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 ?

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"This is why Superman works alone." GC
old stuff from days gone by (2001-2004)
Mad For Brad's gay little contest

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.

___________________
"This is why Superman works alone." GC
old stuff from days gone by (2001-2004)
Mad For Brad's gay little contest

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.

Last edited by DJRYAN™ on Mar-01-2013 at 04:20

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.

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"This is why Superman works alone." GC
old stuff from days gone by (2001-2004)
Mad For Brad's gay little contest

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.

___________________
"This is why Superman works alone." GC
old stuff from days gone by (2001-2004)
Mad For Brad's gay little contest

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

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Fortuna Favet Fortibus.

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

http://mp3gain.sourceforge.net/

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Fortuna Favet Fortibus.

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.