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i always thought you finalised a mix and then mastered when you wanted to burn a cd.
on the final output i've always used a favourite saturation plugin to 'glue' the mix together and a compressor to gently level the track.
now i've got ozone9 i'm not sure if i should let ozone master the mix i finalized with saturation and compression or let ozone look after compression and saturation when i use master assistant. as i'm facing a steep learning curve with neutron3 advanced, nectar 3 plus and ozone 9 advanced i'm trying to stick to the assistants in each program and then just tweak them.
i'm still working on my first izotope inspired mixes so before i have finished mixes to play with i'd welcome some advice.
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I export the final mix to .WAV file without any heavy overall processing. Then I open that final mix in Ozone to run any mastering presets I like. I'm a fan of subtle edits in mixing and mastering. When doing any kind of EQ/Compression/Reverb/Whatever, once I start hearing the difference, I'll back it off to about half that amount so I don't over do it. After running Ozone, I'll export the new .WAV and play it in all environments I can, car stereo, home entertainment system, cheap .MP3 player on crappy headphones, etc. From doing that, I will have some ideas on what I need to tweak on the next pass (more bass, treble, less compression, etc.). I'll go back and repeat everything I've mentioned here. I may go through several repeats until I get it how I like.
 Steve BIAB/RB 2022, Pro Tools 2020, Korg N5, JBL LSR 4328 Powered Monitors, AKG/Shure Mics.
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I tend to export all tracks flat and centred. (And lately mono) Then I pull then into a daw (usually Reaper) for mixing.
In Reaper (or Cakewalk) after pulling the tracks in I normalise all tracks to -12 dB this gives me a starting point where everything is even . In Reaper I have set up a short cut key so it is a simple matter of selecting all tracks and pressing <Shift N>. I then put Neutron on every track using another setup keystroke <cntrl N>. I sort the order of and name the tracks once again the colouring of tracks is automated based on the name. I play the track through adding markers for parts (also colour coded for ease) This all usually takes about 5 mins plus the time playing the song. This all delivers a consistent starting point.
Now I’m ready. All tracks set to the same volume. I then run Neutron Assistant to get a start on setting each track then maybe a little tweaking. I use the area I expect to be the loudest part (usually looping the area where the instrumental part of the song is set in the markers). I might move parts or cut and paste set trims to get the track how I want. This could include Spectra Edits or whatever to clean up the song and get it how I want. Once I’ve gone through that process I’ll add my “mastering” FX Chain onto the master track.
Adding the master adds the Visual Mixer, Ozone 9, Tonal Balance Control and Insight 2. At this point I’ll move the individual tracks using the Visual Mixer. This now sets the volume, width and position of each track.
Once I have the mix sounding how I like I run Ozone - Master Assistant. I’ll check the Tonal Balance Control and make adjustments usually to Ozone (I might add the “Low End Focus” or whatever). Once I have this set I’ll check that Insight is where I want it and make adjustment usually just the level of the Maximiser in Ozone.
The outputs are set to about -15 to -17 dB overall in Insight. I have the Ozone Maximiser set to to True Peak -1.3 dB. Once done I render the song, convert it to MP3 and check it via MP3Gain to see I have a constant level between songs. Rarely do I HAVE to go back (I go back but I’m a player).
Oh by the way in Reaper the Master VU is set to -14 dB thus making the 0 point where I want making it easier to see where my levels are. (Set it differently for different uses CD, MP3, movie whatever).
It sounds long winded but it is really quite simple. Most of the process is automated and setup using preset short cut keystrokes and setting up Reaper for my use.
That is my way and basic workflow. Sometimes from when the song leaves BAIB to end can take as little as 30 mins could even be less if I don’t need to make any changes such as moving parts or trimming of the tracks. However sometimes I’m never really happy.
Tony
Last edited by Teunis; 03/18/21 01:00 PM.
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We never consider mastering until a fork is stuck in the mix as per the vast majority of mastering engineers. And no fx are on the master bus during mixing.
FWIW our typical mastering chain is as follows:
Ozone 9 EQ module > O9 Dynamics module or Waves multiband compressor > O9 Imager module > O9 maximizer module or Waves L2 Limiter > Ozone Tonal Balance 2 > Logic Pro X Loudness Meter (12-14 LUFS for streaming). if much louder or quieter the streaming platforms will adjust it)
We’ve established our own user created presets but vary them based on the specific tune.
