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Yep, and as it turns out I need to do some Matching EQ TONIGHT on some final mixing, as we didn't have a chance for the lead singer to overdub the backing vocals and thus I need to make my own backing vocals sound as close to his in timbre as possible.

So, I look forward to being able to use that feature a la carte in DP vs. pulling in all of Ozone, and also being able to separately save the "fingerprint" of his vocal timbre for future use.

daniel.sneed wrote:My user Ozone 4 presets, once moved in the right folder, do appear and open in Ozone 5.
All seems fine here with this release.
In my workflow, as usual, iZotope rocks.

I am having trouble with my DP based Ozone pre sets.
These are NOT the pre sets inside the Ozone pre set window, but instead, the pre sets in the UPPEr left window that are DPs saved pre sets for Ozone.

I cannot get Ozone 5 to see Ozone 4 pre sets saved by DP.

Has anyone else experienced this .
I have copied the files from Library/Audio/Presets/Digital Performer/izotope Ozone 4..int Ozone 5.
This should have worked.

For Ozone 3 owners, the upgrade to Ozone 5 is $149; Advanced is still $399.

Yikes! Not sure I can get it into the budget by next week.

mikehalloran wrote:For Ozone 3 owners, the upgrade to Ozone 5 is $149; Advanced is still $399.

Yikes! Not sure I can get it into the budget by next week.

Go for it. Happy holidays!

Tobor

toodamnhip wrote:I cannot get Ozone 5 to see Ozone 4 pre sets saved by DP.
Has anyone else experienced this .
I have copied the files from Library/Audio/Presets/Digital Performer/izotope Ozone 4..int Ozone 5.
This should have worked.

Moving *iZotope presets* did work for me. That is to say, between iZotope folders, within user/documents.

Did not tried with *Motu DP presets*, yet.
In case this does fail, a workaround could be creating iZotope presets from your DP projects.

Not a show stopper for me, for I always tweak from only 3 basic user presets as starting points. I *know* them just as I *know* my monitors.

IMHO, BTW, presets in a mastering suite are really weird things.

daniel.sneed wrote: IMHO, BTW, presets in a mastering suite are really weird things.

[/quote]

Well, they are not weird if you cycle through them, paying attention to what you like and what you don't like and then REDUCE the aspects you do NOT like.

I like presets as starting points.
After awhile, you remember certain pre sets, just as you like your 3 presets. I might like for example, what a certain song did to the bass.
Also, Ozone is one of those programs that takes awhile to learn well.
So, as you use it, tweeking it more and more, later "presets", start to have certain treatments, for example, on Bass, that you remember you liked. Or rememebr you learned something. It took me a LONG time to learn to use the compressor on Ozone, damn if it's not really intuitive!!..lol

So presets for me have been great starting points.

And finally, often, I end up mixing THROUGH Ozone.
Somewhere along the line, I end up turning it on and it is as if it becomes a bit of a mixing short cut.

I might find a preset that really tightens the bottom end or shines the top, (or does both). And it saves me lots of work.
Perhaps it makes 8/10ths of the mix I AM IN THE MIDDLE OF, sound absolutely fabulous, but the acoustic guitars now sound too bright.
OK, well, to save time, I will just dull the high end on the acoustics and the other 8/10ths of my mix has been improved!!

From that point on, Ozone stays on and I continue to mix.

This must be done with much discretion of course as, if you are not careful, you leave nothing for a real mastering engineer to do.

My mastering engineer here in LA won last yrs grammy and several other grammies for mastering engineer of the year.
And he inevitably chooses my Ozone mix and jokes with me that the mixes sound so good, he feels like he has to work hard to "contribute".

Yet he does make them even better, just a touch better, but nonetheless..better.

I do take him both "with" and "without" Ozone mixes by the way, just to give him a choice and to not be rude...lol...

Because I really understand mastering, I leave a little room for mastering, even with Ozone.

But it can be a real mix helper.
This is not really a cheat, although it could be thought of as that. I really don;t care.lol..
In some ways, if used correctly, it allows one to hear what a final , mastered mix will sound like WHILE MIXING.

If you mix, THROUGH it, you make adjustments that leave no surprises at the end of the record.

Of course, this is all a personal to taste thing, many would argue not to mix this way, and, there are songs I end up NOT using it on.

mhschmieder wrote:Yep, and as it turns out I need to do some Matching EQ TONIGHT on some final mixing, as we didn't have a chance for the lead singer to overdub the backing vocals and thus I need to make my own backing vocals sound as close to his in timbre as possible.

So, I look forward to being able to use that feature a la carte in DP vs. pulling in all of Ozone, and also being able to separately save the "fingerprint" of his vocal timbre for future use.

Ah yes, Matching EQ, this is indeed something I have never figured out in this program.
I played with it once and got confused and never mastered it.
How well does this work?
Any hints on how to best accomplish this?

toodamnhip wrote: I might find a preset that really tightens the bottom end or shines the top, (or does both). And it saves me lots of work.
Perhaps it makes 8/10ths of the mix I AM IN THE MIDDLE OF, sound absolutely fabulous, but the acoustic guitars now sound too bright.
OK, well, to save time, I will just dull the high end on the acoustics and the other 8/10ths of my mix has been improved!!

From that point on, Ozone stays on and I continue to mix.

I also mix/ pre- master with Ozone on, with a very similar workflow. I've thought of it as a less used, club music oriented approach, that's not neccesarily "correct", so that's very encouraging to hear.

I wrote a tutorial on Matching EQ a few years ago, if you can find it.

As often happens, my day job and other factors conspired against my recording schedule, so I haven't gotten around to this task yet, but expect to do so tomorrow.

I'll need to hunt down my old notes at that point anyway.

The key factor to remember is that it is the opposite of intuition, in terms of target vs. source.

mhschmieder wrote:The key factor to remember is that it is the opposite of intuition, in terms of target vs. source.

Somewhere along the line iZotope realized this and changed that. I can't remember which version got the change, but it now depends on which version you're using. (So it's even more confusing.)

Phil

I'm thinking about this deal but I don't have any software that currently requires iLok.
Can someone give me a quick run down on how I get iLok.

I figured this out and just bought an ilok.
Although $30 to ship a $45 iLok is a little nuts I don't why they just wouldn't put them in the mail.

I like the modular thing (I wish Alloy would go this route!), but aside from a cooler GUI and some additional character options, I really don't see too much of a difference between 4 and 5. I gave up on using 4 for mastering a while back -- I get a much better sound from the collection of plugs I'm currently using in my mastering chain -- but every so often, Ozone comes in handy.

By the way, for anyone having problems with Ozone user presets in DP: there's something afoul with the MAS version in this regard. Your best bet is to close out of DP and open any program that uses AU plugs, then open an instance of Ozone AU and do whatever user preset editing, placement, etc. that needs to be done that way. The next time you load that preset in the MAS version, it will be fine. Every time I've created a user preset in DP, it seems to get seriously munged, and neither the MAS or AU version can read it properly.