Izotope ozone 8 Torrent Archives
izotope ozone 8 Torrent Archives
iZotope Neutron 2 & Ozone 8
The latest versions of iZotope’s Ozone and Neutron are not only more intelligent than their predecessors, they can also communicate with one another.
Back in January 2017, we reviewed iZotope’s Neutron, an innovative plug-in that not only includes a wide range of processing tools, but a facility called Track Assistant, which automatically analyses source tracks and suggests appropriate settings. The version 2 update under review here not only introduces an improved Track Assisant with expanded functionality, but also debuts new features aimed at speeding up your mixing still further. Simultaneously, iZotope also launched version 8 of their long-established Ozone mastering suite. This incorporates numerous new features and improvements, perhaps the most interesting of which is the ability to communicate with Neutron 2, opening up the possibility of addressing mastering EQ-related issues within a mix.
Since Ozone 7 was also covered in some depth relatively recently, in SOS February 2016, I’m going to concentrate here on the improvements and new features found in the Advanced versions of both programs, some of which don’t appear in their lower-cost Standard and Elements variants.
Neutron: The Bomb?
Tracks that don’t require Neutron processing can still make their contribution to its analysis of other tracks, thanks to the new Mix Tap plug-in.Designed to ease and enhance your mixing process, rather than to automate it, Neutron 2 aims to provides starting points on which you can build, alongside tools intended to assist you in analysing and correcting issues in your mix and in its component tracks. An important feature of Neutron 2 is that all of its instances are ‘aware’ of, and can communicate with, all of the others. The ideal starting point for a Neutron 2-assisted mix is therefore to instantiate the plug-in on every track, at the end of any existing plug-in chains. In case that tips your CPU load over the edge, Neutron 2 also gives you the option of inserting a new lightweight Mix Tap plug-in. Mix Tap features Neutron 2’s high-pass filter and the new delay offset, polarity invert, sum-to-mono and L/R channel swap functions, and can communicate with instances of Neutron 2 on other tracks.
The key Neutron analysis feature is Track Assistant, which automatically creates individualised starting point ‘presets’ for each track that Neutron 2 is instantiated on. To operate, Track Assistant needs to ‘hear’ around 5-10 seconds of audio from the track, during which time Neutron 2’s combination of “audio intelligence” and machine learning techniques identifies the source as instrument or vocal, and analyses, selects and configures one of its “unique and varied smart templates”.
Having selected a template, this new version of Track Assistant activates and intelligently modifies the required processing blocks within it. This process encompasses placing them in the optimum order, selecting single-band or multiband processing, calculating and creating an EQ curve, selecting the styles of compression and setting their parameters, setting the parameters of the new multiband gate and transient shaper, selecting and tuning the blend of Exciter algorithms, and adding Neutrino’s spectral shaping in order to improve focus and clarity.
The new version of Neutron’s Track Assistant offers more intelligent and more varied customisation of presets to suit sources.
Although my colleague Mike Senior was slightly underwhelmed by the original version, I rather liked this new and improved Track Assistant. The incorporation of advances in machine learning and intelligent audio processing, together with the increased number of presets and the improved instrument/dialogue/vocal detection, appear to have increased Neutron 2’s ability to find a good match with the character of the audio being analysed.
Track Assistant’s new abilities — setting the ratio and attack and release times in single or multiband Compressors, setting the amount of drive in the Exciter, and setting the threshold in the Transient Shaper — were impressive in operation, as was the new multiband Gate. I was particularly taken by the new gate’s Hysteresis function, which applies a second threshold for closing 2dB below the opening threshold, making it more efficient and natural cleaning up low-level bleeds.
Although Track Assistant’s EQ choices weren’t necessarily those that I might have made, they were always interesting, whilst the dynamics settings usually turned out to be good places to start from. Overall, I was quite happy to let Track Assistant set up starting points and to go from there, using the Undo History to step back if I made things worse rather than better. However, despite my enthusiasm, the basic point behind Mike Senior’s discomfort still stands: if the choices that Neutron 2 makes do not match your taste, then you may be better advised either to manually audition and select one of Neutron 2’s 500 or so well-indexed presets, or to create your own EQ/dynamics starting point in the traditional manner.
Being the core of the Neutron 2 plug-in, Track Assistant is inseparable from it. However, the Equaliser — which includes the Masking Meter and a new Soft Saturation function that introduces non-linear harmonic distortion — Compressor, Exciter and Transient Shaper modules are all made available as individual plug-ins.
Balancing Acts
Visual Mixer provides a focal point from which the pan, width and level of multiple Neutron instances can be adjusted.The Neutron 2 suite also incorporates three new separate plug-ins. Mix Tap has already been mentioned, while Visual Mixer and Tonal Balance Control are both intended for insertion into your DAW’s master bus. Although no audio actually passes through it, Visual Mixer is intended to sit as the last plug-in on the mix bus. Its 2D virtual soundfield graphic interface not only displays pan, volume and stereo width information for every track with Neutron 2 and/or Mix Tap instantiated on it, but also allows you to adjust these parameters by dragging and dropping. Since the communication between Visual Mixer and Neutron 2 or Mix Tap is bi-directional, changes made in one are reflected in the other. Simple level metering is provided courtesy of a white dot in the centre of each track graphic, which expands and contracts to give you a visual indication of the balance across the soundfield. Three mix snapshots can be saved, allowing a quick and easy A/B check on the effects of changing a mix without losing the original.
Tonal Balance Control (shown in the main header screenshot of this review), meanwhile, is a visual equalisation analysis tool that is intended to ensure that your mix translates well across different music distribution systems and listening environments. This is achieved by allowing you to compare the audio frequency energy distribution in your mix against one of three composite tonal balance ‘target curves’: Orchestral, Modern and Bass Heavy. Created by analysing a multitude of tracks in different genres and styles of music, these curves display the range of audio spectrum energy distribution found in those broad genre groupings. Tonal Balance Control can also analyse single or multiple tracks whose spectral energy profiles you wish to emulate, producing custom target curves that you can save and use.
Once selected, these targets can be displayed in one of two views. Broad provides four horizontal bands called Low, Low-Mid, High-Mid and High, with crossover points at 250Hz, 2kHz and 8kHz, while Fine shows a broad, somewhat trunk-like curve that covers the full 20Hz-20kHz frequency range. In both views, energy distribution in your mix is shown as a white line that, ideally, should lie inside the boundaries of the target areas. A separate Crest Factor Meter displays an analysis of the Low band that indicates the amount of compression in the low-frequency content of your mix, ranging from ‘too little’ to ‘too much’.
To speed up the identification of problem areas, Tonal Balance Control allows you to solo a narrow band of your mix’s audio spectrum and to sweep that band across an offending area. Since Tonal Balance Control communicates bi-directionally with the equalisers within all instances of Neutron 2 and (as we’ll come to) of Ozone 8, you can adjust the EQ of individual tracks to improve the overall spectral energy balance without leaving the plug-in during the mixing and/or mastering process.
Particle Physics
Neutron 2 is complex, and this overview of the main aspects of its new features can only hint at its power. You’ll find much more detail, including comprehensive online help documentation and a range of tuition videos, on iZotope’s web site. For me, Neutron 2’s automatically generated starting points, lightly modified in light of my own preferences, generally resulted in mixes that I was happy with. Interestingly, Neutron 2 did come up with some proposals that I would not necessarily have reached on my own, and those usually turned out to be unexpected learning opportunities. Analysing the modules and parameter settings that Neutron 2 chose, whether I liked them or not, was an experience that I would recommend to anyone looking to improve their mixing skills. Neutron 2 won’t turn you into a genius mix engineer, but it can help guide you towards making better mix decisions, especially if you take the time to analyse and understand what you do or don’t like about its choices.
Ozone 8
As Neutron 2 is to mixing, Ozone 8 is to mastering, hence the debut of Master Assistant. Like iZotope’s Track Assistant, this incorporates assistive technology, machine learning and artificial intelligence to deliver a suggested starting point tailored to the track being mastered. Other new features in Ozone 8 are Tonal Balance Control (which we’ve already taken a look at), Track Referencing and the Spectral Shaper module/plug-in.
