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-- Izotope "Mastering with Ozone" updated
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quote:

Originally posted by DJRYAN� I think I've accomplished what it is that I set out to accomplish. My mixes after adding Ozone5 sound comparable to those sets I hear coming from other dj's.. Regardless of what the almighty L4C thinks..

Then, why continue to argue your point? If you're happy with it, and your listeners, clients, etc. are happy with it, does it really matter what anybody else thinks? Sometimes (and I do mean SOMETIMES) the best results are achieved by doing exactly what everybody tells you not to do.

lol

he does have tendency to post things that would indicate someone that would know good from bad.

Do whatever the fuck you want ryan. Put 10 L2's in a row and make that drop go + 1 dbfs.

Ah! See that's the issue. I haven't done this live. I've only imported my tracks into Ableton, found a desirable setting for each track, exported, burned, and then spun them into a set.. However, I find that to be very time consuming and limiting in the case I'm reading the crowd and want to swap out songs to lets say a track that hasn't been "fixed". So I wanted to incorporate the same process into a live setting..

lol

how do you fix them exactly ? What is broken ?

will you quit with the condescending bullshit?? Seriously..

stop doing stupid things . I"m just a nice guy telling you that what you are doing is retarded. I explained why. Thank you would be appropriate you sack of shit dj wannabe pariah.

quote:

Originally posted by Looney4Clooney stop doing stupid things . I"m just a nice guy telling you that what you are doing is retarded. I explained why. Thank you would be appropriate you sack of shit dj wannabe pariah.

you're a really nasty person.. Gang rapped by blacks, sack of shit dj wanna be, and all the other nasty stuff you say.. yea, its fine not to like someone, but you sir epitomize all that's wrong with this scene.. I'm really having a difficult time understanding why you are here to begin with.. You yourself said we are all twits. So unless you are here for your own edification in the sense that you would like to feel like you're better than everyone else, you really serve no purpose. You're just hiding behind a computer talking shit..

because i'm hoping you overdose one weekend and the retard quota will be manageable.

I was further evaluating the uses of Ozone5 and its mastering capabilities. Every post made in this thread was on-point and deserving of a valid answer. Until shit for brains had to come in and begin his usual routine of blasting people he feels is beneath him.

I gave you advice for which you will not find a single engineer or producer or worth that would say otherwise. MAstering a track again is a recipe for disaster. Now when someone that does not know how to mix let alone master does this, well it doesn't take a fucking rocket scientist to tell you that you are doing something really dumb. I'm not picking on you. What you are doing is stupid, serves no purpose and if you were to actually play out would sound terrible. There is no point unless you have a track that is really really quiet. Otherwise, all you are doing is degrading the track, You don't have the ears to realize it. Not sure why others are not chiming in. Either for or against. It is a pretty simple fucking issue. If they did, you will find those that tend to knwo what they are doing agreing , and those that dislike me because my girlfriend is really fucking hot will find some reason to disagree.

quote:

Originally posted by Looney4Clooney I gave you advice for which you will not find a single engineer or producer or worth that would say otherwise. MAstering a track again is a recipe for disaster. Now when someone that does not know how to mix let alone master does this, well it doesn't take a fucking rocket scientist to tell you that you are doing something really dumb. I'm not picking on you. What you are doing is stupid, serves no purpose and if you were to actually play out would sound terrible. There is no point unless you have a track that is really really quiet. Otherwise, all you are doing is degrading the track, You don't have the ears to realize it. Not sure why others are not chiming in. Either for or against. It is a pretty simple fucking issue. If they did, you will find those that tend to knwo what they are doing agreing , and those that dislike me because my girlfriend is really fucking hot will find some reason to disagree.

I had a friend on my FB who graduated from Point Blank tell me something similar to what you're saying and then another echo his sentiments as well. So I'm beginning to understand, at least principally what the error maybe. However, I still can't get over the difference in sound that the application of Ozone, or other filters have on a mix both in pre-production and post production. I suppose I'm just trying to get everything I can out of a mix, which I don't think is a bad thing, and while relying on my ear to not have it sound terrible, I think that using the technique as discussed isn't necessarily a bad thing. I'm not trying to re-master a track. What I'm doing is applying subtle enhancements to create the sense that all tracks in a set are coming from the same sound source or engineer. Although being a decent "mixer" helps, using plug-ins I think is also of great benefit. I'm not trying to destroy a track's dynamics nor am I trying to make it into something its not. But what I feel like I've done has improved my mixes. Could someone elaborate a little bit more. Because although I know that what I'm doing could be technically perceived as bad, in my opinion it still sounds good.

ya i would not listen to a single thing anyone from point blank has to say.

