mastering one's own work...

just thought to share this:

 

after years of using outside mastering, am now really into doing it myself. there's a huge benefit (altho, to be fair, i lose the 'objective' voice with someone else mastering). but this new workflow is ideal for me: get my mix as good as i can, then bring it into ozone 9. i then use the 'master assist' function (which mostly gets it pretty right)... then i tweak the hell out of that until i'm happy.

 

but, here's the benefit: i get to the mastering, and realize, for example, that the 2nd verse vocal's a bit low. so i go back to logic, fix that, bring the file back into ozone (as long as i'm tweaking, and not making major changes, i just overwrite the previous 'imported' file in the OZ9 folder for that song). when i open the ozone project, all my settings are there... but with that lowered verse vocal (etc etc).

 

sometimes, i go back & forth numerous times, until i've got it just right. but that option, to fix things in logic (instead of finding workarounds in ozone), is awesome, and i retain control... and i'm getting the best-sounding mixes i've ever done.

Well @fisherking, I don't begin to say I have as comparable chops behind the mixing or mastering desk, as you do. But, I've been working at it for good while now, within the scope of being a singer/songwriter/artist/recordist for my own music. What you posted about this subject is pretty much the way I've been working and using Logic/Ozone myself, for the material I submit to Taxi, etc. I'm glad to know I'm at least maybe on the right track. I know from following a similar workflow as yours, I'm seeing and hearing improvement all the time, in the quality of my mixes and resulting masters, simply by using Logic and Ozone in tandem with each other, I'm able to hear and catch things that might otherwise get by me, which is a total game changer in itself!!

billboyd; so cool! so maybe i'm not insane after all (nah... )

I started doing my own mastering since pouring a few barrels of money into room acoustics.

 

I don't use ozone standalone tho, because i prefer to work with single plugins and i have developed a particular flavour for some processors not in ozone.

Namely, Gullfoss EQ, Neutron exciter, u-he satin, presswerk, voxengo elephant, voxengo OVC-128.

 

Ozone is one way or another involved with the process tho, if not anything else dither, maximizer and imager.

 

Maybe i need to try using 3rd parties inside Ozone?

I started doing my own mastering since pouring a few barrels of money into room acoustics.

 

I don't use ozone standalone tho, because i prefer to work with single plugins and i have developed a particular flavour for some processors not in ozone.

Namely, Gullfoss EQ, Neutron exciter, u-he satin, presswerk, voxengo elephant, voxengo OVC-128.

 

Ozone is one way or another involved with the process tho, if not anything else dither, maximizer and imager.

 

Maybe i need to try using 3rd parties inside Ozone?

 

i haven't yet tried that yet (running 3rd-party plugins within ozone) but seems worthwhile; you've got some exceptional tools, might be worth experimenting, to see what that process is like, ie try one song you've previously mastered, inside of ozone, and compare the results. keep us posted!

billboyd; so cool! so maybe i'm not insane after all (nah... )

 

IDK, but I'm pretty sure being slightly mad is a prerequisite to doing anything arts/music/audio related, lol.

billboyd; so cool! so maybe i'm not insane after all (nah... )

 

IDK, but I'm pretty sure being slightly mad is a prerequisite to doing anything arts/music/audio related, lol.

 

of course! altho, i'd say, a little madness is required for anyone doing anything these days...

In order to regain objectivity, take a long break between putting together a project (setting up, recording, mixing, etc.) and mastering.

 

I find after a month or so of not listening to one of my projects, I hear it completely differently (objectively). After six months, even more so. After that much time I no longer have any preconceived ideas of how it should sound.

funny enough, since i treated my room properly, i don't hear it differently anymore. 6 month old things sound exactly the same as they did when i chucked them out. there's nothing to guess.

 

the only thing changed is me, my knowledge and experience. but that changes with every finished track and project.

 

I love this feeling, too, it makes me a lot more comfortable and confident in my decisions.

 

I have almost no analog gear, and i don't regret the decision to pour most of my money into acoustics at all.

In order to regain objectivity, take a long break between putting together a project (setting up, recording, mixing, etc.) and mastering.

 

I find after a month or so of not listening to one of my projects, I hear it completely differently (objectively). After six months, even more so. After that much time I no longer have any preconceived ideas of how it should sound.

 

sometimes i take a day or two away from a project, then master. but, often, i dive right in.. because i know exactly how i want the work to sound... an 'enhancement' of my mix... and am excited to head towards that.

 

but whatever works. i agree, distance is valuable, gives us perspective....

In order to regain objectivity, take a long break between putting together a project (setting up, recording, mixing, etc.) and mastering.

 

I find after a month or so of not listening to one of my projects, I hear it completely differently (objectively). After six months, even more so. After that much time I no longer have any preconceived ideas of how it should sound.

 

sometimes i take a day or two away from a project, then master. but, often, i dive right in.. because i know exactly how i want the work to sound... an 'enhancement' of my mix... and am excited to head towards that.