Ozone 8’s operation is based around target curves, and its online help documentation sheds some light on the way these were created. Initially, humans grouped a wide variety of music into 10 genres, which were analysed to produce 10 target curves representing the typical spectral characteristics of each genre. The majority of these could be further grouped into the three broad categories that make up Tonal Balance Control’s target curves.
In Streaming mode, Ozone’s Maximizer will target a loudness of -14 LUFS that is appropriate for streaming services.
Master Assistant offers three target types called Streaming, CD or Reference. Streaming sets a default Maximizer threshold to deliver the target loudness of -14LUFS that is typical of online streaming platforms. The CD setting interacts with the Maximizer’s Intensity parameter to produce the loudest possible output, while Reference allows you to use a target curve derived directly from a track of your choice loaded in Ozone 8’s new Track Referencing module.
To operate, Master Assistant needs to hear approximately 30 seconds of, ideally, the loudest part of your mix. Unless you have selected Reference as a target, a neural net classifier determines how similar your mix’s spectral content is to each of the 10 preset target curves and assigns a percentage of similarity to each one. Based on those percentages, Master Assistant then creates a unique target curve for your mix and also loads a preset based on the genre classification with the highest resemblance to your mix.
Loading a preset — in which the module order is fixed — sets initial parameters that have not been learned from incoming audio, such as Maximizer IRC mode, Dynamics attack and release times, and so on. Master Assistant then sets the preset’s Equaliser module to adjust the mix’s spectral balance to that of the target curve, analyses the dynamic range and configures the Dynamics module to control it, sets the Maximizer’s Ceiling value and adjusts its Threshold to hit the target loudness, analyses the Maximizer’s frequency-dependent gain reductions and, finally, sets the Dynamic EQ to reduce any potential distortion in the Maximizer. Any changes made to this starting point are recorded in the Undo History window, allowing you to step back if necessary.
Cutting Shapes
The new Reference Panel in Ozone 8 Standard and Advanced allows you to import up to 10 audio tracks as references, to A/B between your mix and a selected reference track and, using the overlaid spectral metering, to visualise the differences between the two. Usefully, when a reference track is loaded, machine learning is employed to indicate the boundaries of similar-sounding sections, allowing those to be auditioned and individually looped if necessary. To help maintain consistency, imported reference tracks are available to all mixes within a project.
A new Track Reference feature in Ozone 8 lets you import your own reference material and helps you to make meaningful comparisons with your own track.
Also new is Spectral Shaper, a dynamics processor that delivers high-resolution attenuation of problematic frequencies within a user-defined portion of the audio frequency spectrum. Its variable-mode (Light, Medium and Heavy), threshold, attack, release and tone controls enable you to zero in on a narrow band of frequencies in order to deal with issues such as percussion transients, harsh vocals and other bright, overly forward mix elements without affecting the rest of the mix. In addition to its corrective capabilities, Spectral Shaper can also be used as a creative tool to shape and sculpt tone and transient response across either the full mix bandwidth or a specific area within it.
Having identified the frequency area to be worked on, selecting it is simply a matter of dragging the upper and lower cutoff handles to enclose that area. The module’s Solo function lets you audition the audio that is going to be affected before it is processed and the Listen function allows you to hear the post-process audio. Spectral Shaper’s meters display either the selected frequency band or a scrolling gain reduction trace, overlaid on a waveform trace of the incoming audio, to help you set the threshold level and attack and release times.
Master Full
To my ears, Ozone 8 did an extremely impressive job of creating starting points for my mastering endeavours. Although not every initial parameter that Ozone 2 suggested for its EQ, Dynamics and Maximizer modules worked for me, the issues that I had tended to be more artistic than technical. As with Neutron 2, taking the time to analyse what I did or didn’t like and developing corrections to these basic modules was an interesting and educational experience. Every Ozone 8 module has something interesting to offer, and all are well worth taking time to explore in detail, especially those that are available as plug-ins.
As a relatively recent convert to the joys of Mid/Sides mastering techniques, the built-in M/S processing in the majority of Ozone 8’s modules was a real bonus, as was the ability to automate their parameters within my DAW. Another automation feature that I really liked was the Opacity control in the plug-in version, which allows you to see ‘through’ the plug-in window to monitor track and automation data whilst also being able to see Ozone 8’s meters and controls. Although Ozone 8 will no more turn you into a mastering engineer than will Neutron 2 make you Chris Lord‑Alge, it will give you a starting point that you can build on, and a set of tools that you can use to develop and enhance both your mastering skills and your masters.
Dynamic Duo
Since more and more recording, mixing, post-production and mastering engineers appear to be utilising personalised, pre-determined processing templates built up of plug-ins from various manufacturers, it would appear that both Neutron 2 and Ozone 8 are potentially riding on the crest of a wave. As a pairing, these two innovative programs provide a complete set of mixing and mastering processors, but make it possible to include third-party plug-in chains and even hardware outboard into the process. Perhaps just as importantly, their ability to analyse individual tracks and finished mixes and to produce suggested starting points for mixing and mastering has the potential to not only help speed up the creative process, but also to provide educational opportunities for less experienced engineers.
Compared to the cost of the hardware processors required to build a mixing and/or mastering chain of comparable quality and facility, the asking prices for Neutron 2 and Ozone 8 — either individually or as a bundle — have to be viewed as a bit of a bargain. If you’re a bit unsure as to whether or not these two programs will work for you, iZotope offer a 10-day trial that I’d also encourage anyone interested in mixing and mastering to download and experiment with. If nothing else, you’re bound to learn something from the experience.
Eighth Wonders
Improvements abound in the functionality of Ozone 7 components carried over to Ozone 8, all of which are available as individual plug-ins in the Advanced version.
- The Maximizer, which utilises iZotope’s proprietary Intelligent Release Control (IRC) limiter technology to allow you to boost the level of a mix without destroying its dynamics and clarity, gains three new functions.
- Transient/Sustain Stereo Independence enables the Maximizer to detect and separate the transient and sustain information in the left and right signals and to process those independently.
- Learn Threshold automatically adjusts the Maximizer’s threshold so that the output reaches the maximum output level set in the Ceiling function (-1dBFS for streaming and -0.3dBFS for CD and Reference).
- A Threshold and Ceiling Link function enables you to audition the effects of your processing by allowing you to decrease the threshold level without boosting the perceived level of your mix.
- IRC itself has been upgraded, with improved, “acoustically spaced”, multiband limiting and a new LL mode offering lower processing latency.
- The stereo, multiband Imager (a single, full-band version of which is available as a free download) gains a Link Bands feature. Once you’ve set the stereo width across its four bands, this links the Width sliders so that they move with, and in relation to, each other.
- Whilst the Equaliser, Vintage and Dynamic EQ modules are seemingly unchanged, the multiband Exciter now gains the ability to implement any one of its six modes (Warm, Retro, Tape, Tube, Triode, Dual Triode) separately on each of its four bands, and there are minor changes in the dynamics, where the single-band, feedback Vintage Compressor has had its ballistics and sound quality improved.
- The Vintage Tape module, inspired by the old Studer A810 two-track, has been given a new additional 7.5ips non-linear saturation mode that adds emphasis in the low mid-range setting alongside its existing 15ips and 30ips emulations.
Pros
- Communication between Neutron 2 and Ozone 8 creates an integrated mixing and mastering environment.
- Track and Master Assistant’s suggested starting points are usually useful, occasionally thought-provoking, and always educational.
- Tonal Balance Control is a unique way of compensating for less-than-ideal monitoring and listening environments.
- Availability of plug-in versions of modules adds to the programs’ flexibility.
- Analysis can be based on user reference sources.
Cons
- None, as long as you buy into the concept and are willing to learn.
Summary
The new versions of Neutron and Ozone have improved both programs’ abilities to match more closely their suggested starting points to the tracks being processed, while the intercommunication between both programs and their individual plug‑in components gives you the ability to work seamlessly in an integrated mixing and mastering environment.
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View Full Version : Man.. I thought Ozone 4 was as good as it gets..
These plugs have been graced by the holy trinity! :D
Any other Ozone/Alloy users in here?
Alloy is something I'll look into one day, but I have some great toys and kinda wanna force myself into using them.
Alloy is something I'll look into one day, but I have some great toys and kinda wanna force myself into using them.
Alloy and Ozone go great together. The one thing that pained me, was not being able to use Ozone on my channel strips. I think those 2 plugs are the greatest investment I've made in quite some time.
