Mastering

[Julia123]

I can't find an Ozone community so I was hoping for some insight here. I purchased Ozone a few months back and am trying to do my own mastering. If I had my way I'd pay someone who is much better than me to do it but that's not an option these days. Anyway, I've played with Ozone enough to know the damage that can be done and I've worked back to being somewhat conservative with it. Most of my material is working out pretty well but I have one piece that has a huge dynamic range with a big rumbling bass hit mixed with percussion, spoken word, and a lot of s p a c e. There is a middle section with sampled strings and chorus as well. As soon as I try to raise the level on this piece it looses it's 'feel'. I can't get it anywhere close to the same volume level as all the other pieces that it will be on the same album release with, without killing it's feel.

Also, I am finding that when I try to get even close to the levels most current pop music is released at, on any of the tunes, it kills the ebb and flow of things. I've seen the info on the 'loudness' wars etc. and am so thankful to know that it wasn't my ears that were going bad over the past few years I was away from recording! Anyways, I'm keeping the entire album quite conservative level wise and I am still having issues with that one song being far off. I'd like the tunes to all flow when I'm done with this but I hate to sacrifice all the others for one. Is there a good way to handle this? Thanks.

[wylie1]

I find Ozone is really good as a reference but if its doing something to your mix you don't like you really need to go back to your mix and work from there.
Are all the songs run through Ozone?
If you use the preset called CD-Mastering what is it doing to your mix that you don't like?

[mikehalloran]

My basic philosophy is to apply the effect till I hear it, then back off 50%. Not all the time but it is not a bad way to go.

Izotope and Ozone users have a ton of YouTube videos explaining and showing how to use their products. Some of them are quite clear.

I have a number of plugs and effects but feel that, besides the included MOTU plugs, only Ozone 5 Advanced is essential to the way I work nowadays. Not that I don't use Alloy and others (and will upgrade to Alloy 2 soon).

I prefer Advanced as I can use the components as separate plugins. I never use the presets (unlike Alloy).

This probably belongs in General Recording and may get moved there.

[Julia123]

Thanks. After looking at it more closely, it really is just trying to bring up the overall volume level on that particular piece that ruins the feel of the bass 'tail' versus the 'space'. Even when I try to bring up the the final soundbite volume in the wave itself, I still have the same issue as it cuts into the level. When I try to adjust the volume up on original bass part itself, the same thing happens. It seems as if I'll just have to live with the result if I want to bring the volume up near the level of the other tunes.

[HCMarkus]

Mastering tends to involve compromises, especially when we strive to play the max volume game. Two thoughts:

1. Lower the volume on the other songs so you can preserve the dynamics you need.

2. approaching the section where the dynamics are lacking on the piece of concern, lower the volume a little, so when the big hit comes, it contrasts from the preceding section.

[mikehalloran]

Bass benefits from light compression but, as you found out, a little goes a long way and you can change the timbre of the instrument drastically with a little bit too much processing. It is one instrument where you won't hear the incremental steps - you will see them on your meters, however.

I would add enough compression to smooth out the peaks on the meter and then leave it alone. Next day, bring your mix back up and toggle between the effect and bypass and see if you don't hear the difference.

[Julia123]

Thanks for the insight/advice. I've been digging in with this stuff keeping everything in mind. Compromise is definitely where it's going!

[cloudsplitter]

Hi Julia, have you tried to draw in volume information in the sequence editor under bite volume....? I find that helps alot to get everything sounding very close before applying dynamic processors. I use sonnox plugs on my mastering chain....I like them...ozone has never quite cut it for me...sounds to brittle for lack of a better word..

[Julia123]

I'll look at that. I do use bite volume often on individual soundbites in place of mixer volume.

[Dwetmaster]

I also like to automate the Maximizer's threshold, withtin a song to adapt to the hard/soft parts if necessary.