So reassuring to hear a Grammy Award-winning engineer say that sometimes, tracks just don't wanna be loud! I still can't explain it for some tracks. It's like every song has it's own soul.
Loudness really starts with the arrangement - too many sounds happening at the same time can limit your end loudness - for example having a kick hit at the same time as a bass note - from there the loudness will be limited by the mix - using clippers on transient heavy material like drums can help to trim peaks as the mix progresses - it is important to see how things sum together and if that sum is creating a peak that needs your attention - an oscilloscope can be your best friend with this - if you have peaks or sums of energy that are too high you will not be able to turn the track up without distorting the limiter because the gain reduction will be too much - often you will find that it is possible to clip off sizeable peaks (say anywhere from 1 to even 6db or more) from kicks and snares and have basically effect on the sound quality
Thank you Em! It's very educational watching a great mastering artist at work using Ozone 10! I just bought the upgrade and love it. I hope I can find more video from you. Thanks again!
This recipe works. As long as needed to explain the process. Plus, interesting and unconventional uses for some of the modules. On top of it all, it's nice to get a break from EDM examples and see a fully organic track get mastered.
Excellent Vid, great subtle half db changes, mid side boost and cut was excellent.. I would have liked a bit of explanation of how the overs were addressed at the end...
First of all, what a lovley person. And what a great video! I love the clear emphasis on listening, deciding what the song needs, and only then making small adjustments with the right tools to get there.
This really was so awesome! Like I learned soooo much! What a talent!!! Thank you for sharing! So, so awesome. Damn, I am so OBSESSED with Ozone... Thanks for helping me find my sound. 🖤🖤🖤
Outrageously informative stuff here... Really loved to see how you made the best between Dynamics & Loudness...Really adore your sharing these GEM of advises..Much Love from Sri Lanka.... 🤓👍🏅🏅🎉
Looking constantly at the clipping (or levels) above 0db)of ozone’s output made me sooooo nervous ;-). On the other hand it sounded fantastic. So what does sequoia do internally when it gets this „hot“ levels“ back from a plug-in? I guess I have to question everything I thought I knew about how a limiter is used in mastering … so many questions in my head right now.
Sequoia and Samplitude are the fastest and most accurate DAWs imo. Even transposing Audio sounds better than in Logic or Ableton. The Bypass all VST Button on the master should be in every other DAW. Sadly Samplitude crashes often. Even the new version.
Switching back and forth between mid/side and stereo EQ in the same module? That's confusing as hell! If you create an EQ band to adjust the mid and then switch that same module to Stereo you are literally changing the way you are EQing with that band. Same if you apply a Stereo band and switch to mid, that band will not be affecting the sides anymore... The way to go about this is by using 2 different EQ modules to do Stereo and Mid/Side separately, so what is going on here? I'm very very very confused.
This! Unless Izotope changed how the EQ module works from version 9 to 10. Haven't tried Ozone 10. Otherwise I see two explanations to this: 1. Em is doing so small adjustments that Em can't hear what's actually happening and is fooled by the visuals and placebo. 2. Em doesn't know how Ozone works and doesn't use it in daily work. Em is just hired by Izotope to market Ozone.
Hey Em, I really enjoyed this walkthrough. I love learning about the mastering side of things. Would you be able to answer something I’m sure a lot of us are wondering: what is happening to the audio after you boost the output of the plug-in? When you export a 24bit file, there is inherently a ceiling of digital 0, so are you using the ceiling as a clipper of sorts? Pushing level into the ceiling? You have an interesting approach that I’ve never seen before, and I’m very intrigued. Thanks!
Hey Noah, the plugin is still within the framework of my DAW, so what the overs are on the output of the plugin don't concern me. As I mentioned in another comment, I do not have a limiter in the DAW outside of my chain. If there is audible distortion I address it, if there isn't I'm not worried. Hope this helps!
