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Auralaxiom says

I wouldn’t call OZone a mastering plugin…. Get some corrective and coloured EQs, Compressors etc and practice. You should see/hear some of the crap OZone does to your signal, it is in no means mastering.

Yeah…if you don’t know what you’re doing. I never said you didn’t have to put any time in it to get it to work well.

Ozone is known for having one of the best limiters out there, and the EQ is super clean and easy to use. That said, what you really want to avoid is the harmonic exciter feature. If anything screws up your signal, it’s that.

I’ll also note that Ozone is great as a sample rate converter as it introduces the fewest number of artifacts when compared to other popular converters.

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GroovingGecko says

I wouldn’t call OZone a mastering plugin….

What do you mean? Ozone is a set of mastering plug-ins bundled into one interface. Of course it doesn’t have to be used for mastering.

Any combination of compressor, stereo imaging, limiter (with dithering), saturation (exciter), EQ (mid/side), metering, and reverb can be considered mastering plug-ins.

kristopherfisheraudio
kristopherfisheraudio Recent Posts Threads Started
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kristopherfisheraudio says

To me, to be classed as a mastering grade plugin it needs to not add anything into the signal that its not meant too. I have done tests using some of the features in Ozone, some of the logic EQs and Compressors as well as a bunch of others and for instance at times some will add in artefacts where there was silence right before a transient.

I always think of the ‘mastering’ packs you find there to be more for the ‘bedroom mastering engineers’ and by that I mean those who just slap presets on and go ‘eh, its good enough’.

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Auralaxiom says

To me, to be classed as a mastering grade plugin it needs to not add anything into the signal that its not meant too. I have done tests using some of the features in Ozone, some of the logic EQs and Compressors as well as a bunch of others and for instance at times some will add in artefacts where there was silence right before a transient. I always think of the ‘mastering’ packs you find there to be more for the ‘bedroom mastering engineers’ and by that I mean those who just slap presets on and go ‘eh, its good enough’.

Eh, most music files are so squashed and mangled by the time they see any real world use that any “artifacts” you can hear using $10,000 studio monitors cranked up past 11 will simple be irrelevant.

My criteria boil down to two questions:

1. Does the plugin allow you to create a master that sounds good over a wide range of audio systems—i.e., no frequencies popping or ducking out?

and…

2. Does it sound good?

If yes, then mission accomplished.

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TJMusic says

The most prominent issue I’ve heard from the very beginning is the lack of proper tracks synchronization. For example, there is an audible pause between kick and piano in the beginning. It’s a good practice to move the kick a few ms before lead, and maybe some secondary instruments a few ms after the lead, because these small displacements of the transient make the mix cleaner and emphasize the sounds which start a split second earlier, but time gap cannot be that large that is audible. If you looked at the audio tracks in a multitrack editor, this lack of synchronization will become obvious.

The other big problem is the sound that was supposed to resemble a distorted guitar. It really doesn’t sound pleasant, and it reminds of the earliest software plugins that were supposed to imitate a distorted guitar. Try to listen to some best hard rock songs created by professional teams and compare it. If you don’t hear the difference, upgrade your audio equipment.

Best luck in fixing all the issues!

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