Welcome to Sage Audio. Today we’re talking about How to Master with Izotope Ozone.
But first If you have a mix that you need mastered
send it to us at SageAudio.com to receive a free mastered sample of it.
Introduction to Izotope Ozone
Real quick and before we get into everything - for this session we’ll use the module formant,
and introduce our processing within this plugin that houses all forms of processing
and dictates their routing from left to right. We’re going to use 7 processors in total.
Keep in mind that if you’re mastering with Ozone, you’ll also be able to access these processors
individually outside of this module.
Let’s listen to the mix we’re going to be working on.
2.
Step 1: Subtractive EQ
The first processor we’re going to use is a subtractive EQ,
to attenuate aspects of the signal we don’t like prior to the signal being amplified by distortion
and other processing. Using the analog setting with stereo routing,
I’ll attenuate some of the lowest frequencies to create more headroom.
Then I find some frequencies that don’t add anything positive to the mixer
and subtly attenuate them.
Let’s listen to it.
Step 2: Tape Emulation
Now that I’ve attenuated aspects of the mix I don’t want, I can begin to amplify it with
some tape emulation - I’ll increase the input drive to hit the processor in a pleasant way,
and increase the harmonics to make the sound a little fuller and more aggressive.
By combining a 15 IPS tape speed,
and altering the low and high emphasis, I can find a frequency balance that I liked.
Let’s take a listen.
Step 3: Harmonic Excitement
An exciter will generate more harmonics which,
depending on the frequency range, will make the master fuller, more powerful,
or clearer. I’ll split the processing into 3 bands, and find the emulation type and amount
that works well for each band - as well as used oversampling to avoid any aliasing.
I’ll be more aggressive with the high frequencies
since in this instance I feel that they lack some needed clarity.
Let’s take a listen.
Step 4: Upward Compression
With the Dynamics plugin, I’ll create multi-band upward compression by using a negative ratio
and set the threshold carefully. I’ll put this processor
after the distortion and harmonic generation to increase their detail - and monitor the
value below the meter to see how much amplification occurs.
Keep in mind that when using upward compression, the signal is amplified
whenever it falls below your set threshold.
Let’s listen to it.
Step 5: Additive Dynamic EQ
Next, I’ll combine additive and dynamic equalization, as well as some stereo imaging by
utilizing mid-side processing. For the mid image, I’ll expand the kick, vocal clarity, and high hat,
and on the side I’ll expand some of the mids, pull back on the vocal range, and expand the highs.
By compressing the vocal range on the side, I reduce phase cancellation
in that range, in turn making the vocal a little clearer.
Let’s listen to it.
Step 6: Vintage Limiting
Since this track has a lo-fi feel to it, some vintage limiting might be a good step - I’ll
use the modern mode since this introduces some classic qualities but still retains
the detail of the track. I’ll avoid true peak limiting, and only compress a little.
Notice that this plugin mainly introduces gain
and a little character on the occasions that compression does occur.
Let’s take a listen.
Step 7: Maximization
I’ll cycle through the various processing modes to find one that suits the track well,
and use a slightly quicker response to retain transients.
Some stereo independence will make the dynamics more interesting and varied,
and the transient function will allow for more transient detail after limiting has occurred.
Looking at my metering, I can see that my LUFS is hovering between -13 and -12,
and I’ll reduce the output to allow room for future encoding.
Let’s take a listen
Using Izotope Ozone
Izotope Ozone was a little different from the mastering setup I’m used to;
however, I found that the module kept the session more focused
and gave me a better understanding of what was going on with the signal.
On a separate note, If you’re new to mastering, the master assistant is really helpful.
It can give you a good foundation for
creating a chain and makes it easier to create a demoed master quickly.
Let’s listen to the before and after of this track using the chain we created.
If you have a mix that you need mastered send it to us
at SageAudio.com to receive a free mastered sample of it.
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Thank you so much for watching!