@@emersonmancini1962 what is the reference track you are using here at 23:07? It sounds interesting.. THANKS FOR SHARING YOUR EXPERTISE AND PASSION love from London UK :-) x
Can someone explain the 'process per section' on one stereo track/file? How does that work? And yesssss.... tht. Veneers good video about mastering including lots of insights about the artistic side / emotion
When Em changes from Stereo to Mid-Side processing in the EQ module, isn't that changing the processing mode for the entire module, not just the node being edited? That's what the Ozone ooltips say anyway. If you want to do both stereo and mid-side EQ processing you need to use two separate modules. Like others posting here, I am also confused by Em's disregard for the clipping on the output meter. If they have no limiter outside of Ozone, then the signal is being clipped at the DAW output. I've been taught that this will cause issues for streaming encoders as well as causing distortion and unpredictable results in D/A converters. My approach to gain staging has been to use clip gain to get the audio to the level I want to work at. I am using Wavelab, but that should be available in any DAW. This is the same as using the input gain slider in Ozone, but I can add more than 10 dB of gain if necessary. I never touch Ozone's output level because I'm relying on the maximizer to manage the final output level. I can appreciate "if it sounds good it is good" as an artistic approach, but I am having a hard time accepting that uncontrolled clipping is no big deal. Wouldn't it be better to shape the transients with a soft clipper or limiter and be in precise control of your digital peak level? I understand Em is saying that the clipping he is hearing sounds good to his ear and is a part of the overall sound/tonality they are evaluating throughout the process. But doesn't exceeding 0 dBFS mean it's not predictable how other systems will react, and there could be (additional, unwanted) distortion produced in a listener's D/A converters?
From my personal experience: 1. Yes ur right about the mid / side EQ but I believe if you make some tweaking on stereo mode it will still be present on both the mid and the side eq. 2. If signal is peaking at -1db after limiting inside ozone (maximizer/vintage limiter at the end of the chain) and u dont have any processing afterwards it should still peak at -1db after exporting if that makes sense. I think ur refering to how its getting past 0db inside the daw, the thing is, I believe that is just for volume matching and will be fixed before exporting.
What of great video of yours Emerson "Em" Mancini and Izotope. All the best, healthy and success in your life and craft. Question, I would very much and kindly ask you , what is your set up in terms of A/D converter or hardware used for connecting your computer to analogic. Hope you can answer that to me. I truly loved the video, watch few times already. Cheers and all the best. From Brazil, Sérgio Lima.
I really learned a lot. I liked the approach of breaking a song into sections to allow individual processing, but couldn't see how that was being accomplished. Is it by moving sections to separate tracks, using automation, or something else? Thank you.
Some potentially misleading info here re: how Stereo and Mid/Side modes actually work in the Ozone EQ. The only way for this to work the way it is used here, is first to go to the Mid/Side mode and link the channels. Then, when returning to Stereo mode and making changes, those will translate in both the Mid and the Side channels after switching to that mode again. I don't think Em had those linked in the first place, so changing a band the Stereo mode will only translate to the Mid channel once you switch from Stereo to Mid/Side.
Great video, but wait a minute! You can use the same eq in stereo and in midsize and in left right??? All this time I was thinking it could only be used in only one mode at a time
I watched the whole video but got a little fried when she didn't bring the output levels back down to 0.0 dB. Please explain why that major thing was left out of the recipe?
Hi Em, enjoying the video. I used to record at Larabee Studios back in the 70s. I noticed that you are in the red a lot on your Maximizer and also when you divide your track and keep them on the same track,,,how does your changes to one not affect the other...thanks
Isn't it? The hihats and upper range percussions sounding very separated and small from the rest. I would create an additional track of 6k to 10k and use a 12th or 7th lower octave slightly for this particular high band. An alternative plugin is Unfilter from Zynaptic to correct upscrewed frequency bands. Anyway nice "how to" better master tutorial. It's always an advantage to see how other professionals try to focus on these work. 👍
Great video, thanks Em. I was always taught to put a VU plug-in at the top of the master input (first in the chain) and raise the height of the wave (loudness) til it reaches about -16 LUFS and send that in to the first plugin which in this case would be the EQ. Do you see anything wrong with that?
