To Ozone or not to Ozone - 2008/08/25 08:12We have been bouncing the ball back and forth on mastering tools, in particular Ozone. Its a great little plugin with a lot of really good presets and more you can download. Its quite reasonable at $200.00. But, like most of you, I don't always have the money for the toys that I want. So I downloaded the demo version and really gave it a thorough going over and there are some things I found I could do for myself with existing . I thought I would share:
1) Compression - First of all, I am a Pro Tools LE user. I create a Master Track on all of my projects to control the overall volume. In the first Insert slot of the master track I use Compressor II and dialed in the Stereo Program Comp 2 preset. From this preset I maximize my volume by using the compressor gain. This won't create the "brick" wave form like the professionals, but it will raise the overall volume and knock down the peaks both high and low. This a particularly mild preset.
2) EQ - Have you had times where the high mids are missing - Vocals sound a little flat? This will fix it. In the second master slot, I use the 4-Band EQ II. This is the same kind of EQ used in many of the Ozone presets. I leave the bands freqs at the default, and raise all four gain levels to 2.0. This will raise the frequencies across the band, thus sharpening the mix. You may have to play with each to determine how much you want to keep. Watch for clipping!!! You may have to lower the gain on the compessor a smidge.
3) Reverb - Slot 3 on the master track. D-verb in pro tools is better than average. Make sure the Input is at 0.0 and the Mix is about 8-10% to start. This, however, will lower the overall gain, so you may go back to the compressor and make an adjustment. I like to use the Hall-Large reverb on my mixes.
4) Dither (optional) - Slot 4- I am hot and cold on dithering. I have not always been happy with the results, but if you're mix from 24 bit down to 16 bit, it may be worth some time in trial and error. Personally, I keep all my mixes 24bit, and allow the CD Architect software I used to burn CD's handle the conversion.
This series of additions to your mix will help even out the levels, raise the overall volume, brighten the overall sound, and reverb will add a bit of slickness and finish to the final mix. This is not a complete substitute for a good mastering program, but it employs some of the same principles used. Its Trash-Can mastering if you need a label for it. Since my Ozone demo has stopped I've been doing this. Like Ozone, if the mix is not right, this series of changes will expose some of the flaws. Try it and see what you think...
Post edited by: thel1195, at: 2008/08/25 08:16
Post edited by: thel1195, at: 2008/08/25 08:22
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mparker
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Re:To Ozone or not to Ozone - 2008/08/25 12:53There are a couple of other effects incorporated into Ozone as well that can be simulated within your DAW of choice. I use Logic so will reference the plugins from there. I'm sure there are similar in Pro-Tools and the others. Carrying on the list...
5) Multiband Harmonic Exciter - This plugin doesn't exist in Logic out of the box, but you can achieve the same effect with multiple instances of the Exciter plugin tuned to different frequencies across the spectrum.
6) Multiband Stereo Imaging - Again this plugin doesn't exist in Logic out of the box, but there is a single band version that can be applied multiple times tuned to different frequencies, and that's the Stereo Spread plugin
Finally, to give an idea of what's possible, I've posted two clips to my profile over here one without Ozone applied and one with Ozone applied using an unaltered preset called "CD Master with Exciter and Widener" which includes all the plugins that thel1195 wrote about as well as the two effects I mentioned. The second mix is exactly the same as the first, just with Ozone activated.
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Lightbox
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Re:To Ozone or not to Ozone - 2008/08/26 03:07Clearly putting Ozone on those tracks (mparker) brought them out. I think it gets trickier to use as you add more elements, such as an acoustic guitar and a voice in the mix. I also use protools and have a ton of plugins, so I do want to find the time to experiment with trying to find individual plugs that correspond to the Ozone components. You would think that the individual plugs (Waves for instance) would possibly be of higher quality than the Ozone combo. I'll post my results if I can ever get around to the experiment...
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thel1195
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Re:To Ozone or not to Ozone - 2008/08/26 05:27I agree. But to be fair, I would like to run Ozone on an outstanding mix using quality equipment. Currently, I record with a 100.00 guitar with a 250.00 bass. My PC is also not a music-dedicated machine. I am wondering how good good really is under the best circumstances. Its pretty tasty on what I have. Admittedly, I thought the reverb is a little weak. But its also difficult for me to find a plugin I like after running top quality analog verbs for so many years. I may have cheap axes, but with the right verb, they sound very rich.
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BrokenPromiseKeeper
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Re:To Ozone or not to Ozone - 2008/08/26 15:12For me, using Ozone is a no-brainer. It wasn't cheap, but I was thinking about upgrading my low-end DAW software to a more professional program (I use Cakewalk's Music Creator -- entry level at $50 and works fine for what I'm doing). But the cost of Sonar, ProTools, or the like was at least twice what Ozone costs even at the MSRP price of $250.
While Ozone is a mastering program, I've been finding that a lot of the included settings are great for tweaking individual tracks. Sure, I could spend a lot of time to trying duplicate the settings for EQ or compression using the basic plug-ins that come with my basic recording program, or by buying individual VST plug-ins. But Ozone comes with track-specific presets that are designed just for adding warmth to vocals, cutting slaps on an accoustic guitar, getting a good piano sound, etc. These presets have helped my mixes immensely, so it's paid for itself in my mind already, even before the mastering step.
