If you look into the comments under the advert-video on youtube, you will find a lot of complains about the new upgrade. The 9 upgrade is valid for version 5 and up - which is also a bit… weird, but oh, well… Maybe Ozone is a bit expensive if you’re only actually using parts of it, but OTOH, the AI Assistant is real quick and handy, and just slapping Ozone on there and pushing the button works great for quick preview exports and the like, so I think it can be quite valuable either way…Īs for upgrading, I went ahead and grabbed it, but I don’t know if it was worth it yet… And no, it should be the same price. (It’s literally only FabFilter on that track synths, reverb, delays etc.) Not extremely loud or anything - though I think Pro-L etc could do an amazing job of that too. Speaking of “abusing” Ozone as an analyzer on this track, I literally only used it only for that, and then went on to rebuild the whole mastering chain using only FabFilter plugins. And I can certainly see why you’d want to swap other FabFilter plugins in as well they really sound top notch (or rather can be surrealistically transparent, even when doing rather aggressive processing), and the GUIs are amazing. Yeah, like I said, there’s nothing quite like FabFilter Pro-Q… I use it for any EQ job, except for very basic stuff, where I typically just use the Cubas strip ones. That’s basically how it should be with mastering in general, except maybe if you need to go full radio-ready sausage the mix should pretty much be there already, and mastering is just a final touch-up and getting it to the desired level. In your experience, if I don’t upgrade this time (I have Ozone 8), next year that Ozone 10 comes out… will it be super expensive the upgrade? as of now, it is expensive to upgrade… it says USD$200.00. What’s left from Ozono in the above mentioned cases, is just Maximizer and spectral analysis, imager… (but I use also per track IMpusher, or Wavesfactory Spectre Enhancer…)…ĭo you consider the upgrade is worth it? (I mean, “loyalty pricing”, but still is not such a great price…) Sometimes though, I shut Ozone limiter off and leave on the master track my FabFilter Pro L2… also, I do the same with the eq, living my FabFilter Pro Q2 (haven’t upgraded to Q3 yet, but I will)… and there you go… so… do you think its worth it using it like this? ( I mean, FabFilters are the best, and they are super light on CPU -contrary as Ozone, which is super demanding- and finally, I end up most of the time using them… ) the limiter can (ab)used to fatten things up and add “epicness,” but one can overdo it… If you push too hard, too much bass is lost, and then it kind of has the opposite effect instead, just sounding bright and harsh.įinally: It’s always a bad idea to mess with this with tired ears after hours of work!ĭavid, when using Ozone… I usually just put it in the master track and run the assistant… and that’s it… all the previous work manually balancing each track is done, and with this ozone in the master, I feel it micro-shape the imperfections. But, failing that, making it fit by means of selective multiband compression is better than having the limiter desperately trying to squeeze everything in, all at once.įrom a more sound design point of view. If you want a natural, transparent sound, it’s better to get it right at the source, than trying to shape it in the master. Might add multiband compression before the limiter if there’s too much dynamic range in the low end (because that will make the higher frequencies pump if the Maximizer is pushed too hard), but for orchestral/hybrid, I find that unless you just need it REALLY loud (as in trailers, or “background listening”), a need for multiband compression might a warning sign that there are arrangement/mix problems. Rule of thumb (as least for traditional orchestra): It it doesn’t basically just sound the same, but louder, you’re overdoing it, or there might be mix issues. I typically just use Streaming, and then I manually tweak the Maximizer until I get climaxes sufficiently loud and intense, but without boosting the quite parts too much.
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