And I'm still only scratching the very surface, but already blown away by the presets! :D
if you don't have it already, i recommend spectron highly. it's a VERY cool plugin. it's a spectral delay PLUS PLUS PLUS. it's very nifty.
So Alloy is used during the creation of a track, while Ozone is a mastering stage tool.
Am I reading that correctly?
if you don't have it already, i recommend spectron highly. it's a VERY cool plugin. it's a spectral delay PLUS PLUS PLUS. it's very nifty.
So what do you use instead of Ozone/Alloy? I could never imagine selling these plugs.. they're transparent while offering spectacular levels of control! I'll have to look into Spectron... gotta put that tax return cash to good use! ;)
"Ozone and Alloy are designed to complement one another perfectly. Ozone is designed for adding the final layer of polish to a completed mix, while Alloy is designed to shape and enhance individual tracks and busses during the mixing process."
So Alloy is used during the creation of a track, while Ozone is a mastering stage tool.
Am I reading that correctly?
You read that correctly.
Ozone is pretty heavy on performance, so it's best left on a master track -- while Alloy has a lighter footprint but offers virtually everything Ozone does.. with slight alterations/differences. They really do compliment one another quite well. Check out their demo, it's 10-days I believe. But have cash on hand, because you're going to want it after you try it! :D
...and the alloy 2 stage parallel compression/expansion in combination with the slightest
touch of the exciter (different than ozone's); and capped off by the soft knee limiter.
great to see reaper users getting mileage from these too!
note that the text entry fields are addressable to 5 decimal
places, that's precision enough to nail a speck of dust! (our
jesusonic plug-ins are addressable to 6 decimal places, btw).
I quickly ruined a mix some years ago, I was thrilled by the exciters and the multibands and everything and all sounded so much better instantly... until I listened to it again the next day (and it was too late).
I think that amateurs should have only the basic (so called) mastering tools (limiter, eq, maybe a subtle coloring fx). We really should focus on making better mixes.
Now with v 4 and that tweak from the preset page it's like Instant flavor.
Spectron is one of the easiest spectral type efx I've dealt with. I think Schwa has something that's similar but it's Not too easy to use, or it doesn't have efx in the actual plug. I usually only use Spectron for freq dependent panning. Like subtle spread in the high end that's based on an LFO to give randomness, which I equate to HW outboard.
Alloy I use on synths and synth busses all the time. Mainly that's all I use it on. As other things like nebula, UAD, Soundtoys decap get more play on other channels.
Another GREAT one is Trash. Both for a guitar amp (not so much the cabs) but the distortion is at home on ANY channel. I don't care where it is in the chain. I'm sure it's static distortion and not dynamic, but there's SO many options and SO many tweaks within each algo that it's retarded. And it's multiband if you like.
You'd have to remove the plug and bring it back to get defaults back, unless you saved them. I use almost all the izotope stuff, and that's how they all work.
You'll see the preset like this preset name
That lets you know it's a tweaked version of the preset. There may be a button to remove changes, but I don't fuck around with the presets as I don't want to lose them, since I actually put them to use.
cerberus ,I have ozone 4. I like it but I'm afraid Ive got it all screwed up. It seems that if you go into the presets and start tweaking them it remembers the tweaks and doesn't reset back to the default settings after closing it down. Can you tell me what I'm doing wrong? Is there a way to reset Thanks alot.
Ok ,,,here is what is happening to me. I open Ozone 4 and put it on the master ,,,,,choose gentle tube preset. Move the volume slider from 13.7 to 25. Remove ozone from the master,,,reload it back and the volume slider is still on 25 not 13.7. Same thing has happened with eq ,harmonic maximizer etc. Do I have something set wrong. Or is there some button to reset ozone back to factory defaults.
For me, Ozone4's help is the ability to solo the bands, and really clean up the mix, particularly the sub-lows, and mixing the midrange. So it is a great mixing tool IMO.
I also like to solo the Sides to listen to the overall content of the reverb returns and delays.
I think VST's behave like that in general. If an Ozone4 preset is edited, and then saved, double-clicking the original preset sets it back to default, I just checked it on the "Upward Expansion" preset I have been working with.
For me, Ozone4's help is the ability to solo the bands, and really clean up the mix, particularly the sub-lows, and mixing the midrange. So it is a great mixing tool IMO.
I also like to solo the Sides to listen to the overall content of the reverb returns and delays.
You read that correctly.
Ozone is pretty heavy on performance, so it's best left on a master track -- while Alloy has a lighter footprint but offers virtually everything Ozone does.. with slight alterations/differences. They really do compliment one another quite well. Check out their demo, it's 10-days I believe. But have cash on hand, because you're going to want it after you try it! :DUse better recording and mixing instead, then identify what still needs done, and determine if Alloy or Ozone is the right plug to use.
I think Ozone is evil in the hands of an amateur :D
I quickly ruined a mix some years ago, I was thrilled by the exciters and the multibands and everything and all sounded so much better instantly... until I listened to it again the next day (and it was too late).
I think that amateurs should have only the basic (so called) mastering tools (limiter, eq, maybe a subtle coloring fx). We really should focus on making better mixes.Amen brother. Look around the forum, there's an almost knee-jerk reaction that the solution is always going to be a plugin.
This is waht their website says to do:
If you've overwritten or deleted one of your factory presets, these steps will help restore the original settings:
1. To replace your original preset file, you can run the latest installer for your iZotope plug-in.
This will replace any lost or outdated files, but is designed to leave all of your other plug-in settings and files intact.
2. If you've overwritten a preset, you may need to rename, move, or delete the modified preset before proceeding.
The preset will be stored on your hard drive as an .XML file. For more information on finding your preset's .XML file, plase go here.
After locating the modified preset's .XML file, please rename or delete the file, or move it to a new location, to make room for a new copy of the original preset.
<< back
Indeed, just as musicians should devote themselves to being better musicians.
It's nice to work with talented pros. Trust me.
...and the alloy 2 stage parallel compression/expansion in combination with the slightest
touch of the exciter (different than ozone's); and capped off by the soft knee limiter.
great to see reaper users getting mileage from these too!
note that the text entry fields are addressable to 5 decimal
places, that's precision enough to nail a speck of dust! (our
jesusonic plug-ins are addressable to 6 decimal places, btw).
Haven't gotten very deep with Alloy just yet, but I'll make sure to read the manual and look into the aforementioned technique.. I just think they really did a great job with the presets. I usually start with a preset I like, cycling through them with a click of bypass in between to clean up my hearing palette.
I'm really surprised at how small the Ozone/Alloy user base is. I suppose it makes sense, considering how many plugs are out there.
I think Ozone is evil in the hands of an amateur :D
I quickly ruined a mix some years ago, I was thrilled by the exciters and the multibands and everything and all sounded so much better instantly... until I listened to it again the next day (and it was too late).
I think that amateurs should have only the basic (so called) mastering tools (limiter, eq, maybe a subtle coloring fx). We really should focus on making better mixes.
I agree, but it's not just Ozone, it's all plugs! :P
And of course you want to focus on making better mixes, but the bottom line is, a mastered "sound" does not come from a great mix. That's why there's mixing, then there's mastering -- and mastering is where you can turn a great mix an amazing mix.
And in the end, if it sounds good, it IS good right?! :D
cerberus ,I have ozone 4. I like it but I'm afraid Ive got it all screwed up. It seems that if you go into the presets and start tweaking them it remembers the tweaks and doesn't reset back to the default settings after closing it down. Can you tell me what I'm doing wrong? Is there a way to reset Thanks alot.
http://www.izotope.com/products/audio/ozone/OzoneMasteringGuide.PDF
Izotope provides excellent documentation and manuals that actually have a LOT of top-drawer information on mastering in general and using Ozone to follow mastering principles.
Ozone ALL versions can do wonders for a buss or master buss. The limiter isn't even needed, it can do massive coloring that you didn't even know was possible on the song in question.
Now with v 4 and that tweak from the preset page it's like Instant flavor.
Spectron is one of the easiest spectral type efx I've dealt with. I think Schwa has something that's similar but it's Not too easy to use, or it doesn't have efx in the actual plug. I usually only use Spectron for freq dependent panning. Like subtle spread in the high end that's based on an LFO to give randomness, which I equate to HW outboard.