What I'm finding now is that while the basic "mastering" setting can add volume and depth, it can also make some songs sound tinny or harsh if overapplied, or others muddy and lifeless. One size does definitely not fit all.
So I'm starting out with no effects and playing with each of Ozone's components so I can understand exactly what they do. The manual is pretty helpful (and probably the most amusing software guide I've read). Hopefully by February I'll have the application mastered (pun intended) and can get consistent results from mix to mix; much better results than I could with my cheapo DAW or even a much more expensive recording program.
thel1195, I am all about low cost. My entire set up of software and instruments (before Ozone) was maybe $500. I am not a gear-head who accumulates toys, I would rather get the most out of what I have. But Ozone was worth the $$$, in my opinion.
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I agree. Ozone is a very good addition to the toolkit for the money - if you have the money. I may have it later, but I don't right now. So instead of getting wrapped up in what I don't have, I found new ways to use what I do. That was the only purpose of the original post. I found some ways to copy, in part, what Ozone was doing. I don't have any other 3rd party plugins other than what came with my LE (Limited Edition) version of Pro Tools. It came bundled with D/A hardware for 200.00. I live in the same low-budget world - thus the cheap guitar and bass. That was not always the case, but it is now. I just wanted to suggest an alternative. Get folks thinking.
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I got Sonar Producer #7 for a ridiculously low price last fall when it first launched since I am a registered Cakewalk user (have been since '01) I paid $179 for it. Are you signed up on their website? I get periodic e-mails from them offering things at big discounts.
I will look into Ozone everyone, thanks for the messages.
Cheers,
Gary
PS- One other thought. I used Cakewalk GTR Tracks Pro for RPM 2007. It's pretty good too. Check Nitrogen or some other tracks on the jukebox to hear.
Post edited by: Gary Fox, at: 2008/08/27 00:18
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BrokenPromiseKeeper
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Re:To Ozone or not to Ozone - 2008/08/27 00:42I did check with Cakewalk about an upgrade, and even though I'm a registered user, I guess one of the bad things about the entry-level consumer software is they don't give you a big discount to move to their pro stuff. Probably not a big call for it.
But I did look pretty closely at what features Sonar 7 offered and compared it to what my current program can do, as well as what I am capable of and what I want out of a DAW. The cost-benefit ratio was out of whack for me -- Sonar seemed to have a lot more midi capabilities and probably better A/D conversion. But I'd need midi gear and a better computer to take advantage of that. I know, I'm cheap.
So far, though, I'm pleased with the $$$ I spent on Ozone. it's giving me better results for the dollar than I think I'd get spending the same on higher-priced equipment or DAW software.
Post edited by: BrokenPromiseKeeper, at: 2008/08/27 00:45
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Lightbox
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Re:To Ozone or not to Ozone - 2008/08/28 21:23By the way, I notice there are lots of short instructional videos on You Tube if you search for Izotope. (as well as videos on how to master and a gazillion other topics).
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I don't usually post, I'm quiet, but I thought your idea of instructional videos available was a great idea. Wish I had thought of that! Really a source I will have to tap into great suggestion.
I have been using Reaper to record and mix with. Has anyone any thoughts on using it to master?
-dave21 scramjet fighter
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BrokenPromiseKeeper
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Re:To Ozone or not to Ozone - 2008/08/29 16:49wow, for $50 that looks like Reason is a pretty good recording program. but for mastering, it's up to your ears. if Reason makes your songs sound good all by itself, then you're set. but if you're like me, and your mixes were just lacking something (be it polish or oomph or whatever), then you can still use Reason but augment it with software tools for mastering, like better EQ controls, multi-band compression, harmonic exciters, stereo widerners, etc. looks like Reason (like most other DAWs) can load plug-ins like Ozone or any of the software mastering toys available on them internets. PS, I enjoyed those Scramjet riffs!
whether you use Ozone or another program that provides tools for mastering, Ozone's manual does a good job explaining the "why" before it gets into the program-specific "how." These two pages ("What's Wrong with My Song" on page 4 and then "What is Mastering" on page 6) are definitely worth reading:
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thel1195
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Re:To Ozone or not to Ozone - 2008/09/01 08:01I was doing some digging on some Ozone users. Many are solo artists that are "Music Designers" and usually work in a high volume production role. Not so much movies as multimedia, games, commercials and some webwork. These guys need a quick method for equalizing, compressing and otherwise cleaning and brightening thier mixes. Insert Ozone and all is good. They obvious want clean and clear without waiting a week for a sound bite to come back from a mastering house. They need quick, consistent, and flexible. Ozone is all that and I beleive that a product like Ozone is more for this kind of production. For an enduring kind of recording, there really is no substitute for the tried-and-true mastering house. But lets face it, most of us don't see ourselves on VH1's "Where are they now?" segment highlight the once famous folks who dropped out of sight. We are the folks from the "Who are you and where did you come from?" segment.
I will continue to learn about true mastering as time permits. I doubt seriously that I will pursue it professionally or convert my humble studio into a room for mastering. But Ozone was a great help in figuring out just what the whole process was all about. It will also be a great help to get my mixes right and done in time for RPM 2009. I just like having more than one way to do something - just in case. You may be walking down the street and get approached, "For a million dollars, can you master this mix?" Strangers things have happened. I got married - never saw that coming.
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