Izotope ozone on master

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#2
i just watched like 2 mins of it, and its unclear to me but the first thing he does when he goes to make a track is put on the limiter, messes with stereo imaging and exciters, then makes the track? If that is the case he's mad bonkers but if its for post production he's a complete irriot if he doesn't.
 

DjCartel

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#4
in the audio tutorial he also works with a limiter on the master. and hes a don producer....... i personally think leave the mastering to a mastering engineer, they will do it a lot better than you can! i mix my track with no limiter personally, all preference i guess. Theres also part of the xtrah tutorial where he says he likes to limit over compressing.....aka, its all preference!
 

miszt

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#5
skipped thru the first 20mins, and he doesnt bring up Ozone until 22mins in, unless i missed something? he's talking about a track which is already made (Monolith), not building one from scratch, there is nothing wrong with using Ozone to do your own masters if you know what you are doing, just dont expect amazing results without years of practice and ear tuning
 

miszt

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#7
go to 07:10 and listen what he says.
the track is finished, that is why there is a limiter on the master, he is not saying that he mixes into a limiter or puts one on before making any sounds, just that the limiter is on the master, which is not unusual on a finished track....he isnt building a track from scratch, just breaking down the project file for a finished track to show you whats going on
 

Saint

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#8
I think actually he did mix that tune into the mixer while making it. A lot of people do as far as i know. When bouncing out premasters it obviously has to be addressed but theres no reason not to while tracking or for a rough thing to play out.
 

miszt

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#9
I think actually he did mix that tune into the mixer while making it. A lot of people do as far as i know. When bouncing out premasters it obviously has to be addressed but theres no reason not to while tracking or for a rough thing to play out.
big diffrence between doing a rough master and mixing into a limiter, there are a fair few producers that do it, i dont think its a good way to learn tho, any more than recording into a compressor is a good way to learning recording, it has its place, when people know what they are doing and why
 

wingz

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#10
the track is finished, that is why there is a limiter on the master, he is not saying that he mixes into a limiter or puts one on before making any sounds, just that the limiter is on the master, which is not unusual on a finished track....he isnt building a track from scratch, just breaking down the project file for a finished track to show you whats going on
i was watching every stream of emperor and he starts a new track with setting ozone and his weird settings on the master. i honestly have no idea if it serves any purpose but the outcome is very good so i'm not complaining. if you watch the audio tutorial (the one with headroom) you see audio puts camelphat then ozone on the master before he starts working
 

djdizzy

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#11
i saw a video by mind vortex where they said they start off with Ozone on the master channel with the generic d&b master preset as a sort of pre-master, then they start making their track. i don't think i'd like to do it that way but there's no right or wrong way. their reasoning was that it may alter the sound dramatically so why not start off with it on the master channel and make your song according to how it sounds. rather than slapping it on last, it alters the sound and you have more editing to do from that point of view. i see what they're saying but i like working with more raw sounds to start and refine them little by little. but then, i suck awful at mastering.
 

whosblong

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#12
i saw a video by mind vortex where they said they start off with Ozone on the master channel with the generic d&b master preset as a sort of pre-master, then they start making their track. i don't think i'd like to do it that way but there's no right or wrong way. their reasoning was that it may alter the sound dramatically so why not start off with it on the master channel and make your song according to how it sounds. rather than slapping it on last, it alters the sound and you have more editing to do from that point of view. i see what they're saying but i like working with more raw sounds to start and refine them little by little. but then, i suck awful at mastering.
Yep, that blew my mind that they did that. The problem it seemed for them was that when they tried to solo different elements with Ozone on, it didn't sound quite right because they were used to hearing everything mixed through the limiter.
 

djdizzy

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#13
Yep, that blew my mind that they did that. The problem it seemed for them was that when they tried to solo different elements with Ozone on, it didn't sound quite right because they were used to hearing everything mixed through the limiter.
yeah, even just auditioning sounds from within the DAW, they already had Ozone on the master so everything sounds off. not better or worse, just not true to the original sound. it's an interesting technique but i was baffled how they could actually work like that. don't knock it till you try it i guess, but i can't bring myself to do it that way.

to the OP, so Emperor wouldn't be the only one that's done it that way. give it a try and see if you like it, i was going to but i can't bring myself to. mind vortex said they use Ozone's generic "d&b and breaks master" preset which has limiting (well, the maximizer) and they make their song with a limiter being the first thing on it.

it's all personal preference anyway, everyone has their own workflows and a lot of us change our workflows all the time depending on how the track's ideas develop.
 

miszt

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#14
if it works, then fine, but I very much doubt that Emperor started learning production with a limiter on the master bus, and no one else should either, if you dont understand how to balance a track without one, then you will never learn properly....after all production isnt just about making over compressed mid-range Wow bass and huge percussion
 

wingz

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#16
he basically puts in a blank preset, says it doesn't squash it or limit it (actually it does because it doesn't allow anything to go over 0)
 
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#17
if it works, then fine, but I very much doubt that Emperor started learning production with a limiter on the master bus, and no one else should either, if you dont understand how to balance a track without one, then you will never learn properly....after all production isnt just about making over compressed mid-range Wow bass and huge percussion
Totally agree with you, was just curious if anyone produces like this here :)
 
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Hugh Jones

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#19
I saw this tutorial from Emperor and he uses izotope ozone on the master the whole time...As far as i know limiting your master is not a good idea but he made a sick track out of it.Anyone here producing with a limiter on the master?
It's standard practice to use a limiter on the master bus (if you're mastering your tune).

What you have probably heard is that if you're sending your tune off to be mastered by a professional mastering engineer, then you shouldn't do any mastering yourself on the track because that'll get in the way of what the mastering engineer would want to do.

So don't put a limiter on unless you're doing your own mastering, in which case absolutely you should (but go easy on it).

Also, Izotope OZONE is designed for use on the mastering bus. That's what it's for - it's a mastering plug-in :)
 
G

George

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#20
if it works, then fine, but I very much doubt that Emperor started learning production with a limiter on the master bus, and no one else should either, if you dont understand how to balance a track without one, then you will never learn properly....after all production isnt just about making over compressed mid-range Wow bass and huge percussion
One of the most important things is gain structuring. Eq specifically mid - side and harmonic distortion.
Use a frequency table to pick frequencies in tune with you track and it will sound more full. Obviously make sure important sounds are in the right key first. Limiting on the master bus is the final process after gain structuring, EQing and arranging. Hope this helps.
 
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