Alloy I use on synths and synth busses all the time. Mainly that's all I use it on. As other things like nebula, UAD, Soundtoys decap get more play on other channels.
Another GREAT one is Trash. Both for a guitar amp (not so much the cabs) but the distortion is at home on ANY channel. I don't care where it is in the chain. I'm sure it's static distortion and not dynamic, but there's SO many options and SO many tweaks within each algo that it's retarded. And it's multiband if you like.
Hmm I was curious about Trash -- I already have Amplitube and Guitar Rig though but I suppose it wouldn't hurt to run a demo of Trash. They really could've picked a better name for that plug.. lol :P
And ya Larry, I agree with you regarding the easy "flavor" tweaks you can make now in v4! The UI is one of the best I've used in a plug although I have heard from others that it can be straining on the eyes.. I don't think so personally though. I think it's great and intuitive and user-friendly.
I give Ozone a 10/10 for usability, quality, features and price of entry.
I use Ozone as well, but I do not use any of the newer versions that require the dangerous (to me) DRM. I also quit using Audition when they went to their challenge/response DRM. I nearly lost a major continuing contract/gig because of these DRM issues. If the code suddenly stops working because "it thinks you need to activate" and your are in the field where cell phones don't work and the closest and only phone is a telephone box several hundred yards away and it is 4AM east coast time, you ARE (and I was) TOTALLY HOSED. This was with Audition, but that experience, and several other major problems with "activation" have taught me to avoid all tools (as much as possible) that use any kind of network-based or challenge-response activation. Even dongles are better than that, but I have also had continuing problems with dongles (I have eight of them sitting in my drawer here), so I try to avoid that stuff as well.
It is too bad that Izotope chooses to treat me like a criminal for having bought their first few versions (before they put in the the new DRM). This is my own, Not So Humble, Opinion and is due to many horrible experience(s).
I like and support the Reaper philosophy on how to treat their customers, and I very sincerely hope they profit by it, otherwise I will have little of no place to get decent audio tools.
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The only thing Ive found better than, in my own opinion, Ozone 4 as a "press a couple buttons and its 'Mastered'" plug-in, is T-Racks Deluxe. Ozone 4 doesnt have the same "weight" to the sound that T-Racks has. T-Racks very seemingly may have more "balls".
At least, on the the surface, that is. Ozone has nice Mid and Side options that T-Racks really cant get into.
Izotope products are very good and are one of the few plug-in makers I personally really have respect for.
The Waves plug-ins are the absolute biggest rip-off in ALL of consumer computer software. There has never been a bigger ripoff in mankinds history. Well, at least its the biggest ripoff ever surrounding Audio, and thats for damn sure.
I must say, Ozone is one incredible suite of mastering tools and has a HUGE amount of flexibility. Used the right way, Ozone sounds amazing and can add just the right amount of air, ambience, space, warmth and presence to an already decent mix.
I tend to use it in linear phase mode most of the time, preferring to get the "character" of non linear processing from the channel strips in the mix rather than the master buss but that is just my normal personal method. I haven't had Ozone all that long though so I will be experimenting with the hybrid and analog modes more as projects call for it.
Overall, from a professional mastering perspective, two BIG thumbs up for Ozone!
You can bypass all the cab crab (as with other plugs) and just use the distortion algos. But where Trash is diff is that there are like 40 dist algos based on the types of distortions that exist. GR and amplitube make everything sound like a guitar basically, trash can be used a lot more subtly and I'd compare it to a saturator plug before a guitar plug, which it does guitar well too. I bought it just for loud distorted sounds, because it sounded better than all the other stuff at the time, I don't like the big sound all the time, I like focused distortion, and trash was doing that a long time ago.
Just check it out, and only use the distortion portion of it, turn everything else off. It's just like Ozone so you'll know how to use it.
Haven't gotten very deep with Alloy just yet, but I'll make sure to read the manual and look into the aforementioned technique.. I just think they really did a great job with the presets. I usually start with a preset I like, cycling through them with a click of bypass in between to clean up my hearing palette.
I'm really surprised at how small the Ozone/Alloy user base is. I suppose it makes sense, considering how many plugs are out there.
I agree, but it's not just Ozone, it's all plugs! :P
And of course you want to focus on making better mixes, but the bottom line is, a mastered "sound" does not come from a great mix. That's why there's mixing, then there's mastering -- and mastering is where you can turn a great mix an amazing mix.
And in the end, if it sounds good, it IS good right?! :D
http://www.izotope.com/products/audio/ozone/OzoneMasteringGuide.PDF
Izotope provides excellent documentation and manuals that actually have a LOT of top-drawer information on mastering in general and using Ozone to follow mastering principles.
Hmm I was curious about Trash -- I already have Amplitube and Guitar Rig though but I suppose it wouldn't hurt to run a demo of Trash. They really could've picked a better name for that plug.. lol :P
And ya Larry, I agree with you regarding the easy "flavor" tweaks you can make now in v4! The UI is one of the best I've used in a plug although I have heard from others that it can be straining on the eyes.. I don't think so personally though. I think it's great and intuitive and user-friendly.
I give Ozone a 10/10 for usability, quality, features and price of entry.
http://www.rhythminmind.net/presetblog/2009/03/digital-eq-fact-myth/
bypass all the saturation tweaks on the EQ. I'm sure it's just like any other EQ
I like the Ozone 4 limiter, I really really like it, it's always finishing my mastering chain. And, the Alloy compressor sounds really clear for me, so, for that, I already like Ozone and Alloy, but, I think that both equalizers are just crap...
http://www.rhythminmind.net/presetblog/2009/03/digital-eq-fact-myth/
bypass all the saturation tweaks on the EQ. I'm sure it's just like any other EQ
Yeah I've already figured that out already... Sure there's an "easyness" stuff envolved on this... Anyway... I don't like the lack of "options" on Ozone EQ's, I've found confortable on using DMG Audio Equality for some final mastering adjustments...
Amen brother. Look around the forum, there's an almost knee-jerk reaction that the solution is always going to be a plugin.
A plug-in is only part of the solution but in that same regard, shouldn't be dismissed as a solution entirely. If you look around the forums, you'll notice there's a contrasting knee-jerk reaction people have -- that plugins are not the solution. Well, I guess we have common ground in that, as much as you tire of people hailing plugs as the "fix" for everything, I'm similarly growing tired of people dismissing plugs entirely. It's very parallel to the attitude that gear is not the solution, but instead, it's proper recording techniques(microphone placement, the performance, etc). But we all know, gear is a significant variable to the summing result.
In that sense, these types of remarks don't really add anything of substance to threads -- if anything, it may come-off as an "elitist" persona which I've experienced quite a bit in other forums. And of course everyone's entitled to their opinion and this is only my honest opinion on the matter. ;)
And I hope you don't take any offense at my response and understand where I come from is not ill-intentioned whatsoever.
ReaEq is an amazing EQ. I was talking to my friend last night about Reaper and he's a Pro Tools veteran, showed him some of Shan's screenshots of "Rea Tools" skins, menus, cursors, etc... and he d/led and installed Reaper (in 30 seconds mind you lol) and was absolutely stunned at how much it has changed in a year's time.
He'd seen Reaper around a year ago and it sort of fell of the radar, but he remembered it was a great "little app" for recording, etc.. he installed it on his father's computer back then. Also, in that time, it's been ported to OSX, which is a plus for him.
Anyway, I told him to check out the ReaPlugs and he was pleasantly surprised by the ReaEQ. Just the ability to create as many bands and set the shelf.. no hassle, no confusion. Just straight to the <3. :)
I must say, Ozone is one incredible suite of mastering tools and has a HUGE amount of flexibility. Used the right way, Ozone sounds amazing and can add just the right amount of air, ambience, space, warmth and presence to an already decent mix.
I tend to use it in linear phase mode most of the time, preferring to get the "character" of non linear processing from the channel strips in the mix rather than the master buss but that is just my normal personal method. I haven't had Ozone all that long though so I will be experimenting with the hybrid and analog modes more as projects call for it.
Overall, from a professional mastering perspective, two BIG thumbs up for Ozone!