@@emersonmancini1962 It would be very helpful if you could explain the decision to turn on 8 dBs on Ozone output. I understand that it's actually to match the levels of the reference song, but the numbers above 0 dBs? There's nothing wrong with that?
To poorly quote Phil Ramone, who cares what it looks like, how does it sound? If it doesn’t sound like it’s distorting, I don’t care ;) PS he/they pls, I’m trans ❤️
Thank you saying this!! I totally had the same question in my mind having come from the analog world of mixing and mastering. Digital totally changes how I’ve come to look at my mixing / mastering. Em did a great job!! Hats off sir
@@emersonmancini1962 thanks! But what’s the reason you’re doing this? Is it actually giving you any more level on the output? Is your master bus clipping as well or is that at 0? (Apologies for the pronoun!!)
@@emersonmancini1962 Hi, could you please explain, since this is really bewildering - you are raising the volume after the limiting, which in a 32 bit floating environment should not clip, but as soon as the song is exported to 24 or 16 bit, it will distort like crazy. You should have another limiter working after the Maximizer, I presume?
Can someone explain the "setting the levels" section? Is this a gain boost by increasing the input and output levels? Could the same thing be done by decreasing threshold on Maximizer, for example? Thanks!
As I understand it, the input affects the level going in to the entire plugin. and you may want to gain it up or down depending on how hard or soft you want to drive, like, the vintage compressor or something. And, the output control is the level going out of ozone. just in case you want to skip the maximizer entirely, let's say, and use a different external limiter? But I think he was using it to adjust his listening volume level relative to the track he was comparing with... which would mean he would probably reset the output volume to zero prior to bouncing The final master.
Re: Input gain, yes, as Mike said. I prefer to bring the volume of the track up rather than having the limiter do the work. You might achieve a similar result decreasing the threshold on the maximizer, but all of the work you’re doing on the track prior to the maximizer volume will be done at a different volume, which will affect how it sounds.
@@emersonmancini1962 thanks for replying Emerson and thanks for a great tutorial. This is the one thing I don't quite understand. Do you have a limiter after the output slider? Or maybe you mean the limiter inside of ozone? There's some people commenting about the 8dB of gain on the output. So where does that get limited? I think I'm having trouble seeing the difference between raising the volume with the maximizer inside of ozone versus raising the output level inside of ozone, which then gets limited by the same limiter inside of ozone. I'm confused, and scared.. :)
@@milhouse777 Where's the pronoun? I don't see any. So i'm just going to ignore this. Unless your the his/they being interviewed. I'll just go get my new song mastered by the last person who mastered. It seems too complicated to even give a compliment and be interested in working with someone not knowing what pronoun I should be speaking of. So yea, next song mastered by Oasis Mastering it's a company and i don't have to be at fault on the pronouns. Thanks
![KSI - Thick Of It (feat. Trippie Redd) [Official Music Video]](http://i.ytimg.com/vi/At8v_Yc044Y/mqdefault.jpg)
So reassuring to hear a Grammy Award-winning engineer say that sometimes, tracks just don't wanna be loud! I still can't explain it for some tracks. It's like every song has it's own soul.
Loudness really starts with the arrangement - too many sounds happening at the same time can limit your end loudness - for example having a kick hit at the same time as a bass note - from there the loudness will be limited by the mix - using clippers on transient heavy material like drums can help to trim peaks as the mix progresses - it is important to see how things sum together and if that sum is creating a peak that needs your attention - an oscilloscope can be your best friend with this - if you have peaks or sums of energy that are too high you will not be able to turn the track up without distorting the limiter because the gain reduction will be too much - often you will find that it is possible to clip off sizeable peaks (say anywhere from 1 to even 6db or more) from kicks and snares and have basically effect on the sound quality
One of the best mastering videos I’ve seen this year. Very well explained! 🔥
The best video I’ve watched in a long time about music producing in general, probably ever personally. Thanks for this gem Emerson.
