OZone 5?

[mojobone]

hey Mojo, if you don't mind, expand on how you arrived at this:

.....For software-related reasons, I generally mix into a bus compressor or mastering processor (a multiband compressor sandwiched between two linear-phase parametric EQs with high and low shelving bands).....

cause I am always looking for new ideas to try out. thanks.

Well, the 'additional mastering' is done in another program because the other program can take advantage of dual processors, but has issues recording MIDI, So generally, I'll do basic tracking in Tracktion 2 and overdubs/mastering in Tracktion 3. It's abandonware, but I love the ease of use, despite a few quirks.

The LP (Linear-Phase) program EQs before and after the three-band compressor is just how Finalmix is built; it's the same processor/presets in both programs.

There are a number of ways to use such a mastering setup; you can use the first or the second LP parametric EQ for corrective purposes, leaving the other for contour/shaping, OR you can use the first EQ to drive any or all three bands to (or beyond) their respective compression thresholds, (independently of the threshold controls, because you're increasing the energy in those bands) and use the second for tweaking problem areas OR general post-compressor tone shaping. I tend to do the surgical stuff on the way into the compressor, and leave tone-shaping for the second EQ, but you can also use the crossover points for additional control of the lo/mid/hi balance, which is kinda like having a Q control for each compressor/band.

I don't get crazy with the ratios, but I'll play with the thresholds and crossovers to get an appropriate amount of aggression or pumping, as needed. Or, say you had the beater click of the kick sticking out a bit too much, you could notch that frequency to prevent it activating the compressor and restore the missing frequencies on the other side with a mirror EQ profile. You could boost the bass a bit going in, to drive the compressor, (in just that band) and dial it back on the other side to correct the tonal balance. I like to use the low shelf going in, to get rid of any useless sub-bass below 50Hz; I can pump the lows post-compressor to bring the phat. The Mid-Lift preset, which compresses only the mid-band is a good starting point for fixing other mixers' smiley face EQs.

I strap a bus compressor across the mix as soon as I have the basics up and generally leveled, because I know the bus compressor will change the instrument balance, so I'll go back and forth between dialing in the amount of mix glue and re-adjusting the levels a few times, before I bother with automation curves or tucking everything in; it just saves time. The vocal usually gets its own dedicated compressor (bout the only thing I'll listen to soloed) and once that's dialed in, it's treated like the other instruments.

[andygabrys]

cool mojo. thanks. insightful.

[RichardCharles]

I wonder if it would be possible to have a breakout class at the rallyon ONZONE 4/5?

For now I am going to shelve ozone 4/5 and use the following

1 - The Buss Pressor from PSP

http://www.pspaudioware.com/

2 - Steinberg has made available their demo project "Teleporter" for Cubase 6.5 which they feature in their promo ads like this

http://www.youtube.com/watch?v=y-QFuaji5Rk

If you have cubase 6.5 you can download the project here at the bottom of the page

http://www.steinberg.net/en/support/dow ... se_65.html

On their project stereo bus / master bus they as follows (Not counting the morph filter is off most of the time)

Studio EQ
Compressor
Maximixer
Limiter

I put the PSP bus pressor on before all those and am going to use that for now I see how that works.

[jdhogg]

this is a good bus comp

http://www.cytomic.com/glue

$99 for a great ssl glue comp

[cameron]

I bought Ozone 3 some time ago, but once the novelty wore off I found I didn't use it much. I don't use it at all now. Too many variables. I find it easier to use the effects built into my DAW (Studio One).

Cam

[shanegrla]

Well, the 'additional mastering' is done in another program because the other program can take advantage of dual processors, but has issues recording MIDI, So generally, I'll do basic tracking in Tracktion 2 and overdubs/mastering in Tracktion 3. It's abandonware, but I love the ease of use, despite a few quirks.

The LP (Linear-Phase) program EQs before and after the three-band compressor is just how Finalmix is built; it's the same processor/presets in both programs.

There are a number of ways to use such a mastering setup; you can use the first or the second LP parametric EQ for corrective purposes, leaving the other for contour/shaping, OR you can use the first EQ to drive any or all three bands to (or beyond) their respective compression thresholds, (independently of the threshold controls, because you're increasing the energy in those bands) and use the second for tweaking problem areas OR general post-compressor tone shaping. I tend to do the surgical stuff on the way into the compressor, and leave tone-shaping for the second EQ, but you can also use the crossover points for additional control of the lo/mid/hi balance, which is kinda like having a Q control for each compressor/band.

I don't get crazy with the ratios, but I'll play with the thresholds and crossovers to get an appropriate amount of aggression or pumping, as needed. Or, say you had the beater click of the kick sticking out a bit too much, you could notch that frequency to prevent it activating the compressor and restore the missing frequencies on the other side with a mirror EQ profile. You could boost the bass a bit going in, to drive the compressor, (in just that band) and dial it back on the other side to correct the tonal balance. I like to use the low shelf going in, to get rid of any useless sub-bass below 50Hz; I can pump the lows post-compressor to bring the phat. The Mid-Lift preset, which compresses only the mid-band is a good starting point for fixing other mixers' smiley face EQs.

I strap a bus compressor across the mix as soon as I have the basics up and generally leveled, because I know the bus compressor will change the instrument balance, so I'll go back and forth between dialing in the amount of mix glue and re-adjusting the levels a few times, before I bother with automation curves or tucking everything in; it just saves time. The vocal usually gets its own dedicated compressor (bout the only thing I'll listen to soloed) and once that's dialed in, it's treated like the other instruments.

Jeez Mojo,
Enough beatin' around the bush! Why don't you give us a bit of REAL detail!

[AndyKotz]

With respect to the OP, Ozone never grabbed me. I prefer Flux above everything else.

Rob... I just went to the Flux website to prowl like a bloodthirsty vampire!
Nice specimens in there!
I had to lurk in the shadows though, that's an "acquired" taste!! ($$$$$!!!!!)

[BruceBrown]

Thanks for everybody's input.
Bruce