The "old fashioned" way was to create a mix from the multi track tape that was recorded to a (stereo) MIX tape, then a production master tape was created, (adjusting EQ and levels etc for a record - RIAA cut etc), from that (stereo) mix the lacquer was cut on a lathe and from there the stamper produced.
Usually a "test pressing" was made so that the mastering could be adjusted if needed.

Most of that still applies if you send a digital track to an M.E. for magic woofle dusting.

I've noted that many folk, these days, master from within the original project and then go back to adjust the mix to suit the master. Some adjust the mastering software to fix the mix.

That's fine but, realistically, the mix should be as good as it can be and the final step of "mastering" should be just brilliant eared slight adjustments to suit the format/distribution.

Ozone and other mastering suites aren't "references".
Many folk, sensibly, compare the EQ, levels etc of their track with a track that is a "reference" or template - something that their piece is aiming to emulate in some form or other. If you're referring to Ozone during the mixing process then you're, likely, working against your self.

caveat...I don't master my own or anyone's work. My ears aren't good enough.

Last edited by rayc; 03/19/21 12:27 PM.
Cheers
rayc
"What's so funny about peace, love & understanding?" - N.Lowe