a fuller set of mastering modules, and Ozone 12 Advanced sits at around €550 and unlocks the complete 20-module suite with all the latest features. There is also the larger Music Production Suite 8 bundle at about around €900, which includes Ozone 12 Advanced together with Neutron 5, RX 11 Standard, Nectar 4 Advanced and a lot of other mix and repair plugins. If you want to buy straight from the source and see your personal upgrade or crossgrade prices, the iZotope shop is where all of these versions and bundle deals are listed.
If you care about getting the best deal on Ozone 12 though, Plugin Boutique is usually the smarter route. They sell Ozone 12 Elements, Standard and Advanced at a way cheaper rate, this way receive exactly the same iZotope license with full updates and support. On top of that, Plugin Boutique regularly includes a free bonus plugin or sample pack with your purchase, so you walk away with Ozone 12 plus an extra tool for less money.
We use Ozone 12 when we need speed or when we need tools FabFilter does not have. Our default Ozone chain starts with Master Assistant. We upload a reference track, set the target LUFS to -9 or -10 for streaming, toggle off modules we do not want (usually Vintage modules and Exciter), and set processing strength to medium. Master Assistant builds a preset in seconds. We tweak the EQ (usually cut mud at 200–400 Hz and add air at 10–12 kHz). We adjust the Dynamics threshold and ratio if the compression is too aggressive. We adjust the Maximizer’s IRC algorithm (usually IRC 5) and transient emphasis (usually 50–70%). We use Stem EQ to fix small issues. We brighten vocals at 8–12 kHz (+1 to +2 dB) if they feel dull. We tighten bass at 100–200 Hz (-1 to -2 dB) if it feels muddy. We reduce harshness in drums at 3–4 kHz (-1 to -2 dB) if the snare is too bright. We use Bass Control to tighten low-end translation. We set punch to 50–70% and contrast to 30–50%. We use Unlimiter if the mix was already limited too hard. We set amount to 30–50% and preserve to 70–80%. We do not use Vintage modules or Exciter most of the time because we prefer transparency. We use Ozone when we need to fix a mastered track without asking for a new mix (Stem EQ, Unlimiter) or when we need fast setup (Master Assistant). We use FabFilter when we want full manual control and modular routing.
FabFilter and Ozone 12 solve mastering differently. FabFilter gives you four transparent, modular processors with full manual control. Ozone gives you 20 modules in one integrated interface with AI assistance and stem separation. FabFilter is for engineers who want surgical precision, modular routing, and zero added character. Ozone is for engineers who need speed, intelligent workflows, and access to individual stems in a stereo master. Neither is better. The right choice depends on your workflow, experience level, and what kind of control you need. We use both. FabFilter for manual, transparent mastering. Ozone for fast setup and impossible edits.
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