Hi Em, This was wonderful to watch. Thanks for your willingness to share.
I love how definitive Em’s advice is. If 2 dB isn’t enough, fix it in the mix or use another tool (other than eq).
🤯
Very helpful, would like to see more videos like this.
What he said at the end is true. You just have to keep doing it till you become good at it. Thank you Emerson the tips
Thanks, EM, for sharing. Last seconds very motivational. iZotope is a gamechanger for me.
A gold mine for those who know how to listen attentively….
Thank you Em! It's very educational watching a great mastering artist at work using Ozone 10! I just bought the upgrade and love it. I hope I can find more video from you. Thanks again!
Thank you 😇 More tutorials are coming!
This recipe works. As long as needed to explain the process. Plus, interesting and unconventional uses for some of the modules. On top of it all, it's nice to get a break from EDM examples and see a fully organic track get mastered.
It's an honour to be able to watch this.
Excellent Vid, great subtle half db changes, mid side boost and cut was excellent.. I would have liked a bit of explanation of how the overs were addressed at the end...
Remember the days when people would laugh at mastering with Ozone.
I can imagine this was before the time of Ozone 5 where people were just strictly analogue
This was an amazing video, better than many I've seen before and take mastering to the craft point. Thank you
First of all, what a lovley person. And what a great video! I love the clear emphasis on listening, deciding what the song needs, and only then making small adjustments with the right tools to get there.
Such a great video. Most helpful mastering video I've seen. Great engineer as well!! Awesome job all around.
This really was so awesome! Like I learned soooo much! What a talent!!! Thank you for sharing! So, so awesome. Damn, I am so OBSESSED with Ozone... Thanks for helping me find my sound. 🖤🖤🖤
Happy to hear you like it!
I’ve noticed that on some projects and always been puzzled by it. Interesting comments.
I stopped watching RUclips tutorials a while ago but this is a gem 💎👌
this is dope...I love these types of interviews because it helps me think different as a mixing engineer
I couldnt imagine Kendrick sitting over my shoulder the whole time.
This was great.
Great words of wisdom at the end too! Nice one Emerson! That was a great video!
Incredible Mastering Masterclass!
I watch a whole lot of master class on mastering but She is Very Good, the best workflow I've seen so far 🤩🤙🏼
Save for rewatch. Thanks for everything
Great video, izotope do it again💪🏽
Best Video I have ever seen regarding approach. I would like to learn more from EM's work.
Em!!! That was great.
Outrageously informative stuff here... Really loved to see how you made the best between Dynamics & Loudness...Really adore your sharing these GEM of advises..Much Love from Sri Lanka.... 🤓👍🏅🏅🎉
Nice to see.
Hope to see the mixing session as well so I can comment on the voc reverb being out phase : )
I think Ozone is great. Emerson mentioned mid/side EQing, I haven't even used that on Ozone yet, I'm very interested in trying it.
Great engineer and a great video!
I love how it went from I'm not giving away my secrets to hang on I'm in work mode now gloves off 😂 thank you for your time, a very informative video.
That was outstanding.. I've never heard of her but wow.. She's amazing.. thank you. .
'he'
@Fire-Toolz whatever you say 😂
@@Two_Seat_Pete_FatA55for all the mastering knowledge he shared here, respect his gender is the least we should do, right?!
@milhouse777 what's it got to do with mastering? It's a separate topic.
@@Two_Seat_Pete_FatA55 whatever dude, I'm just talking about respect. But I will preserve your last neuron by not extending this conversation
Looking constantly at the clipping (or levels) above 0db)of ozone’s output made me sooooo nervous ;-). On the other hand it sounded fantastic. So what does sequoia do internally when it gets this „hot“ levels“ back from a plug-in? I guess I have to question everything I thought I knew about how a limiter is used in mastering … so many questions in my head right now.
I have the same question!