+1 It's great hearing a testimony from someone who's been mastering for so long. I did quite a bit of research on Ozone before I made the plunge. I mainly wanted to make sure I wouldn't eventually "outgrow" Ozone as I evolved my craft. The general consensus was that in the right hands, Ozone can be an amazing tool with endless applications. :)
Its OT... but even though straight digital EQ's can seemingly all be made to null some are just easier to use than others. Interface becomes a major issue. I'm not a fan of the Ozone interface. Its not horrible just kinda annoying. It looks like a video game from the 90's [anyone remember syphon filter?].
That said I only primarily use digital parametric EQ's for filters and surgery (notching resonances). For general shaping I MUCH prefer the "analog" console/program type EQ plugs. They get me to the sound in my head WAY faster than dicking around with a graph. I'll plug in say 1973, BootEQ or pushtec on the free side, spin some knobs and if they don't get the right sound fast I pick another one.
There's something about the limited choices of bands and frequencies that just WORKS. It was an epiphany the first time I plugged one of these on a kick track. I had been trying to dial it with reaEQ and IIEQ pro for like an hour and got better results with 1973 in 30 seconds.
....not only that, a friend of mine who is the front man of a band explained to me a few days ago that these days, studios tend to bounce mixes down to MP3 format to listen how it would sound when downloaded from iTunes !!
LOL
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That said I only primarily use digital parametric EQ's for filters and surgery (notching resonances). For general shaping I MUCH prefer the "analog" console/program type EQ plugs. They get me to the sound in my head WAY faster than dicking around with a graph. I'll plug in say 1973, BootEQ or pushtec on the free side, spin some knobs and if they don't get the right sound fast I pick another one.
There's something about the limited choices of bands and frequencies that just WORKS. It was an epiphany the first time I plugged one of these on a kick track. I had been trying to dial it with reaEQ and IIEQ pro for like an hour and got better results with 1973 in 30 seconds.
Exactly... That's why I like too much Waves SSL and API, in fact are the only Waves stuff I own, along with Reinassence that I've bought long time ago. Is like, put the channel strip there, turn the knobs ( I personally even close my eyes or turn the vision sight to elsewhere ) and that's it. Is sounding great !... I even joke that those API-550B equalizers have little Oompa Loompas inside of it... Anyway... it is OT... lol...
I'm still voting that:
- Ozone / Alloy Eq is crap
- Ozone Loudness Maximizer is WOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOW
- Alloy exciter is kinda cool
- Alloy dynamics is almost cool
- Alloy transients are not good as should
This transient stuff... I prefer stuff like Flux Bitter Sweet... far simple...
Anyway, taste is taste...
This are my votes... The only bad thing I hear about Ozone and Alloy is that people are some lazy people like "Aaaaaaw, there are plenty of presets for mix and mastering..."
I spent a lot of time evaluating these and I have a big problem with the presets for the simple reason that they stop me from having to think critically about the track or full mix I am working on.
I asked myself, "Do I really want to choose '3-Band Rock Master' tweak a couple knobs and walk away, or do I want to listen very carefully to a track and identify only the specific things it needs? What is going to teach me more and make me better at mixing and/or mastering material?"
On one particular track I am thinking about, I spent a full day and a half on the master bus auditioning several EQ's, compressors and limiters to get the full, punchy, deep, dynamic feel that I wanted from a song. A couple days later, I downloaded the Ozone trial and I was able to get a very similar effect within an hour by flipping through presets and setting a couple thresholds. I prefer and will continue to use the first method without hesitation.
Some may respond that the presets are not required and that I can use each of the individual components as I see fit in the same way I use the individual plugs. The problem there is that none of the individual components would be my first choice, save for perhaps the limiter, which is very, very good. Not worth the price of admission though.
I would rather build my own 'channel strip' or 'mastering bus' based on the individual components that critical listening tells me to use, and have choice of which components I want. The best thing about this is that when I find a combination that works really well for a feel or sound I am going for, using the plugins I chose, I can create an FxChain from it and recall it at any time. 'Kindafishy 5-band, lightly SSL compressed, polyformed with a touch of Bootsy Ferric master' preset for me.
Ferric 1.5 came out on the variety of sound website the other day, by the way!
I must say, the SSL G series EQ (watch the HF knob though!!) and comp are amongst my faves for channel use (pity I can't get the GUI working on those in Reaper 64) and so too is the Renaissance stuff, especially the REQ and RBass. Have you ever tried RBass on kick drum and bass guitar? Try starting with the frequency at around 55 Hz, pull the intensity back to around -10dB and the gain back to -4dB or so then add your gating, compression and EQ. Can you say fat and warm?!! :D
Oh, and RBass sounds great on a stereo aux return for toms for that extra warmth.
......This are my votes... The only bad thing I hear about Ozone and Alloy is that people are some lazy people like "Aaaaaaw, there are plenty of presets for mix and mastering..."
Blah....presets.... I messed with them for about five mins then just reset everything and went full manual ;)
Well, I'm certainly not Bob Katz.... he's had quite a few more years experience than me though but I am quite critical and somewhat a perfectionist when it comes to audio.
Waves linear have been my primary go to tool for the last few years but, to be honest, Ozone is really making me rethink that. I know not everyone agrees and it all comes down to personal preference but I love the control I have over all aspects of a mastering job with Ozone(not just stereo dynamics, EQ and phase).
I personally love the interface and find it very intuitive and responsive.
Each to their own though I say..... oh, and as long as the clients are happy and return, all is good. Then my bills get paid!! :)
And part of the reason why the user base is small just might be that there are a number of possible (or former, like myself) users who do not wish to deal with the problems caused by the Izotope/Ozone digital rights management challenge-response activation that treats them like criminals and actually endangers their work as well.
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If I ever spend a day on the master buss then it has to be something that I'm either getting paid a lot of money for I'm just being overly analytical. Matter of fact just based off normal working conditions, never seen anyone spend 1 day on 1 facet of a task (at the stage we're talking about).
As for not liking presets, I say bring on the presets. I'm usually gonna tweak it a little anyway, since I'm not a computer user making music. I'm a producer making music. Plus, last I checked, input from other people can be a good thing. That's how I take presets. Opinions from other ears that may or may not work for me. And they're quick, and heaven forbid I don't use reaper all the time, or I just wanna click six buttons to dial in a sound I know fits for what I'm doing. Ozone / Alloy / Trash / Spectron / Izotope's Noise Reduction / Izotope just gets my nod for Job well done on ALL fronts.
SSL makes something like this,
http://www.solid-state-logic.com/music/xlogic%20x-patch/
Is a CM 64 one of those? If so, I'm getting one ASAP. If not, can't do it
Well, I'm certainly not Bob Katz.... he's had quite a few more years experience than me though but I am quite critical and somewhat a perfectionist when it comes to audio.
Waves linear have been my primary go to tool for the last few years but, to be honest, Ozone is really making me rethink that. I know not everyone agrees and it all comes down to personal preference but I love the control I have over all aspects of a mastering job with Ozone(not just stereo dynamics, EQ and phase).
I personally love the interface and find it very intuitive and responsive.
Each to their own though I say..... oh, and as long as the clients are happy and return, all is good. Then my bills get paid!! :)
SSL makes something like this,
http://www.solid-state-logic.com/music/xlogic%20x-patch/
Is a CM 64 one of those? If so, I'm getting one ASAP. If not, can't do it
Yeah. It is basically a programmable router / patch bay with 32 ins and 32 outs, all balanced, on DB25 connectors. Input and output levels can be programmed for positive or negative gain. It is midi controllable and can be controlled from the MotorMate too.
It is not designed for mic level signals though, only line level (-10 or +4dB) but it's signal path is about as transparent as you can get.
If you do decide to get one, tell Carl that Dannii (from Australia) sent you ;)
Are you saying I can't plug my mic into a DB-25 break out box that accepts TRS cables and have phantom go through the CM 64 to the mic in question.
You know what, it's SO confusing I don't think it'll work for me. I want to use it as input to DAW, and as my patch bay for inserts to my outboard. But how am I gonna plug a mic into the Pre's without messing around with the back of the pre? Which will be in a rack patched into the CM 64?
Man! Confusion. But I can see this or the SSL being very handy, SSL is like 1800 or something. I think the CM is cheaper and WAY more channels.
Yeah. It is basically a programmable router / patch bay with 32 ins and 32 outs, all balanced, on DB25 connectors. Input and output levels can be programmed for positive or negative gain. It is midi controllable and can be controlled from the MotorMate too.
