It’s a great way to stay objective and prevent ear fatigue or habituation. Working quickly has some real benefits besides just the time savings. When you’re done and satisfied that you’re making meaningful improvements, just don’t forget to turn Gain Match back off. Just click that Gain Match button, and then when you click Bypass, Ozone will automatically offset the gain difference so that you can focus on only what your processing is doing. Second, the automatic Gain Match feature is a great way to make sure that you’re not falling prey to the old “louder is better” phenomenon. Either way, it’s a great idea to develop a folder of reference tracks that you can quickly and easily load into Ozone when needed. These could be previous masters you’ve done that you know you’re really happy with, or they could be commercially released tracks in the same genre as the song(s) you’re working on. Ozone has two tools that are great for helping prevent these types of mistakes.įirst, the Track Referencing panel is a great way to compare some of your favorite tracks to the song(s) you’re currently working on. With all these ways to master faster, the last thing you want to do is fool yourself or let mistakes slip through. For sustained elements, use Smooth mode in a similar fashion.For transients, use Punchy mode with positive values to accentuate, or negative values to tame, and adjust gain to taste.

Solo the input signal to set the low and high cutoff frequencies.Low End Focus puts all this in just a few controls, and gives you a better result in the end. While you could potentially achieve similar results with EQ and low-frequency compression, it would take a lot of tweaking, even for an experienced engineer. It’s so quick and easy to use that I actually don’t have a default preset for it. I also have to give a shout-out to the Low End Focus module. It’s designed to go after a preset like “Maximizer Starter” which has a lower threshold and ceiling. I like separating the thresholds for sample peak and True Peak limiting, and this preset allows you to just dial down the threshold to use only as much True Peak limiting as you want or need. “Maximizer Low Latency TP Protection” is my go-to for final True Peak level control, when needed. I’ll often subtly tweak the Character and Transient Emphasis Amount parameters, but I’ve found that it works great as a jumping-off point. “Maximizer Starter” is my go-to to shave a few final dB off a master. Again, you can download my presets at the bottom of this article. I often use more than one limiter, but 19 times out of 20, one of the two following Maximizer presets is in the final slot or two. Two more presets I use all the time are for the Maximizer. 12k Hz: Boost for air and shimmer, cut to tame an overly bright or fatiguing top-end.5k Hz: Boost for presence or brightness, cut to reduce harshness.1.3k Hz: Boost to enhance snare drum “knock” or vocal forwardness, cut to reduce a nasal or “pinched” quality.440 Hz: Boost if things are feeling scooped or hollow, cut to reduce boxiness.220 Hz: Boost for a little added warmth, cut reduce “hootiness.”.100 Hz: Boost to add some chesty thump to kicks or weight to bass harmonics, cut to reduce crowding in the low end.55 Hz: Boost to add some real weight to a kick drum, cut to reduce rumble.

When I need it though, it often ends up at 12dB/octave, somewhere between 18 and 35 Hz.

HPF: I’ve left this off by default as, more often than not, a high-pass filter can be too aggressive.

Here’s a quick cheat sheet on what the different frequencies tend to be good for. However, I do know that I’ll often end up wanting to make some adjustments around at least a few key frequencies, and that’s exactly what I’ve populated in this preset for you. That’s because I never know what sort of EQ a song will need without first listening to it. If you’re thinking, “Wait a minute, that looks ruler-flat!” you’re absolutely right.

Izotope ozone 8 psytrance presets