I was wondering about that too... I had to watch it again as I thought I missed the part when the output has to come back down before printing
@@MrCoOpus Haha it didn't
She didn't correct the levels before finishing the video. I saw her turn it up to match the other songs' perceived loudness, but then the video ended.
basically she didn't limit anything, you can see the big horizontal meter going over 0dbfs...i dont know wtf is going on
I enjoyed the way you approach your work. Thanks for the tips👏🏾🔥
Fantastic video!
Great tips
i enjoy this a lot and learn so much ! " em "💣
Great video - Em is an Emaj7
Sequoia and Samplitude are the fastest and most accurate DAWs imo. Even transposing Audio sounds better than in Logic or Ableton. The Bypass all VST Button on the master should be in every other DAW. Sadly Samplitude crashes often. Even the new version.
Thank you for sharing. Inspiring as always.
Just purchased based on this video.
thank you for the inspiration xx
Switching back and forth between mid/side and stereo EQ in the same module? That's confusing as hell! If you create an EQ band to adjust the mid and then switch that same module to Stereo you are literally changing the way you are EQing with that band. Same if you apply a Stereo band and switch to mid, that band will not be affecting the sides anymore... The way to go about this is by using 2 different EQ modules to do Stereo and Mid/Side separately, so what is going on here? I'm very very very confused.
This!
Unless Izotope changed how the EQ module works from version 9 to 10. Haven't tried Ozone 10. Otherwise I see two explanations to this:
1. Em is doing so small adjustments that Em can't hear what's actually happening and is fooled by the visuals and placebo.
2. Em doesn't know how Ozone works and doesn't use it in daily work. Em is just hired by Izotope to market Ozone.
@@churchusa I think the latter must be the true option sadly 😅
Exactly what I was thinking 🤔
Great video. I learned a lot!
Awesome 🔥
Thank you for this video. Very interesting and helpful!
You are a wonderful soul!
Thanks. Great video. Best/Mathias
Great video, thanks Em!
The best tutorial
Hey Em, I really enjoyed this walkthrough. I love learning about the mastering side of things. Would you be able to answer something I’m sure a lot of us are wondering: what is happening to the audio after you boost the output of the plug-in? When you export a 24bit file, there is inherently a ceiling of digital 0, so are you using the ceiling as a clipper of sorts? Pushing level into the ceiling? You have an interesting approach that I’ve never seen before, and I’m very intrigued. Thanks!
Hey Noah, the plugin is still within the framework of my DAW, so what the overs are on the output of the plugin don't concern me. As I mentioned in another comment, I do not have a limiter in the DAW outside of my chain. If there is audible distortion I address it, if there isn't I'm not worried. Hope this helps!
@@emersonmancini1962 what is the reference track you are using here at 23:07? It sounds interesting.. THANKS FOR SHARING YOUR EXPERTISE AND PASSION love from London UK :-) x
Awesome insights 👏
Can someone explain the 'process per section' on one stereo track/file? How does that work? And yesssss.... tht. Veneers good video about mastering including lots of insights about the artistic side / emotion
Em knows what’s up.
Thank you for that great video! I am just going to steal those presets now :p
Feel free 😬
I Could listen Em for hours ;)
What a great video!
When Em changes from Stereo to Mid-Side processing in the EQ module, isn't that changing the processing mode for the entire module, not just the node being edited? That's what the Ozone ooltips say anyway. If you want to do both stereo and mid-side EQ processing you need to use two separate modules.
Like others posting here, I am also confused by Em's disregard for the clipping on the output meter. If they have no limiter outside of Ozone, then the signal is being clipped at the DAW output. I've been taught that this will cause issues for streaming encoders as well as causing distortion and unpredictable results in D/A converters.
My approach to gain staging has been to use clip gain to get the audio to the level I want to work at. I am using Wavelab, but that should be available in any DAW. This is the same as using the input gain slider in Ozone, but I can add more than 10 dB of gain if necessary. I never touch Ozone's output level because I'm relying on the maximizer to manage the final output level.
