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Just re-thinking my FX chains and workflow and i was thinking about when and where i should use ozone. i usually use it for the harmonic exciting/stereo imagining and multi-band compressor before i resample the audio. would it be better, or would it make any difference, to hold off using ozone until i've resampled and arrange the majority of the track? i mostly just use it subtly on the bus for the mid-range bass and drums to make them brighter, ect. i get my stuff mastered elsewhere so i dont really do much with throwing it on the master for mastering...
thanks

I have an instance of Ozone on my master (turned off) as part of my default template.

Once I turned it on and left it on by mistake. I started recording melodies and bass lines into new channels on ableton, forgetting when solo'd they were getting the Ozone treatment.

It definitely sounded way better and helped the overall production quality at the end! Now I whack an instance of Ozone with the "CD mastering: widening and something" as a send effect - when i'm recording / resampling something I often give it a bit send.

You should really look at what Ozone is doing and rather emulate it.

Electric_Head wrote:You should really look at what Ozone is doing and rather emulate it.

For sure, in my example it acts as a stereo widener, harmonic exciter and compressor - with subtle settings.

The more you process, the more you add distortion to your signal. It's often pleasant, but it can't be undone after a re-sampling if overdone.
The dose makes the poison.

The ozone reverb is my favorite reverb, so I use it for a lot of things. I usually have one on a return track for my percussion, and some individual channels

I also use the harmonic exciter / the dynamic compressor for a lot of my sounds.

we use ozone 5 on every channel, its nice how they split it all up now.

I like to use it on my drums for eq, parallel compression without all the channels and reverb because it's easy to dial in very low and subtle.

if you're going for a clean mixdown hipnotic from doa did a nice in depth ozone tutorial i may be able to hunt down the link if wanted

you CAN do a self mastering job with it, but it's not the best and only one of a few tools you need to come close to a pro job

deadly habit wrote:you CAN do a self mastering job with it, but it's not the best and only one of a few tools you need to come close to a pro job

and what would the other tools be? (I know there's no RIGHT way to do stuff, just want to hear your thoughts on this)

uad, urs, nomad factory, oxford

deadly habit wrote:uad, urs, nomad factory, oxford

Hm, interesting. Any particular reason why you use no Waves plugins?

that hipnotic tut sounds cool, any chance you gotta link?

bkwsk wrote:

deadly habit wrote:uad, urs, nomad factory, oxford

Hm, interesting. Any particular reason why you use no Waves plugins?

waves are ok but ovberpriced and rape cpu for what they do, plus they imo sound plastic
honestly getting a uad was one of the best investents i ever made, the uad plugs can't be beat far as digi gear emulations

i been using ozone while making my sounds.. a lot times when making a synth i build up a lot of nasty high end shrillness. I use the post EQ in ozone to literally chop that all off by setting a lowpass at around 14k to brickwall...of course I also use it to limit and wider my sound also

is there another EQ that will jsut chop off bands like that though?

any multiband plug will

deadly habit wrote:any multiband plug will

like multiband dynamics in live?

just set the high parameter to 14k for example and just drop the output level all the way?

like a multiband compressor