How much gain reduction are you applying. What sort of eq curve are you applying. Do you have a template curve , why would you use ozone to do that when there are better tools ie Voxengo for that kind of stuff. I just think you slap it on, hit a preset and ruin the track. Pretty close would you say ?

well on this mix I used the "breakbeat" setting because it was the one that throughout the mix sounded the best. There were some tracks that sounded terrible with different settings and then there were some tracks that sounded great with other settings. The "breatbeat" setting in Ozone on all the tracks in this set sounded the best:

http://djryan.com/sets/TranceSessions2.mp3

And like I said I noticed in appealing difference when applied.

Additionally, for the last few hours I've been listening to a lot of new tracks I've just recently purchased. A lot of them sound perfect the way they are but per the topic, I took one of my favorites and imported it into Ableton, and used Ozone on a template that sounded decent. I disengaged all of effects, e.g.: Equalizer, Maximizer, Reverb, etc.. etc.. and applied each one one-by-one..

The "one" that sounded like it was giving me the greatest benefit was that of the maximizer, although, I use a tad bit of several of the effects throughout each track.

Nonetheless, my thought is that using this tool hadn't destroyed the track just provided some additional dynamics that weren't audible initially and I haven't had a reason not to do so..

Anyways, is this a case of what's technically right versus what sounds good, or in both cases would it be best to just leave the track alone even though I like the end result?? (even though I'm being told the former)

and If I should just leave my music alone, then why do I like my mixes better when I do what I do??

lol the maximizer preset is not giving you dynamics. So i was pretty much right. You are using a preset with no fucking idea what you are doing. YOu have no proper monitoring, you have no idea what the fuck it is you are doing and have no way to hear. And even if you did, your ears are green that you wouldn't recognize shit on your moustache.

leave it alone. Alot of people with alot more knowledge mastered the track and as bad as EDM mastering can be, it is a million times better than anything you would do.

U guyz r so smart. Especially dat candadien who is a homo and likz brad pitt.

well maybe I don't have any idea what I'm doing. I didn't feel like as dj I should be formally trained. Its something you either know how to do and are good at or your not and you end up not doing it anymore. In my case, I feel as though I'm competent enough to string some records together that aspire people to dance, and have enough energy in them to keep myself entertained while doing it. Regardless though, even something as simple as applying a filter, with no clue on how to use it can easily take something from sounding bland and ordinary to sounding unique and interesting. Which has been my end result on several of my last few mix sets.

I'm also beginning to feel like there are those who have been trained in dynamics and the proper utilization of these tools, who absolutely loath the idea of someone just applying something because it sounds good. Yea, I might not know exactly what it does 100% but my ears work and I can differentiate between what sounds good and what doesn't sound good. Even though technically its application my be inappropriate.

pretty sure it doesn't sound good. It makes it louder which to most people will give the illusion of sounding better. Who is formally trained in djing ? Formal training in audio production / engineering is a joke except perhaps the tonemeister programs.

quote:

Originally posted by Looney4Clooney pretty sure it doesn't sound good. It makes it louder which to most people will give the illusion of sounding better. Who is formally trained in djing ? Formal training in audio production / engineering is a joke except perhaps the tonemeister programs.

you know I really don't mind listening to what you have to say if you weren't such an asshole all the time.. I think that's what pisses me off the most is you're so smart and you know a lot of shit but you're such friggin jerk.. Lighten up so your expertise can be appreciated instead of resented.

quote:

Originally posted by DJRYAN� I'm also beginning to feel like there are those who have been trained in dynamics and the proper utilization of these tools, who absolutely loath the idea of someone just applying something because it sounds good. Yea, I might not know exactly what it does 100% but my ears work and I can differentiate between what sounds good and what doesn't sound good.