I can appreciate "if it sounds good it is good" as an artistic approach, but I am having a hard time accepting that uncontrolled clipping is no big deal. Wouldn't it be better to shape the transients with a soft clipper or limiter and be in precise control of your digital peak level? I understand Em is saying that the clipping he is hearing sounds good to his ear and is a part of the overall sound/tonality they are evaluating throughout the process. But doesn't exceeding 0 dBFS mean it's not predictable how other systems will react, and there could be (additional, unwanted) distortion produced in a listener's D/A converters?
From my personal experience:
1. Yes ur right about the mid / side EQ but I believe if you make some tweaking on stereo mode it will still be present on both the mid and the side eq.
2. If signal is peaking at -1db after limiting inside ozone (maximizer/vintage limiter at the end of the chain) and u dont have any processing afterwards it should still peak at -1db after exporting if that makes sense. I think ur refering to how its getting past 0db inside the daw, the thing is, I believe that is just for volume matching and will be fixed before exporting.
What of great video of yours Emerson "Em" Mancini and Izotope. All the best, healthy and success in your life and craft. Question, I would very much and kindly ask you , what is your set up in terms of A/D converter or hardware used for connecting your computer to analogic. Hope you can answer that to me. I truly loved the video, watch few times already. Cheers and all the best. From Brazil, Sérgio Lima.
Great stuff!
Great engineer! Loved the mr morale album sonics and Jon batiste we are
Legend!
very cool & helpful. Thank you.
❤
I really learned a lot. I liked the approach of breaking a song into sections to allow individual processing, but couldn't see how that was being accomplished. Is it by moving sections to separate tracks, using automation, or something else? Thank you.
the video is awesome ! Just a question : is it normal to clip the ozone Ouput +2.6db/+4.6db during setting levels?
Some potentially misleading info here re: how Stereo and Mid/Side modes actually work in the Ozone EQ. The only way for this to work the way it is used here, is first to go to the Mid/Side mode and link the channels. Then, when returning to Stereo mode and making changes, those will translate in both the Mid and the Side channels after switching to that mode again. I don't think Em had those linked in the first place, so changing a band the Stereo mode will only translate to the Mid channel once you switch from Stereo to Mid/Side.
Amazing!
This person is clearly very knowledgeable.
Great video, but wait a minute! You can use the same eq in stereo and in midsize and in left right??? All this time I was thinking it could only be used in only one mode at a time
I watched the whole video but got a little fried when she didn't bring the output levels back down to 0.0 dB. Please explain why that major thing was left out of the recipe?
Charming and sensible person. Me like
Impressive 👏👏👏
Hi Em, enjoying the video. I used to record at Larabee Studios back in the 70s. I noticed that you are in the red a lot on your Maximizer and also when you divide your track and keep them on the same track,,,how does your changes to one not affect the other...thanks
Masterclass
Isn't it? The hihats and upper range percussions sounding very separated and small from the rest. I would create an additional track of 6k to 10k and use a 12th or 7th lower octave slightly for this particular high band. An alternative plugin is Unfilter from Zynaptic to correct upscrewed frequency bands.
Anyway nice "how to" better master tutorial. It's always an advantage to see how other professionals try to focus on these work. 👍
Great video, thanks Em. I was always taught to put a VU plug-in at the top of the master input (first in the chain) and raise the height of the wave (loudness) til it reaches about -16 LUFS and send that in to the first plugin which in this case would be the EQ. Do you see anything wrong with that?
don't see anything wrong with that!
@@emersonmancini1962 Thanks very much for your reply Em, and your positive vibe for everyone here. The World needs more Ems.
I do it to - 15 it improves headroom and reduces the chance of clipping Pre fader.
@@emersonmancini1962 It would be very helpful if you could explain the decision to turn on 8 dBs on Ozone output. I understand that it's actually to match the levels of the reference song, but the numbers above 0 dBs? There's nothing wrong with that?
yes, how can you see lufs from a vu meter?
Thank you for this Em. Appreciate your knowledge and am a fan of your work. 🙏🏾
can you explain why you use the Transient in maximizer instead of integrated?
so surprising to see Sequoia being used in this video.