Bud
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos are here on our website.
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Although I have licenses for everything iZotope, Ozone won't make Red Book CDs. I use DSP-Quattro for that. Ozone Advanced works well with it as a plug-in suite, BTW. DSP-Quattro Similar apps exist for Windows. Lots of my clients still want CDs. Not going to tell them, No.
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You mix tracks. Mastering involves balancing those tracks for a CD. Of course this has changed somewhat with online singles. It also includes ordering the tracks, ensuring a tonal consistency between tracks (assuming that’s desired), and finally perhaps putting some tonal sheen in everything.
For example, mastering may involve making a perfectly fine track mix a little louder or softer so it flows well with another track. I use Ozone for mixing, and some mastering, but for mastering I use CD Architect to assemble the tracks and burn the CD.
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i always thought you finalised a mix and then mastered when you wanted to burn a cd.
on the final output i've always used a favourite saturation plugin to 'glue' the mix together and a compressor to gently level the track.
now i've got ozone9 i'm not sure if i should let ozone master the mix i finalized with saturation and compression or let ozone look after compression and saturation when i use master assistant. as i'm facing a steep learning curve with neutron3 advanced, nectar 3 plus and ozone 9 advanced i'm trying to stick to the assistants in each program and then just tweak them.
i'm still working on my first izotope inspired mixes so before i have finished mixes to play with i'd welcome some advice. Is always good to mix your tracks with many references, ozone9 is a really good reference and start point to your mixing process. The best advice i can give you and the one that made everything clear for me on what refers to mixing is making different mixings and comparing them to see what you like and don't like, and then take everything you chosen and put it all on a final mix.
_________
Gabriel Arellano
PG Music
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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
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… for mastering I use CD Architect to assemble the tracks and burn the CD. Whoa! There's a blast from the past. Does that still work? Good for you if it does. Pretty sure that Sony discontinued it years ago. …
Ozone and other mastering suites aren't "references". …
I'm sorry but that's not correct. Ozone 9 most certainly can and iZotope has other tools that, when bundled makes such a reference even easier. They make it sound like all you need to do is hit a few buttons and everything come out perfectly — only if you want your mixes sounding like everyone else who pushed the same buttons (no, thank you). Ozone 9, Pro Mastering Suite etc. Not that old guys like I would ever use it for that. Again, I am current with everything iZotope is offering. I almost never use Ozone 9 Advanced but, when I need it, glad it's there. RX, OTOH is one of my absolute essential tools. I don't know how many here have experience with a cutting lathe but I do. My ears are still the best weapons in my arsenal.
BIAB 2025 Audiophile Mac
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… for mastering I use CD Architect to assemble the tracks and burn the CD. Whoa! There's a blast from the past. Does that still work? Good for you if it does. Pretty sure that Sony discontinued it years ago. …
Ozone and other mastering suites aren't "references". …
I'm sorry but that's not correct. Ozone 9 most certainly can and iZotope has other tools that, when bundled makes such a reference even easier. They make it sound like all you need to do is hit a few buttons and everything come out perfectly — only if you want your mixes sounding like everyone else who pushed the same buttons (no, thank you). Ozone 9, Pro Mastering Suite etc. Not that old guys like I would ever use it for that. Again, I am current with everything iZotope is offering. I almost never use Ozone 9 Advanced but, when I need it, glad it's there. RX, OTOH is one of my absolute essential tools. I don't know how many here have experience with a cutting lathe but I do. My ears are still the best weapons in my arsenal. IF you read my post in the context of the previous post about references my point was/is that it's not intended to be a reference but a mastering suite. The term reference is, usually, applied to a song/recording/set of instances to which one refers...as a genre etc. "template" mate. Those suits make make referring easier but that's not their real purpose. A 12" record can be used as a frisbee, a circle template, a food platter or head dress but these things aren't it's intended purpose. Using a mastering suite's out come as a reference to achieve in mixing can be done, I'd argue shouldn't be done. Clearly we have different ideas about mixing and mastering. Further, you didn't read my post properly as you've made assumptions that are incorrect nor supported by what I wrote OR you've conflated issues into the response to me that don't belong. Either way I'm pleased that you've had related cutting experience and that you rely on your ears.
Cheers
rayc
"What's so funny about peace, love & understanding?" - N.Lowe
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Sure, CD Architect is a blast from the past. So are CDs. It’s a good match.
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In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
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