Streaming is a fact of life-and inferior streaming, over which you have no control, is an even deeper fact of this life we’ve chosen. Simply move the gain slider up or down until the reference outputs the same LUFS value in the meter as your mix now you can make careful comparisons.Ħ. Note the gain slider: you can use this in concert with the output meter to level-match the reference with your mix. Match choruses to your chorus quickly thanks to this feature. Not only that, Ozone 9 will automatically scan the tracks to see where the different sections are, and then automatically set up locators so you can jump right to specific sections. Here you can load up to 10 tracks to compare with your mix or master. Instead, allow me to spend some time dwelling on the features of Ozone 9’s reference panel. We’ve written a bevy of articles regarding referencing, so I need not retread why referencing during the mixing or mastering process is an advisable idea. Load references straight into Ozone for better mixes I wouldn’t have been able to do that if I hadn’t pressed the mono button. I remixed the sound and got it to sit better in the mix, doing so in such a way that it would play nicely with monophonic and stereophonic playback systems. It had been phase-flipped in the right channel for apparent stereo width. Something told me the phase response was off I pressed the mono button, and sure enough, the bottom octave disappeared. This isn’t just in music-I was mixing and mastering a podcast trailer the other day, and I got a piece of robotic audio: a vocoded voice saying “resistance is futile” in two octaves, as though the person speaking were a member of the Borg. It’s not: many phone speakers still sum to mono, and many people love portable playback systems whose stereo image will shrink to mono the further they walk away from it such a system in such a situation might never be perfect “mono”, but it will exhibit the weird phase cancellations that reveal themselves instantly in mono. Never sleep on checking your mixes in mono-even if you think mono is absolutely dead. Next to the gain match function, you’ll find the mono button, and you should use it often. Check mono compatibility with the mono button Solo the drums and hit the swap button-if the kick and snare stay in the middle, you’re good to go. Perhaps it’s a drumset whose snare and kick need to sit right up the middle. In the mixing world, the same principle applies to any stereo instrument whose center image you wish to lock in. If you perceive a change, you know you have work to do in nudging to the center-that is, if nudging the vocal to the center is the appropriate move. It should seem untouched, because it only occupies the center. You press it, and the whole weight of the mix should change-except for that vocal. Why is this such a handy utility? If you’re mastering and you want to make perfectly sure the vocals are lined up the center, this is a great button to reach for. The Utility panel features a very handy Swap button, which accomplishes one thing and one thing alone: it flips the left and right channels of your mix, so that anything you hear on the left now appears on the right, and vice versa. Flip the stereo orientation with the Swap button to check the center When you’re done with the track, hit the Match button again, and export. Make up the difference on your monitor controller, and now you can make an A/B comparison freely. This is how you know your output fader has been attenuated. So, hit the Gain Match button and Ozone 9 will automatically level-match the unprocessed and processed material. This is something that will most certainly happen if you’re boosting EQ or adding gain anywhere in the chain. This is useful because you can seamlessly flick between processed and unprocessed sound, judging whether your changes are helpful.īut you can’t judge accurately if your processing has caused a jump in level overall. Ozone 9 offers an inline, global bypass button that won’t add clicks or pops when disengaging all the modules at once. Use Bypass with Gain Match for level-matched comparisons Integrated is too long, and momentary is too short. You want to use LUFS short term because it takes into account the appropriate window of time to judge the loudness of a chorus or a verse. Peak will still display your peak values, but the RMS meter will give you a good feel for how loud any given section of your mix is, using the scale that most people now choose for exactly these measurements. Do this, and your meter will operate to the spec most useful at the end of the mix-LUFS, short term.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |