Great. Love your channel. You did me more confident about these huge EQ curves that made me feel like I was doing something wrong, but it wasn't that far off. I also love the "low focus" because since I like crispier, more modern maximiser, but It tends to make my kick too dry, and I find that just putting the Low Focus at smooth without changing the gain just rounds up that kick a bit.
I'm very limited in my experience so these are great tutorials. I recently purchased Ozone 9 and I am just now getting into it. Thank you for putting this video together. It really sheds a lot of light on each of the parts of the module and how they act upon the track. With regards to what you have done to the third track - what I am hearing is that the original sounds 2 dimensional and, after your mastering, it sounds 3 dimensional. There is so much more depth that you created to the track. I wish I could get to that level someday. Thanks again for all your videos.
I love you for this sentence “ there is no wrong or right eq curve , it depends what makes sense to the song” I have Ozone 9 Advance and your video is motivating me very much, to work more with this fantastic tool. Thank you 🙏
I’ve used Izotope products for years, and recently upgraded to Ozone 9. More than watching how Justin uses the modules, etc.... I’m always learning from Justin’s amazing skills on how and what to listen for. Thank you!
Thanks very much for an excellent tutorial! One small non-mastering comment, I recommend setting focus manually on your wide angle camera, when you bring your hands in to the frame the camera starts hunting for focus and it's noticeable especially in the background. Liked and subbed and yes I'd like to see more like this!
Hey Justin! I was wondering how Ozone 9 would be used for making SFX that don't have a mastering stage? Maybe there is a way to levelmatch and tonematch, so the soundeffects get the same volume and feel?
Short answer? Absolutely, yes. When building SFX and sample libraries it’s a good practice to shoot for a common average level across all entries to make the library easier to use. You don’t want one door or car or snare drum or monster sound to come in significantly louder or quieter than the others when auditioning them, as it can be annoying at best and lead you astray at worst. The “mastering” or finally sweetening and level setting may or may not be a separate process handled by a separate engineer in that context. (Though it could be.) But it’s still a part of what gets done in any good library. Ozone could absolutely be a good tool for that yes-especially some of the features in the limiter and metering and reference tool.
Lol for real, and the totally unnecessary chipmunk vocals. I couldn’t even pay attention when he was A/Bing stuff cuz of how cringy this was. Sounds like a target commercial reject.
Your cuts in the highs are misleading. Those cuts are not affecting only the claps or the triangle high hats. The way you're presenting it here, you're giving the uniformed the idea that those cuts are specific to those 2 parts. If you solo those two bands with high cuts you made you'd hear that there are other elements in those frequencies also being reduced. Which might still be what you're after as far as reducing ear fatigue but I don't think you're being clear enough that it effects everything in those frequencies that are loud enough to trigger the dynamic EQ.
Of course! Yes, that is how EQs work :) I'm sorry if you felt misled. But I was assuming that the general audience here-like you-knows how EQ works. Apologies if I spoke too loosely for your tastes...But I think there are two important things you could be missing, that make my words a bit more literally true than you may realize. To be more clear: Cuts with dynamic EQ or multiband compression work by reducing the entire frequency range selected, but only when it that frequency passes a threshold. So yes! Obviously, other elements will be effected to some degree, just as with a static EQ. HOWEVER...thanks to the "masking effect" of psychoacoustics, a momentary cut to a frequency will tend to have an outsized impact on whatever element is loudest in that frequency band at that moment. So you really can target certain elements to some degree-at least as they are heard by the human ear. AND, because the dynamic EQ is momentary, you really are only effecting that EQ range *some* of the time. If the dynamic EQ just kicks in for the transient of a cymbal or clap, it may only be kicking in for a period of time in which not much else is happening in that frequency range to any significant degree. For both these reasons, you really can achieve the result of seeming to target things somewhat specifically, even without a multitrack to work from. But you can only do so much before you start to effect other things too much. The more you do, the more the EQ will start to become apparent on other elements and not just the one you are targeting. But due to psychoacoustics and the momentary nature of dynamic EQ, you really can seem to target a specific instrument. Up to a point, anyway. I hope that helps clarify it a bit more!
This is one of the finest Ozone 9 tutorials that I have heard! Kudos!
Great. Love your channel. You did me more confident about these huge EQ curves that made me feel like I was doing something wrong, but it wasn't that far off. I also love the "low focus" because since I like crispier, more modern maximiser, but It tends to make my kick too dry, and I find that just putting the Low Focus at smooth without changing the gain just rounds up that kick a bit.
Fantastic content. A great selection of songs to demonstrate the Ozone 9 toolset. Thank you for sharing your experiences and insights.
I'm very limited in my experience so these are great tutorials. I recently purchased Ozone 9 and I am just now getting into it. Thank you for putting this video together. It really sheds a lot of light on each of the parts of the module and how they act upon the track. With regards to what you have done to the third track - what I am hearing is that the original sounds 2 dimensional and, after your mastering, it sounds 3 dimensional. There is so much more depth that you created to the track. I wish I could get to that level someday. Thanks again for all your videos.
Just bought Ozone 9 Advanced. Very professional tutorial! 👏👏👏. Cheers! Subscribed!
I love you for this sentence “ there is no wrong or right eq curve , it depends what makes sense to the song” I have Ozone 9 Advance and your video is motivating me very much, to work more with this fantastic tool. Thank you 🙏
Your tutorials like this one somehow give me more confidence in myself in the tools I'm using like O9.