It is not designed for mic level signals though, only line level (-10 or +4dB) but it's signal path is about as transparent as you can get.
If you do decide to get one, tell Carl that Dannii (from Australia) sent you ;)
Are you saying I can't plug my mic into a DB-25 break out box that accepts TRS cables and have phantom go through the CM 64 to the mic in question.
You know what, it's SO confusing I don't think it'll work for me. I want to use it as input to DAW, and as my patch bay for inserts to my outboard. But how am I gonna plug a mic into the Pre's without messing around with the back of the pre? Which will be in a rack patched into the CM 64?
Man! Confusion. But I can see this or the SSL being very handy, SSL is like 1800 or something. I think the CM is cheaper and WAY more channels.
From what I can see on the SSL site (reading their spec sheets), the X Patch doesn't accept mic level either. Also, from their FAQ section.....
Question
Does +48v phantom power pass through X-Patch?
Answer
No. X-Patch’s input circuitry blocks phantom power. We do not recommend that you feed X-Patch with
phantom powered sources.
Your best bet, in my opinion, is to hard wire a front rack panel with XLR inputs for your mic pres and have it permanently patched to their inputs. Then, use the router for patching changeable things like the outputs of your pres and other outboard gear to your desk / DAW i/o and monitors.
edit - I just noticed one thing the SSL doesn't do that the CM 64 does do....
Question
Is it possible to route a source to multiple destinations?
Answer
No, X-Patch cannot act as a distribution amplifier.
The 64 can route an input to as many outputs as you want. It won't act as a mixer though (ie, the other way around routing multiple INPUTS to one OUTPUT)
As of right now I just use my TRS patch bay and go XLR to TRS, takes phantom and all. But recall of all my other stuff !!!!!!!!!!!!!!!!! That would be heaven. I'll have to look into it a lot more over time. Thanks, that was a good help for right now.
From what I can see on the SSL site (reading their spec sheets), the X Patch doesn't accept mic level either. Also, from their FAQ section.....
Your best bet, in my opinion, is to hard wire a front rack panel with XLR inputs for your mic pres and have it permanently patched. Then, use the router for patching changeable things like the outputs of your pres and other outboard gear to your desk / DAW i/o and monitors.
As of right now I just use my TRS patch bay and go XLR to TRS, takes phantom and all. But recall of all my other stuff !!!!!!!!!!!!!!!!! That would be heaven. I'll have to look into it a lot more over time. Thanks, that was a good help for right now.
Maybe you can continue to use your TRS patchbay for the mic inputs and use a 64 for everything else?
Or you're* at the stage where you are learning, focusing, analyzing and soaking everything up like a sponge because you consider yourself a student of the arts of mixing and mastering music. At this stage, there is a very compelling argument against picking a preset and turning a couple dials if one of your goals is to learn and understand.
*I don't mean 'you' as in larrygates 'you', I mean in the general aspiring engineer 'you', if you get what I'm saying.
the word you're looking for is 'one' instead of 'you' for some reason people have stopped using that, but it's actually really useful. whenever one says you it often gets confused with you in the personal way rather than general. i guess saying 'one' sounds a little snobbish but i've gotten over that it's practical. same with y'all. practical but sounds hickish, there's no other real way to say you in teh plural as in talkign to a crowd. english is retarded sometimes.
I use "one" - one should always use "one" when one needs to express their views to every other one.
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LOL well played RugMan! :)
Alloy is hands down the best 'channel strip' I have ever used. I also have Trash and Spectron. The morph module in Spectron can really mash some sound up, and I really like the delay unit too.
Trash, well.... what can I say. Run a little audio through that, and the neighbors have a fit. :D
http://cheapestlegalsoftware.com/product.php?prod=20163
http://cheapestlegalsoftware.com/product.php?prod=20163
How do they do THAT legitimately?!! :eek:
It mentions how they do it in their FAQ's... amazing if it is legit,... looks like they have some other audio soft also at ridiculous prices...Sylenth1 for $30? Crazy!
here is more... http://cheapestlegalsoftware.com/products.php?cat=misc
Nevermind the cheap $50 pricing listed above.
I would gladly pay $350 for Ozone new (or $150 for an upgrade - which is my situation since I already own an older version), if they would simply get rid of that awful challenge-response activation garbage!
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Nevermind the cheap $50 pricing listed above.
I would gladly pay $350 for Ozone new (or $150 for an upgrade - which is my situation since I already own an older version), if they would simply get rid of that awful challenge-response activation garbage!
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Not sure what challenge/response activation you're talking about..? Activation was pretty painless for me, can you elaborate what is such a pain about the process?
I don't see how it could be legit -- let's count the red flags, starting on their FAQ page ( http://cheapestlegalsoftware.com/faq.php ):
----snip----
Will I receive sealed software?
No, this is how we pass on savings to you, because your not paying for a fancy box and manuals, you will receive the install CD and an activation key, serial number or CD key necessary to activate your software. You will not always receive original CD's. For example, say a corporation purchases 500 copies from Microsoft, Microsoft wouldn't send 500 disks-that would be silly. Now if we purchase say 100 leftover copies from this said company, we would only receive 1 Master CD and a list of 100 keys that were left over, so sometimes we must make copies of the install CD's. But this doesn't mean your keys aren't completely legal.
<Fester2k note: they didn't say it's legal, they simply said that the manner in which they're distributing it "doesn't mean your keys aren't completely legal">
----snip----
Should I call the Manufacturer if I'm having problems or you?
Please do not contact the manufacturer for install issues, we provide the support for all install problems. Also if you need to register the software do it thru the program itself after it is installed, do not register thru the internet or phone as the product you just purchased is OEM and must be registered thru the software. If you have any other problems, let us know and if we feel it necessary we will refer you to the manufacturer, since we sold you the software, we are your source of contact-not the manufacturer, Thanks!!
<Fester2k note: do you really need me to explain the dangers of a software company telling you *not* to contact the OEM???? Also, I don't mean to sound like a grammar nerd, but the constant use of misspelled words and casual vernacular (e.g. "thru") to me is a sure sign of a hack business>
----snip----
What do I get when I order something from you?
You get the full version of your software, you will receive everything require [sic] to run your software, usually this includes your set up files and a set of setup and install instructions.
Fester2k note: again, grammar/spelling police here -- the lack of any reasonable attempt to edit the work is inconsistent with the idea of a legitimate business enterprise.
----snip----
I am leery, How do I know this company is Legit?
We have been in business since August 1 , 2007, and on the Internet since February 1, 2008. Our credit card processor would never allow us to continue to use them if we are anything but Legit. We also suggest if you are still weary, than please order something inexpensive first, and come back to us when you are happy with your purchase!! We have over 10,000 successful internet orders and over 2,000 mail orders and over 7,700 of those are repeat customers.
<Fester2k here: absolutely false re credit card processor not allowing anything but "Legit." Note, too, that they've invented a non-word that someone probably thinks might insulate them from a false advertising claim (highly, highly unlikely IMHO)>
Cheers,
Fester2k
That said I only primarily use digital parametric EQ's for filters and surgery (notching resonances). For general shaping I MUCH prefer the "analog" console/program type EQ plugs. They get me to the sound in my head WAY faster than dicking around with a graph. I'll plug in say 1973, BootEQ or pushtec on the free side, spin some knobs and if they don't get the right sound fast I pick another one.
There's something about the limited choices of bands and frequencies that just WORKS. It was an epiphany the first time I plugged one of these on a kick track. I had been trying to dial it with reaEQ and IIEQ pro for like an hour and got better results with 1973 in 30 seconds.
Lol. Its totally Siphon Filter. Funny you went there. *cough* loved it..
Thanks for the examples that you like to use as well. Im yet to check those out.
*See "Bulletproof"
;)
Well said, is all. It'll be a while until im out of that stage myself ~ not sure we all leave it till we have an ultra-cush job as an ME after having produced countless, and I mean countless, recordings. Such a long road indeed...always listening and rarely content.
I quickly ruined a mix some years ago, I was thrilled by the exciters and the multibands and everything and all sounded so much better instantly... until I listened to it again the next day (and it was too late).
I think that amateurs should have only the basic (so called) mastering tools (limiter, eq, maybe a subtle coloring fx). We really should focus on making better mixes.
