Everyone may have a different way of doing this, but maybe there's a consensus on best practices ...
I use Ozone 6 in mastering in the Project page: For an album, should I put instances of Ozone on individual songs AND on the Master bus; or just use Ozone on the Master, to apply the same limiting and processing to all songs; or only insert it on the individual songs? If I use it on both songs and the Master, should the Ozone instance on the Master maybe use only the Maximizer function? Or should I put Ozone on the main bus of the Song page when exporting the song’s mixdown to a stereo wav for including on the album in the Project page? And then use Ozone only on the Master for the album? … And is there even any need to create an “album” if you’re just going to put the songs on a website anyway? I might make a tiny number of CDs I suppose …. I'd love your thoughts! |
I don't use Ozone, but I am using the tools in ozone.
I prefer to treat each song as needed. I doubt you are going to find a one size fits all setting in ozone that will work for all the songs. Some will have different levels, eq characteristics, etc. I will use multiband comp, eq (GEQ and PEQ) and limiter on each song individually. On the master I may put a reverb, analog tape emu, or some other sweetener that works for the project. I will then put a very easy limiter after that to catch any stray peaks that came from adding the effects to the master. Bottom line, do what works for the material |
matthewgorman wroteI don't use Ozone, but I am using the tools in ozone. Thanks, matthewgorman! So between the individual songs' faders and that final light limiting, the songs' volumes are about the same? |
Thats the goal. I know there are other that have a different opinion, but this works for me. I keep the RMS of each song within 1-2 db of each other when its all said and done.
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