Anyone use isotope ozone? I feel like a cheater!!
- Thread starter tentimesover
- Start date
Jaymz
Stymphalian Productions
Mine are about -15/16 UN-mastered, if I push it to what it says is -10DR Elephant says thats about -13.5RMS. So a -14DR would probs be like -15RMS.
This thing looks good but its way sensitive in that respect.
This thing looks good but its way sensitive in that respect.
whats yalls setup with izotope on the master?
I have the 4 band rock dynamics preset on, with the tighter and louder blue bar at 0, whatever the preset does (i think multiband comp, loudness maximizer, and prob harmonic exciter) then i add 5% plate verb.
my chains like this
L3
LinMB
iZotope
Gclip
Gclip
Elephant
I have the 4 band rock dynamics preset on, with the tighter and louder blue bar at 0, whatever the preset does (i think multiband comp, loudness maximizer, and prob harmonic exciter) then i add 5% plate verb.
my chains like this
L3
LinMB
iZotope
Gclip
Gclip
Elephant
gabriel g.
Member
Dude you are using 3 multi-band-compressors in one chain????
What do you need them for?
Then you are limiting 3 times? And clipping it 3 times?
?????
I like Ozone 4 better than Ozone 3. I don't like the EQ or MB comp much on it, I think they can get a bit harsh quickly, but again I think 3 was worse in this regard over 4. I like the harmonic exciter and limiter, though.
IME, their support sucks ass, though. I've sent 4 emails since I moved to Windows 7 trying to get them to register my Ozone 4. I wanted to move it to my iLok (it was previously unlocked through call and response when I installed on Vista) to not have to mess with it in the future, but it won't let me since I registered on their site through the other method, and they've never answered 1 email to help. Everytime I try to do anything with the serial, I sign in on their site and try to register Ozone 4 and move to iLok, it says the user and pass already exist (obviously, because it's mine), and to contact admins for help.
I ended up downloading a call and response crack from Ozone 3 and adapting it to Ozone 4. Luckily, it worked.
IME, their support sucks ass, though. I've sent 4 emails since I moved to Windows 7 trying to get them to register my Ozone 4. I wanted to move it to my iLok (it was previously unlocked through call and response when I installed on Vista) to not have to mess with it in the future, but it won't let me since I registered on their site through the other method, and they've never answered 1 email to help. Everytime I try to do anything with the serial, I sign in on their site and try to register Ozone 4 and move to iLok, it says the user and pass already exist (obviously, because it's mine), and to contact admins for help.
I ended up downloading a call and response crack from Ozone 3 and adapting it to Ozone 4. Luckily, it worked.
I guess hah, like I said, when I use ozone I feel like im cheating because I dont know exactly what im doing. If I take LinMB off, the lowend goes away, if I take iZotope off, everything dies, and L3 just gives it a little idk..boost?
I kinda posted that so someone could tell me im doing something severely wrong hah
gabriel g.
Member
Dont go crazy on your mixes with a mastering chain like that.
The multi-band comp is there to help you fix some shit in the mix but doesnt NEED to be a piece in the chain.
A good mix has a good low end without any need of a MB.
Try it simple. Mix your song till you like what you hear, and dont make any compromisses (like bringing up the snare because, the limiter will suck it, or bring up the vocals for the same reason)
Fuck that shit.
Mix till it sounds perfect for you.
Then compress your mix to eaven out some dynamics.
Clip the mix (to get your loudness)
Limiter your mix to make sure you dont hit the 0.0dbfs
PS:
Some professional masters shit on the limiter and just clip got clipped
The multi-band comp is there to help you fix some shit in the mix but doesnt NEED to be a piece in the chain.
A good mix has a good low end without any need of a MB.
Try it simple. Mix your song till you like what you hear, and dont make any compromisses (like bringing up the snare because, the limiter will suck it, or bring up the vocals for the same reason)
Fuck that shit.
Mix till it sounds perfect for you.
Then compress your mix to eaven out some dynamics.
Clip the mix (to get your loudness)
Limiter your mix to make sure you dont hit the 0.0dbfs
PS:
Some professional masters shit on the limiter and just clip got clipped
I know! haha, thats why Im concerned and posted in here!
i have no clue what im doing wrong in my mixes, and why it only sounds good when my master bus is on...ryans been trying to sway me away from relying on my master bus for a long time but without it i am shit! maybe ill start my own thread with master off and master on and yall can give me pointers, i dont wanna jack this thread more than i have
i have no clue what im doing wrong in my mixes, and why it only sounds good when my master bus is on...ryans been trying to sway me away from relying on my master bus for a long time but without it i am shit! maybe ill start my own thread with master off and master on and yall can give me pointers, i dont wanna jack this thread more than i have
::XeS::
Member
I compared TT meter, Ozone Meter and TRacks3 meter and each gave me a different RMS value (3db between TT (louder value) than TRacks)......
I actually like user the stereo expander for vocals....really "pulls them out" to both sides of the speakers, and makes it sound a lot bigger. However, I've found recently that doing that on guitar tracks will give you a phasey sound, so beware on that.
I know it's meant for mastering and everything, but that little plugin is just too good....
I know it's meant for mastering and everything, but that little plugin is just too good....
Pardi666
Member
Yeah, im in love with Ozone 4 also.
Once I turn it off on my master bus my mix sounds like shit, I think that's a sign that I am not doing shit right in the first place.
Once I turn it off on my master bus my mix sounds like shit, I think that's a sign that I am not doing shit right in the first place.
This may be because there are different ways to calibrate an RMS meter. Either you choose to make a maximum-level (0dBFS) sine wave register an RMS of -3dBFS, or to make a 0dBFS square wave register -3dBFS.
The AES Standard AES17-1998 standard uses the first definition, as does the TT Meter - this is the correct method for music, although confusingly it means that a square wave at 0dBFS has an RMS of +3dBFS...
Short version: the higher value is the "right" RMS value 1
Hth,
Ian
It's more likely that they just use different windows of measurement - as far as I can remember none of them actually tell you what time-frame the RMS is worked out for. For most VSTs it doesn't seem to be the whole track, so the value isn't much use other than for comparing your own tracks.
If you put the finished article into WaveLab or Sound Forge etc., you can view the track properties and it will give you the RMS for the full track.
Steve