Yeah I agree Evan. Some people develop pluginitus where they think the only reason their mix doesn't sound how they want is because they don't have the right plugin. This can lead to them not developing their mixing skills properly because they always think it's essentially not their mixing that needs developing further. They're always thinking "if I just had such and such a plugin".
Then they get some mastering plugin and whack it on the output and don't notice that the levels they spent ages getting just right have all gone haywire. They compress it to high hell and think it sounds great but don't even notice that the dynamics have been ruined or the guitar they carefully made standout in the mix is now buried. It's quite funny really, but because it's a plugin they're convinced it sounds better.
For the beginner it's much better to develop basic mixing skills until you can produce a really good mix with EQ, compression and a half decent reverb. If you can't then something is wrong. The Beatles would've died to have the functionality of something like Reaper and look what they produced with very limited equipment. Alloy seems a little CPU heavy for my tastes. You can put a Waves compressor and 8 band EQ on a track with half the CPU usage of alloy.
Guys....Im so glad Im not the kind of bad-person who could ever think this kind of statement up.
Read that shite. Its genius. Pure genius from the Dark Side. Is the glass half empty, or half full? Are your keys completely NOT legal, or does it mean your keys ARENT completely legal? hahaha
Wow. This guy should be a lawyer.
Thanks for checking into it, much appreciated...
Then they get some mastering plugin and whack it on the output and don't notice that the levels they spent ages getting just right have all gone haywire. They compress it to high hell and think it sounds great but don't even notice that the dynamics have been ruined or the guitar they carefully made standout in the mix is now buried. It's quite funny really, but because it's a plugin they're convinced it sounds better.
For the beginner it's much better to develop basic mixing skills until you can produce a really good mix with EQ, compression and a half decent reverb. If you can't then something is wrong. The Beatles would've died to have the functionality of something like Reaper and look what they produced with very limited equipment. Alloy seems a little CPU heavy for my tastes. You can put a Waves compressor and 8 band EQ on a track with half the CPU usage of alloy.
The same could be said about gear. ie. Pres, Microphones, etc.
The bottom line is -- there are many variables that come together to create the end sound.
The instruments, musicians, cables, room acoustics, microphones, preamps, A/D D/A converters, monitor speakers, mixing technique, plugs/hardware, mastering technique and so on.
I think the main thing to highlight is not just "pluginitis", but being aware of where the bottleneck is. And it could be in the mixing technique/skills or it could be at the source, a crappy performance. And it could be at any one of the variables mentioned.
The bottom line is -- there are many variables that come together to create the end sound.
The instruments, musicians, cables, room acoustics, microphones, preamps, A/D D/A converters, monitor speakers, mixing technique, plugs/hardware, mastering technique and so on.
I think the main thing to highlight is not just "pluginitis", but being aware of where the bottleneck is. And it could be in the mixing technique/skills or it could be at the source, a crappy performance. And it could be at any one of the variables mentioned.
+1 to this. Good post.
here is more... http://cheapestlegalsoftware.com/products.php?cat=misc
The website doesn't even say where the company is located.
This is warez...
I had a laugh at them though, selling an old version of Ashampoo Burning Studio while the new versions are available for free by now.
or this one :
Eset NOD32 Antivirus 3-Unlimited x64only
full version, not upgrade or academic
Our Price: $99.99
Retails for: $39.99
Savings of: -150%
LOL
But we've got lots of different compressors and eq's already in Reaper, and lots of good effects from wave shaping etc, choruses and everything.
So, I give a good review for the book, "Reamix-breaking the barriers with Reaper" Its a great book, only around 13 dollars for the download version.
I'm still thinking that with Reaktor by Native Instruments, I may be able to do everything that I need to with Mixing Mastering, since I already have put so much time and some money into that.
But after demoing SPL's transient software, no other transient plugins seem to have the kind of technology SPL has. Just not as instant and precise control. So I may invest in SPL before Izotope.
But... I did notice that Berklee Music College uses Izotope for their Mixing and Mastering course, so thats probably a big plus for Izotope, because the Berklee people are definitely knowing how to get results.
That's interesting -- I didn't know that Berklee used Ozone for their course. Thanks for sharing that. :)
And the Reaper books are FANTASTIC aren't they? I've read a lot of books on Pro Tools and they've always been so dry, like the person writing the book didn't even use the product.. but Geoffrey Francis' writing style is so natural and you can really tell that he loves Reaper.
generally the sonnox eq, and dynamics or limiter plugs. or the stock plugs in samplitude if i opt to mix there.
Another GREAT one is Trash. Both for a guitar amp (not so much the cabs) but the distortion is at home on ANY channel. I don't care where it is in the chain. I'm sure it's static distortion and not dynamic, but there's SO many options and SO many tweaks within each algo that it's retarded. And it's multiband if you like.
+1 on trash. another excellent plug.
This is waht their website says to do:
If you've overwritten or deleted one of your factory presets, these steps will help restore the original settings:
1. To replace your original preset file, you can run the latest installer for your iZotope plug-in.
This will replace any lost or outdated files, but is designed to leave all of your other plug-in settings and files intact.
2. If you've overwritten a preset, you may need to rename, move, or delete the modified preset before proceeding.
The preset will be stored on your hard drive as an .XML file. For more information on finding your preset's .XML file, plase go here.
After locating the modified preset's .XML file, please rename or delete the file, or move it to a new location, to make room for a new copy of the original preset.
<< backMy apologies, it is a single-click, and then click OK. After saving the edit, this brings the preset back to default.
In that sense, these types of remarks don't really add anything of substance to threads -- if anything, it may come-off as an "elitist" persona which I've experienced quite a bit in other forums. And of course everyone's entitled to their opinion and this is only my honest opinion on the matter. ;)
And I hope you don't take any offense at my response and understand where I come from is not ill-intentioned whatsoever.Very good point, I just never notice the opposite so much. No offense taken whatsoever. We are free to post these types of remarks, regardless of one's opinion.
The bottom line is -- there are many variables that come together to create the end sound.
The instruments, musicians, cables, room acoustics, microphones, preamps, A/D D/A converters, monitor speakers, mixing technique, plugs/hardware, mastering technique and so on.
I think the main thing to highlight is not just "pluginitis", but being aware of where the bottleneck is. And it could be in the mixing technique/skills or it could be at the source, a crappy performance. And it could be at any one of the variables mentioned.
I agree DeyBwah but I think many people especially beginners think that their mixing skills are much better than they are and they just need the right plugin to make it sound like the pro's. In other words they think their mixing skills need no further development and any shortcomings are just the lack of the right plugins. They turn their attention away from learning to produce a great mix with limited gear towards always looking for that elusive plugin thats gonna turn them into a world class engineer. They would probably be better off spending their money on a top quality microphone and some books on mixing and such like rather than thinking that they have reached their limit as far as mixing skills go. As I said it's quite possible to produce superb recordings with quite limited gear. The secret is quality of gear over quantity. Plugins tend to produce a quantity mentality.
I'm sort of alluding to recent comments by people like Bob Dylan that modern recordings sound crap. Part of that is to do with overuse of certain mastering plugins to produce as loud a mix as possible. This has the side effect of ruining dynamics and the sense of space in a mix. It's a case of we can do it so lets do it and not worry about the effects on sound quality. Many of these modern mastering plugins produce music that creates high levels of listener fatigue because the sound lacks dynamics and is constantly full on. I was surfing youtube not long ago and came across a recording of House of the Rising Sun by The Animals. As soon as it started I though oh my God that sounds bloody wonderful. The space and vocals were just marvelous and this wasn't even CD quality. It hadn't been ruined by over zealous mastering.
I was guilty of this exact scenario when I started out. My mixing skills were dodgy and anything that came along that promised to 'make you sound like a pro' got some money thrown at it. It took a while, but I learned that I need a whole lot of practice, and a few good tools to get it done.
I'm sort of alluding to recent comments by people like Bob Dylan that modern recordings sound crap.
Well, Bob Dylan would know, as everything he has done sounds like crap.
True for most of his earlier work but some of his more recent work actually sounds quite dynamic and is very well produced.
The "problem" with Ozone, and any full-featured mastering powertool, is that it may put too much power into too "small hands". It's very easy to make a mix sound instantly better with Ozone. Exciter? Stereo enhancement? Multi-band? Bass boost? Reverb? Wow! Mix sounds like garbage the next day you hear it with fresh ears. That was my experience when I didn't know any better.
