I don’t like to do it
To me mastering is a little like spelling, there are so many possibilities. How can there be so may possible ways to spell when there are spelling rules? Well to me there is not one way, but there are three ways to spell.
1 the right way
2 the wrong way
3 and all the other wrong ways.
I’m one of those people who have to look over the next hill. I always want to see what it will sound like if I try this or that. It’s time consuming and takes me away from my guitar, and recording, which I love to do. I like mixing and arranging and don’t mind editing to much. But mastering; give me a band preset and I would be happy. Why not make one? Seems impossible to do.
To me mastering is a little like spelling, there are so many possibilities.
Yu gat dat rite
Maybe you should hire Bubba.
Mastering is an art all in itself…and certain people are just better at it then others and get this THEY ENJOY IT!
GOD bless them!
DIsk Makers does pro mastering for $100 a track, they have countless references who went pro-semi famous.
I’m prolly gonna use them, it’s worth it if the end result is a pro-mastered track that can stand up to commercial CD’s in volume and balance.
In the mean time I stick with mastering pre-sets like the one on my PS-04 Palmtop or the plugs that have them, the more I touch the worse it gets…so best to not go there…
Ya mastering, last year was no fun at all for me but…
Ozone 4 is a good mastering effect. The documentation is good and explains all the parts to it. For the most part, it’s very much like using an EQ, however the sound shaping in the compression area takes a little effort to use. Last year I bought Ozone 3 and it was very difficult for me at first. Now that I know what I’m doing or at least I think I know, the new features in Ozone 4 I like very much, for example being able to take sound that is panned and adjust it’s highs, mids and lows without touching the middle or overall section of the panned sound. You can also do the same to the middle and over all sound too.
Compression, which I describe this feature as hedge trimming, that being, taking the sound, if you’ve seen the high peaks in a track and trim the tops off while boosting the over output is a must for mastering. It brings to life the sound. And finally, the overall boost in sound called the loudness maximizer. Thats where that little meter stick on the VU output meters on the bottom of the N-tracks screen comes in handy. Like I said, the whole thing accept for the compression area is very much like an EQ, adjust to taste. The documentation for the compression area might seems over whelming but in the end they state what the good values to use for the 4 parts (lows, mids, highs and super highs). For example the might say for lows to set compression levels between 3 and 4 and for mids 2.5 to 3 and so on. You simply adjust the slider to approximately these values and all the sliders below move accordingly (Some kind of algorithm going there to simplify things) and then set the peaks output until the meter just hits it. (Trimming the tops off)
Again a new feature in OZONE 4 is you can adjust the overall, sides and middle compression separately too in addition to the sound shaping section mentioned earlier. For the sides and middle I used values lower than the over all settings, this seems to give me a good balance. For a plugin, it does it all and I’m pleased with it’s functions and the sound it puts out. For those who think they put to much into it a new feature is a global slider, you take away or add as much of what you have done to it as you want. There are also global sliders for each section as well giving you full control.
It’s expensive and will take some time to go through the documents to get a basic feel for it, therefore there is a somewhat steep learning curve, but really, like I said, for the most part it’s like an EQ, adjust to taste. For me it keeps it simple and fun.
There are global presets you can use Levi with one button on/off test, a whole slew of them, might be just what your looking for. You can disable any section and adjust each global slider to taste if you not willing to edit each section manually.
Just a side note: On the volume maximizer, this section is where you add volume to your tracks, as you might have read somewhere commercial bands seems to take this to the limit and sometimes they simply kill the music with it. It’s important to understand increasing the volume has side effects, therefore in the documentation at least in the Ozone 3 docs, the setting of the volume threshold should not exceed .3 Increasing this only causes some distortion, faint at first but as you add more loudness it becomes more prevalent. If you’ve ever seen a commercial track the wave form is nearly a square, no peaks and valleys, that’s what the volume maximizer does to it. They, over aggressive sound engineers, seem to not understand that you can simply turn the volume up on your stereo, so they compete to see who can be the loudest without you tuning the knobs. What I do is, take a good sounding balanced commercial track and load into N-Track and see how high the RMS levels go and I find on the meter the happy medium while it’s playing and then I move the RMS measurement slider to that location. Then when I master my tracks I adjust the volume maximizer so it reaches this happy medium. As result of doing this, all my songs have the same volume from track to track in addition to giving my tracks a little boost in volume.
I agree with Paco on ozone.
One heck of a tool.
But so much more to learn.
You can download the ozone mastering documents for free, and learn a lot just from reading them.