Where to put Ozone Maximizer exactly

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selig
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Post 27 May 2015

K1TTENM1TTEN wrote:Haha, alrighty, so I am going to eat a nice fat piece of humble pie and admit that I still have no idea how to use this thing. I have never really attempted the whole mastering process within Reason, so I've actually never used any of the "master inserts," I don't really quite understand the concept of BUSing, and usually do all of my effects chains on each individual channel/instrument. I know that last part is high inefficient and chews through DSP usage, so I want to learn how to use Reason's mastering the "right" way.

I have read through the Ozone PDF guide, and I understand what a maximizer is in comparison to a limiter/compressor. But my issue is I am still getting a bunch of clipping with Ozone. I obviously don't know how to use it, so can we perhaps make a step-by-step guide with pictures for idiots from where to actually place this, what the cable routing looks like and why, what a good base setting is, the difference between "control out" and mixboard outs, and what knobs need to be adjusted on the mixing console? I really want to learn how to do this and honestly have been too prideful to ask, but at this point my pride is negatively effecting my mix, so at this point I am bidding my pride adieu, haha.
If you are still getting clipping with Ozone, it's likely a signal path issue, meaning that you have inserted Ozone somewhere other than LAST in the signal path.

Basic signal path concepts are key to working with any audio system IMO, and I'm happy to help with these concepts if there are questions, especially since that's totally related to the topic of this thread! :)
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Tincture
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Post 27 May 2015

Sorry if my post wasn't directly on the threads topic. I was just thinking my ozone settings etc might help kittenmitten. I'll bow out now.

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FGL
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Post 27 May 2015

By the way. With the Metronome Click on you can get still clipping.

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Libraquaricorn
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Post 28 May 2015

ScuzzyEye wrote:I do put a Selig Gain just before Ozone, so I can see exactly how hard I'm hitting the limiter.
Will Selig Leveler do that as well, although perhaps less cpu friendly? It does have a digital Peak Meter and I don't own the Selig Gain (yet) so I was just wondering...

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ScuzzyEye
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Post 28 May 2015

Libraquaricorn wrote:Will Selig Leveler do that as well, although perhaps less cpu friendly? It does have a digital Peak Meter and I don't own the Selig Gain (yet) so I was just wondering...
Yeah, anything with a peak meter that can be set to not affect the sound can be used. There's also the Flower Audio Loudness Meter, if you have that. I'll put that after Ozone so I can use its LKFS meter on the final output.

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K1TTENM1TTEN
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Post 29 May 2015

First off, thank you Tincture for posting that file, it did prove that I had it hooked up improperly as your template caused my tracks not to clip on the audio meter. 

However, this is where I definitely need some guidance, perhaps this is where someone can help me out, haha. So I notice a pretty heavy amount of audio distortion when using Ozone, especially on the vocals. I have the Margin at -.5 and the threshold at -.3 and am using the IRC I mode at speed/character of 6.3. After reading the manual I thought this would be a pretty "light" setting, however all of my audio is getting squashed into distortion. Why is that happening? My original mix ran very hot; it never clipped, but certainly came pretty close a few times. Does that make a difference? From what I have read Ozone acts like a limiter, so I understand that as you lower the ceiling, things can get squished, but any time I hear a limiter in demos the track tends to get a little more fat/full. 

Also, should a compressor be ran in front of an Ozone? And if so, what would be a good general chain to be ran in front of Ozone on the mastering bus? As it sits, I have compressors on individual channels, so would this change anything, or would I still probably need one in the mastering effects chain?

On a slightly different note, what is the difference between Master Inserts and FX Sends/Returns? Do they function any differently, or are they essentially the same thing except for you can program the master insert knobs like a combinator? Also, I noticed that some of my track lanes on the mixer have the light lit that they are connected to the insert fx, and many of them are not. How do I make these connections happen?

And in regards to routing, I see that under the hardware interface under the Audio I/O that the sampling input is routed to audio input 1. The routing from the master section is routed to Audio Output 1 on the Audio I/O. How do I control these? Or rather, where are they going in terms of the sound board? What are these actually for? 

Overall, I know that Ozone can make a large difference in a mix, but I am not having any luck at achieving anything usable (and I know this is due to user error). Any help on any, or even all, of these questions would be super helpful! 

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Tincture
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Post 29 May 2015

Loud will always be more distorted. Send fx you'll need to look up in the reason manual if you're not accustomed to using them. Reverb for one is often best as a send. You cAn send multiple instruments to it which can help them sound in the same space. Routing and just about anything in general, Selig is best at explaining so I'll bow out again and hope he picks up the ropes. I don't want to go off topic again and incur the wrath.

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