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Post by tahoebrian5 on Apr 29, 2022 10:06:28 GMT -6
Hey I’ve got a general question for you all. I’ve done some searching and haven’t really been able to find specific discussion on this.
im throwing together a demo mix to bring to band practice tonight of the song I’ve been working on. I’ve been playing around with Izotope Ozone’s automatic mastering software and it does sound better when I let it do its thing but I really don’t have a clue what is actually happening!
I think my main question at this point is what level should I target my mix at before it hits Ozone? Do you guys like to have some high peaks present so the limiter can have something to chew on or better off with minimal limiting? Rock metal song
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Post by svart on Apr 29, 2022 13:47:25 GMT -6
Hey I’ve got a general question for you all. I’ve done some searching and haven’t really been able to find specific discussion on this. im throwing together a demo mix to bring to band practice tonight of the song I’ve been working on. I’ve been playing around with Izotope Ozone’s automatic mastering software and it does sound better when I let it do its thing but I really don’t have a clue what is actually happening! I think my main question at this point is what level should I target my mix at before it hits Ozone? Do you guys like to have some high peaks present so the limiter can have something to chew on or better off with minimal limiting? Rock metal song I tend to mix so that my RMS/lufs are around -12db to -14db while my peaks are at zero. I also always keep a limiter on the master bus set to -0.2db output for safety and my target usage is that I'm barely tickling the threshold. I don't want the limiter doing anything but catching the errant peaks. I tend to mix how I want the finished product to sound and my ideal scenario is that the mastering engineer listens and tells me that they don't need to change anything. |
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Post by mcirish on May 3, 2022 8:50:09 GMT -6
What I send to mastering is usually -12dB to-10dB. A lot of their ability to get the level where it needs to be is how you tamed transients in the production and mix. Drums are usually the most difficult because they are mostly made of transients. If you hit them with a limiter, they lose all impact. I find that using saturation and clipping on various elements of a kit help me get the punch I need but tame the transients so that the mastering engineer doesn't have to work too hard. At this point in time, I could do the final mastering myself, but I always like another set of ears on it before I let the songs go. Depending on the song, the mastering guy usually sends back something in the -8dB LUFS or slightly hotter (in the loudest sections). It's not a gigantic difference from what I sent him. My hope is to send him something and he doesn't have to do anything. That's when I know I nailed it. It's pretty rare still...
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