I’ve used Izotope products for years, and recently upgraded to Ozone 9. More than watching how Justin uses the modules, etc.... I’m always learning from Justin’s amazing skills on how and what to listen for. Thank you!
Best demonstration of what Ozone 9 is capable of I've seen so far, thank you so much!
Great video, the menu works great
Such a fantastic tutorial...thank you so much for posting this.
This is fantastic! I really like your style, your clear and concise approach to instruction. Thank you!
Thanks! Glad you enjoyed!
Have you been looking over my shoulder ? Good work Justin, clear, concise and very easily understandable,
Great stuff, keep it up!
Thanks very much for an excellent tutorial! One small non-mastering comment, I recommend setting focus manually on your wide angle camera, when you bring your hands in to the frame the camera starts hunting for focus and it's noticeable especially in the background. Liked and subbed and yes I'd like to see more like this!
Great video ! Thanks.
thanks for the very clear first look
Thanks! Fantastic walk through and great overall mastering advice. Much appreciated!
I have Ozone 4 and it does very well!
To keep up to date I would need a newer computer to run the higher versions..
Anyone know the name of this song by Hally? search brings up nothing, thanks in advance if you know.
It was called "Sleep" when Hally sent it to me to work on. You can find him at hallymusic.com He does some truly beautiful stuff!
-Justin
Clear and concise, really well paced, great stuff
Wowww really amazing video. I love it. Thanks so much. I will check the ozone out cause mastering is not really working so well for me :-)
Thx 4 such a well thought out tutorial. I found it really insightful. Nice! :)
thank u helped me a lot
First time Ive watched your videos. Learnt a lot from this and like your style.
Excellent video. Many thanks!
Glad you liked it!
One Love!
Always forward, never ever backward!!
☀☀☀
💚💛❤
🙏🏿🙏🙏🏼
great insights - thank you!
good to hear this song from hally....fantastic artist from Ierland..
Agreed! He’s wonderful.
Love those lyrics!
👍🏻👏🏻 Super quality, this video, as regards the video quality as well as the matter! 👏🏻👍🏻
Your Awesome thank you made it so clear on how to use this.
Thanks.I think so to.But the Update from Standard to advanced,ist to expensive.
I can clearly hear the difference in the changes even through my iPhone 6 speakers
Super helpful, thanks for that! I instantly subscribed..
Nice informed assessment, thanks very much Justin.
Awesome!
Wow
If Kevin Spacey + Superman + Dracula had a baby = ☝🏽
🤣
-Justin
Hey Justin! I was wondering how Ozone 9 would be used for making SFX that don't have a mastering stage? Maybe there is a way to levelmatch and tonematch, so the soundeffects get the same volume and feel?
Short answer? Absolutely, yes.
When building SFX and sample libraries it’s a good practice to shoot for a common average level across all entries to make the library easier to use. You don’t want one door or car or snare drum or monster sound to come in significantly louder or quieter than the others when auditioning them, as it can be annoying at best and lead you astray at worst.
The “mastering” or finally sweetening and level setting may or may not be a separate process handled by a separate engineer in that context. (Though it could be.) But it’s still a part of what gets done in any good library.
Ozone could absolutely be a good tool for that yes-especially some of the features in the limiter and metering and reference tool.
Honestly when I read "cheat code" I thought you were gonna show us how to use the master assistant..... 😂😂😂😂😂
that's just there for us mortals 😞
Why do you bypass every change in the master when youre trynna compare only one change to the original??
It's about the big picture and all the changes adding up
3:35 The two things I'm noticing is the crappy lyrics and poor songwriting.
Lol for real, and the totally unnecessary chipmunk vocals. I couldn’t even pay attention when he was A/Bing stuff cuz of how cringy this was. Sounds like a target commercial reject.
directx error
Your cuts in the highs are misleading. Those cuts are not affecting only the claps or the triangle high hats. The way you're presenting it here, you're giving the uniformed the idea that those cuts are specific to those 2 parts. If you solo those two bands with high cuts you made you'd hear that there are other elements in those frequencies also being reduced. Which might still be what you're after as far as reducing ear fatigue but I don't think you're being clear enough that it effects everything in those frequencies that are loud enough to trigger the dynamic EQ.
Of course! Yes, that is how EQs work :) I'm sorry if you felt misled. But I was assuming that the general audience here-like you-knows how EQ works. Apologies if I spoke too loosely for your tastes...But I think there are two important things you could be missing, that make my words a bit more literally true than you may realize.
To be more clear: Cuts with dynamic EQ or multiband compression work by reducing the entire frequency range selected, but only when it that frequency passes a threshold. So yes! Obviously, other elements will be effected to some degree, just as with a static EQ.
HOWEVER...thanks to the "masking effect" of psychoacoustics, a momentary cut to a frequency will tend to have an outsized impact on whatever element is loudest in that frequency band at that moment. So you really can target certain elements to some degree-at least as they are heard by the human ear.
AND, because the dynamic EQ is momentary, you really are only effecting that EQ range *some* of the time. If the dynamic EQ just kicks in for the transient of a cymbal or clap, it may only be kicking in for a period of time in which not much else is happening in that frequency range to any significant degree.
For both these reasons, you really can achieve the result of seeming to target things somewhat specifically, even without a multitrack to work from. But you can only do so much before you start to effect other things too much.
The more you do, the more the EQ will start to become apparent on other elements and not just the one you are targeting. But due to psychoacoustics and the momentary nature of dynamic EQ, you really can seem to target a specific instrument. Up to a point, anyway.
I hope that helps clarify it a bit more!
That first one was ASS