People don't "loathe the idea of someone just applying something because it sounds good". A lot of us have been producing long enough that we're well past the stage where our ears are fooled by some preset. Yes, initially it might sound better, but then you listen again and you hear the bad things the preset has caused. Mixes are a delicate balance - make it brighter to bring out certain sounds, other sounds will become smaller, less powerful.

Your ears are always improving, each year you spend producing. 5 years in, you'll notice a lot of things you didn't notice when you started out. 10 years in, you'll notice even more. And you'll notice all the bad things that presets are doing, and you will rarely use them - you'll be more likely to listen to the sound you're processing, understand exactly what you want to do to it, and apply your own effects chain, so you get less bad with the good.

Most of us have been through the mastering presets phase.

Ozone is probably not the tool you want to use if you are going to do this which lots of people do but for other reasons. Melda and voxengo have tools that will use a reference track and adjust the eq profile accordingly. Melda has a eq/mb tool like this as well. There is also a tool called har bal which made the first widely available tool that does this and was panned by ME but it can be usefull for what you want to do.

I would not recommend it but if was a dj, I would not only edit but fix alot of issues edm masters tend to have. I just think you are not ready for that jellly.

ive been djing 4 times a month++ for the last 6-8 years and am doing more and more international gigs so I think I have a right to add to the this thread-



putting dj mixes through ozone = good idea
putting all of the music you play through ozone = ridiculous



remastering is quite an art and unless you are really good and know exactly what the "problems" are you are wasting your time

If you really need something simple because you don't understand the gain knob on the mixer:

http://mp3gain.sourceforge.net/

Putting ozone on your mixes, without having a completely fluid grasp of exactly what it does, is a terrible idea.

Tracks are already mastered. you're EQ'ing them yourself and summing them through a mixer (probably some piece of shit Pioneer 800) which also negatively affects the dynamics, to be recorded through a prosumer (at best) audio interface so you can then make it in to an mp3.

Now say that out loud and then ask yourself if you need to add Ozone as the final stage of this pristine music creation chain?

Ryan, you asked why ASOT sounds so good? (misnomer in itself but I digress and I'll ignore for the sake of argument). First, for the recorded radio show the entire thing is warped and put together in ableton, with a pro engineer producing the thing.

For the Den Bosch "live" (ahem) shows, they're taking outputs from front of house desk (being fed by the DJ mixer/ableton) usually a Avid Venue, and mixing them with room mic feeds. All that goes through a bunch of studio/road quality outboard and back in protools probably with another few stages of subtle limiters and/or compressors in case armin jesus poses a little too hard and red lines the pioneer even more than usual.


With either of these scenarios, when it finally gets broadcast over radio, that is going through a bunch of broadcast quality opto-compressors and expanders.

The reason you think the levels between tracks sound so smooth (and I don't really but that's another discussion) is that thing has probably been through a chain of no less than 4 distinct stages of compression and level related gain staging affecting. There's hardly any dynamics left in it, especially by the time you've downloaded the 192 mp3 from the Somali Bay and are listening in your untreated room on your DJ speakers or ipad headphones.

you want to hear mixes that sound great? Listen to some of the mixes by Larry Levan at PG or even the old essential mixes - those are straight up room mic recordings where the DJ's actually knew things about gain staging, and the engineering teams at those gigs knew less is more.

quote:

Originally posted by Allied Nations ive been djing 4 times a month++ for the last 6-8 years and am doing more and more international gigs so I think I have a right to add to the this thread- putting dj mixes through ozone = good idea putting all of the music you play through ozone = ridiculous remastering is quite an art and unless you are really good and know exactly what the "problems" are you are wasting your time

but this is done for mixes after the live part. Any dj will tell you that live sounds better with more dynamics. The systems can handle the dynamic range. Hyper compressed music workds great for shitty systems but if you ever play on a proper system, you will notice this right away.

IF you were to play the mastered mix as the live mix compared to original, you will notice the change in quality right away.

The loudest tacks will ALLWAYS suffer, your mixes will sound shit, like the DJ EROS podcasts. Really putting a limiter on a compilation of finsished tracks is the worst thing you can do, especially in the progressive genres where the avg RMS is already around -6rms, are you guys DEF or what?!?

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