But if I did know better (and now I do), I could probably use Ozone wisely with great results.
(cynicism attempt) it's no big deal however, some mixes do deserve to be ruined :D
...and Berklee is pretty much right across the river from MIT...oh Mass Ave, how I miss thee.
I put Ozone at the start of my effects chain on a chain of mine Ive used for many songs. One of my best "go-to" chains. Ho-leeee shit. I might just have to post a clip of a before and after so you guys can hear. Its rather amazing. Ozone for some reason, made everything in the stereo image A LOT more separate and in their own little niche. Im gonna prepare some like 10-15 second clips for ya....you should hear this.
I put Ozone at the start of my effects chain on a chain of mine Ive used for many songs. One of my best "go-to" chains. Ho-leeee shit. I might just have to post a clip of a before and after so you guys can hear. Its rather amazing. Ozone for some reason, made everything in the stereo image A LOT more separate and in their own little niche. Im gonna prepare some like 10-15 second clips for ya....you should hear this.
LOL :) I just pictured you almost spitting your beer all over your monitor last night. :D
All things powerful in life can be used for evil in the hands of an amateur. That I agree with 100%.
(Nifty little splash screen included - got a little upload happy - goes with my Ras2 theme avail. at Stash)
(Nifty little splash screen included - got a little upload happy - goes with my Ras2 theme avail. at Stash)
Sounds like Ozone's capability in capable hands. Definitely an improvement and no sign of destroying the mix in any way. The stereo image is much cleaner and sounds like just the right amount of excitement. Nice work Cricket.
Well, meant to fade it after the vocals for one thing :P The other, if you think thats an improvement on the guitar then thats great and I appreciate the feedback. Its almost "exciting" the hell out the little bit of reverb thats on the guitar which is a concern. My set-up is kinda of conveying that. I never use the reverb in Ozone so its not from that. If your speakers will convey that, now it might be all ya hear ~ lol, sorry if I spoil it. But its good to know that the listener may like that and want that. Cheers.
Definitely heard the verb on that guitar and I think it suits the mix well. Did you track this band as well as mix it?
Ahh, very appreciated, DeyBwah, but thats no band. Thats all just me. Ive done every single note from the very ground up, no loops etc. Just Reason 4 and Reaper and Audition 3. Ive only back into recording music for almost a year after not recording anything for like 5 years. I got Reason 4 a year ago next month. Ive got a ten song collection im in the process of doing all the final edits and mixes and it'll all be done. Phew...lots of work. Theyre big mixes to tame :P
(Nifty little splash screen included - got a little upload happy - goes with my Ras2 theme avail. at Stash)Nice work. Indeed you are very good, and I too, like the reverb: care to share?
The first most remarkable thing I noticed, is that the Ozonated version it is louder. For a apples-apples comparison, activate the "automatically match effective gain" feature of Ozone, on the options I/O tab, to reduce the likelihood of it sounding better based on volume alone...
Nice tip, thanks.
.
.
Ya! I was just about to post that but Ill agree instead :) I'll certainly dig for that.
The reverb ill also check but Im pretty sure its ~ no, ill have to check :P Back later...
EDIT: Ahh, as I was afraid. Its the reverb from my Behringer K1800FX amp - its a keyborad amp, but those are often the best for electric-nylon string guitars as whats in that clip. Its totally a good 'verb which is why I record with it barely on, or as I try to. Certain harmonic exciters and whatnot can really exaggerate certain effects as we can kinda see here, which is why its tricky and ill-advised to record 'with' things like reverb on. But again, good to know ya like it that way.
I also found that setting in Ozone and Ill be damned - ive never heard of it or saw it :/
The reverb ill also check but Im pretty sure its ~ no, ill have to check :P Back later...
EDIT: Ahh, as I was afraid. Its the reverb from my Behringer K1800FX amp - its a keyborad amp, but those are often the best for electric-nylon string guitars as whats in that clip. Its totally a good 'verb which is why I record with it barely on, or as I try to. Certain harmonic exciters and whatnot can really exaggerate certain effects as we can kinda see here, which is why its tricky and ill-advised to record 'with' things like reverb on. But again, good to know ya like it that way.
I also found that setting in Ozone and Ill be damned - ive never heard of it or saw it :/I thought the 'verb would be a shocker. Feel around the M/S capabilities of Ozone4 too, some amazing improvements may be had, especially in the dynamics and EQ sections. It is very powerful to EQ and compress the Side component seperately. Also, soloing the Mid component is an excellent tool for mixing levels.
Hot damn! Well you should be really proud of yourself, excellent musicianship all across the board. I also play everything so thanks for the gust of wind in my sails. ;)
And for just getting back into recording... really nice work man. Home stretch on your 10 songs! All tracked and just mixing/mastering left? Is this your first CD? I'm still early on in my process, still songwriting at this point.
It's nice to see someone on the same path, feel free to mention any ditches or rocks in the path. :)
The first most remarkable thing I noticed, is that the Ozonated version it is louder. For a apples-apples comparison, activate the "automatically match effective gain" feature of Ozone, on the options I/O tab, to reduce the likelihood of it sounding better based on volume alone...
When I activate that, the non-Ozonated playback clips like crazy.. any tips on that?
I lower the output instead to match it with the bypassed/input signal 1st... Then 1nce everything is cool i adjust the output level to my liking
Great tips Bubba, and thanks for sayin what ya hear. But, haha, getting a grip on those aspects, more thwack and less "floaty vibe", is hard, thats for sure. But its great info. The center channel eh? Maybe im spreading things out too far. Certainly not a final version of the song, it was just a wow moment I thought Id post. The bass is a bit much. Tubby kick eh? Ill totally load that session back up and listen to the kick and the low end with the "this is too much" notion in mind. Appreciated :)
i dont know if this might interest you..
but i'm a bit of an experimenter.
ive had a plug in called freeamp for quite a time.
now its "supposed" to be for "guitar traks".
however by accident awhile back i had just done a vocal trak ,
and instead of plugging it into a geetar trak ,
i accidently inserted it on the voc trak. i sorta went "huh ??" ..holy moly it added some vintage character to the vocs.
btw my fun is doin vocs in lots of different music genres
from old croon thru mor thru hard rock etc etc.
so i do a ton of voc traks.
so then i started ponceing about with it on other traks, eg synths or whatever.
(there are a slew of params/fx in freeamp so ya got lots to tweak.)
i know this sounds "weird" approach...but my degrees in physics,
n one thing i know is there are no rules.
so then i thought to myself.."wait a minute you dumbo"..meaning me..
reap also has its own guitar stuff plug ins included from way back.
so then i started experimenting with those too on non geetar traks.
now i'm no big time AE..just a songwriter/lyricist/vocalist, and i cant afford all the big name plug ins lots of big studios use..
but ive had quite a blast experimenting in the above fashion..
in fact ive got some intersting results ..like getting older
what some call "vintage sounding vocs" a la 50's from booning around like this that some people spend on very expensive vintage plug ins.
(i refuse to buy any products with dongles outboard etc etc.)
now heres the neat thing to try.
if you say duplicate the vocal trak...and put the geetar cab emulation
on the dupe..and keep the original trak clean no fx..you can of course vary "how much" fx you want on the vocal by useing the tcp fader settings on the original dry voc and the guitar cab effected vocal.
so this way you can decide how much effect ya want on the voc.
ie..less or more.
just as a final note sometimes i also slip the duplicate forward in time
a few milliseconds. its very time consuming experimenting in this fashion..
and sometimes one gets a "that sounds like junk" result..but by playing around with freeamp parameters n reap plug ins..sometimes ya get something
interesting.
just some ideas to experiment with without spending any money.
cos freeamp is free, as are the built in reap plug ins.
next once i get time i might experiment with the mcfly
geetar plugs ya see mentioned on these forums for vocs etc etc.
i'm a fan of thinkin outside the norm and lateral thinkin..lol..
god bless.
Take what you're doing now, and just apply the stomp box efx etc . . . to only the high end or low end of the vox track. You'll find you'll get a lot more intelligible sound doing it that way. Meaning you can still understand what's being said, and have the character you're looking for in it's most effective range.
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