Where to Hear Ozone on the New Beach House Album '7'

beach house 7

Every Friday, we share a newly released song or album from one of our favorite artists and talk with them about how they used an iZotope product on it.

This week, we spoke with Alan Moulder, whose discography ranges from My Bloody Valentine’s Loveless, to Queens of The Stone Age’s Villains, and too many in between to list here. Most recently, he mixed the new Beach House album 7 (released May 11 on Sub Pop), with a little help from iZotope:

“On ‘Lemon Glow,’ I had Ozone Multiband Dynamics across the mix. I really liked the way it just tightened up the bottom end. Then we wanted to turn up the drum machine a fair bit, and that was choking the multiband down too much, so I sent the drum machine to its own multiband with exactly the same settings. That worked perfectly getting the pump and tightness that we were after.

On “Girl Of The Year,” we had Ozone’s with Multiband Dynamics and Maximizer across the mix bus. The multiband was just being very slightly tickled to tighten up the low end again. I really like the way you can use that plug in to very subtly shape a track that’s pretty dense.  I use the Maximizer a fair bit too. I like the way you can flip through the IRCs to find one to suit. Again, I’m pretty gentle with it. I use that with my Lavry Gold A to D to get listening levels up, sometimes.

On “L’Inconnue,” I used the Ozone Imager on the french vocals when the English vocal were in. We wanted to create a space for the french vocals to envelope the English ones. I use the Imager quite a lot to create space in dense tracks. I used it on backing vocals on “Girl of The Year” too. Again, pretty subtly. Sometimes, like on “Pay No Mind,” it may just be on a big snare verb. It just can take some frequencies out of the middle of the mix.

I use DDLY on vocals too. I really like the way it responds to the dynamics.

I used one of my favourite iZotope plug-ins on the toms in “Woo.” I had a multiband distortion on them to give the mid range a bit of nastiness. I really love Trash, the way you can chain effects and move the order in which they are sequenced is brilliant. The distortion is incredibly flexible and I use the delay quite a lot too. It has a sound like no other.”

—Alan Moulder (mixing engineer, Beach House, 7)

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