Good video :)
What’s the name of the song mainly used to master?
Great feature 🔥. Isn’t she clipping the output though? Looks like it’s peaking at +7 in parts
To poorly quote Phil Ramone, who cares what it looks like, how does it sound? If it doesn’t sound like it’s distorting, I don’t care ;)
PS he/they pls, I’m trans ❤️
Thank you saying this!! I totally had the same question in my mind having come from the analog world of mixing and mastering. Digital totally changes how I’ve come to look at my mixing / mastering.
Em did a great job!! Hats off sir
@@emersonmancini1962 thanks! But what’s the reason you’re doing this? Is it actually giving you any more level on the output? Is your master bus clipping as well or is that at 0? (Apologies for the pronoun!!)
@@emersonmancini1962 Hi, could you please explain, since this is really bewildering - you are raising the volume after the limiting, which in a 32 bit floating environment should not clip, but as soon as the song is exported to 24 or 16 bit, it will distort like crazy. You should have another limiter working after the Maximizer, I presume?
💎👀... 🔥
Can someone explain the "setting the levels" section? Is this a gain boost by increasing the input and output levels? Could the same thing be done by decreasing threshold on Maximizer, for example? Thanks!
As I understand it, the input affects the level going in to the entire plugin. and you may want to gain it up or down depending on how hard or soft you want to drive, like, the vintage compressor or something. And, the output control is the level going out of ozone. just in case you want to skip the maximizer entirely, let's say, and use a different external limiter? But I think he was using it to adjust his listening volume level relative to the track he was comparing with... which would mean he would probably reset the output volume to zero prior to bouncing The final master.
@@MikeBrayton thank you!
Re: Input gain, yes, as Mike said. I prefer to bring the volume of the track up rather than having the limiter do the work. You might achieve a similar result decreasing the threshold on the maximizer, but all of the work you’re doing on the track prior to the maximizer volume will be done at a different volume, which will affect how it sounds.
@@emersonmancini1962 that makes sense - thank you!
@@emersonmancini1962 thanks for replying Emerson and thanks for a great tutorial. This is the one thing I don't quite understand. Do you have a limiter after the output slider? Or maybe you mean the limiter inside of ozone? There's some people commenting about the 8dB of gain on the output. So where does that get limited? I think I'm having trouble seeing the difference between raising the volume with the maximizer inside of ozone versus raising the output level inside of ozone, which then gets limited by the same limiter inside of ozone. I'm confused, and scared.. :)
good job male, thanks!
@Emerson Mancini thank you for sharing your process! What speakers are you using?
I believe they are the Focal Solo6 ST6s.
Em, are you converting to 44.1 with RX?
Yep!
Definitely want to work with her soon.
So first thing first, respect his pronoum: His/they
@@milhouse777 Where's the pronoun? I don't see any. So i'm just going to ignore this. Unless your the his/they being interviewed. I'll just go get my new song mastered by the last person who mastered. It seems too complicated to even give a compliment and be interested in working with someone not knowing what pronoun I should be speaking of. So yea, next song mastered by Oasis Mastering it's a company and i don't have to be at fault on the pronouns. Thanks
@ShadikTV Emerson “Em” Mancini uses both he/him and they/them pronouns. Glad you enjoyed the video!
36:42 facts
How do you get Ozone 10 to have different settings at different parts of the song?
🔥
Pay attention to the mind - focusing on the music, the love in it - not the gear and knobs.
Box of hats?
is the object based editing function available only on the DAW he is using ?found it interesting and how to turn it on ? 26:12 minute section
You can do exact the same object editing in Reaper.
1db EQ when there is a mini of 5 db correction to do and in the wrong direction the eq
Lol what
science!
Awesome vid! Yo, what mastering daw is that?
Samplitude/Sequoia
@@johnschroder78 What!!! I didn't know those guys were still around! I loved sound forge back in the day.... lol
@@SMEL Sound forge!
What was thing? Cant remember
@@KOjoeBeats I believe I read they were bought out by Samplitude... showing my age here 🤣