 

but whatever works. i agree, distance is valuable, gives us perspective....

Do you ever use reference tracks? Especially within the confines of Ozone 9 and Tonal Balance Control, there's the option of loading reference tracks that are near the target of the master you're going for, that Mastering Assistant will make adjustments for to get your mix in the ball park at least, then it's like chili, just season to taste....

 

sometimes i take a day or two away from a project, then master. but, often, i dive right in.. because i know exactly how i want the work to sound... an 'enhancement' of my mix... and am excited to head towards that.

 

but whatever works. i agree, distance is valuable, gives us perspective....

Do you ever use reference tracks? Especially within the confines of Ozone 9 and Tonal Balance Control, there's the option of loading reference tracks that are near the target of the master you're going for, that Mastering Assistant will make adjustments for to get your mix in the ball park at least, then it's like chili, just season to taste....

 

i personally don't use reference tracks; what's the source? a downloadable mp3 would not be a great idea, i'd want (at least) a cd wav file (& i have no idea where to find those, lol). also, i'd rather just go back to my mix and adjust something (say, the vocal level) than do it in ozone. but honestly... whatever gets you where you want to go is the right path.

because i know exactly how i want the work to sound... an 'enhancement' of my mix... and am excited to head towards that.

Me too, but that’s what I mean by having a preconceived idea of how it should sound. I usually do mastering right away but then revisit it months later with a fresh perspective. Often I find my second attempt turns out better. This is partly due to having learned more about it in that time but also due to being more objective.

 

That being said, I am not very competent at mastering (learning as I go) and I don’t have a good mastering studio so use the trial and error method to some degree...

because i know exactly how i want the work to sound... an 'enhancement' of my mix... and am excited to head towards that.

Me too, but that’s what I mean by having a preconceived idea of how it should sound. I usually do mastering right away but then revisit it months later with a fresh perspective. Often I find my second attempt turns out better. This is partly due to having learned more about it in that time but also due to being more objective.

 

That being said, I am not very competent at mastering (learning as I go) and I don’t have a good mastering studio so use the trial and error method to some degree...

 

distance from one's work is a good thing; plus, i sometimes have a 'pro' engineer critique my mixes (and now, instead, my masters). but i rarely have that much time to get something done. still, perspective IS important, so it is great to take breaks from a project, then revisit it with 'fresh' ears.

I totally agree on the benefits, even necessity of coming to a mixing or mastering session with "fresh" ears. Ear fatigue is definitely something to be aware of and avoid when trying to make "sound decisions" ...pun intended. As to using reference tracks, I was indeed referring to the use of tracks on CD, Vinyl, Disk drives, even tape, drawn from one's own listening library, was my assumption, however I guess there would be quite a few that only have mp3's as a "library", in which case I could see reluctance to use such as a strict blueprint, but in the more general sense of the word "reference" tracks are a great help, if in only terms of being used for comparison between your project and a mix or master of a track, that really stands out as a high standard or bar to shoot for, in this context, don't we all use reference tracks?? at least mentally anyway???

i own no CDs, whatever work i have on my drives is my own... so nothing for reference, really (unless i want to reference to my own past work.. and i don't).

 

but i think it depends on what you do. since i do a lot of 'mainstream' pop music, i want the work (in terms of the sound, anyway) to be competitive. if i'm making something 'artistic', just i trust my instincts.

 

again, what ever gets the job done.

I understand where you're coming from @fisherking, and the domain you're working in. I am more of a singer/songwriter/multi-instrumentalist artist, dealing with my own compositions and performances, rather than other artists or the public. So I am more focused on getting my mixes and the sounds of my recordings on par with what's been commercially successful and acclaimed within the genres I work in, which are blues, blues/classic rock, country, and Americana. Like I said in earlier posts I'm still learning as I go, as far as mastering with Ozone 9 goes, and I haven't yet myself tried loading a reference track into Ozone 9's mastering assistant either, but I do make use of having a track or tracks loaded in Logic for referencing and A/Bing with my tracks as I record and mix. So the option of being able to load a reference track into Ozone's mastering assistant is definitely something that appeals to me personally. I would like to get a better understanding of how to work within Ozone 9 and it's tonal balance control while utilizing Neutron and Nectar as well.

ozone will 'listen' to your reference track, and try to match it's characteristics (eq, volume, etc). an interesting idea... worth trying sometime, if you have a high-quality audio reference song to try it with. have fun!

I totally agree on the benefits, even necessity of coming to a mixing or mastering session with "fresh" ears. Ear fatigue is definitely something to be aware of and avoid when trying to make "sound decisions" ...pun intended. As to using reference tracks, I was indeed referring to the use of tracks on CD, Vinyl, Disk drives, even tape, drawn from one's own listening library, was my assumption, however I guess there would be quite a few Kodi Lucky Patcher nox that only have mp3's as a "library", in which case I could see reluctance to use such as a strict blueprint, but in the more general sense of the word "reference" tracks are a great help, if in only terms of being used for comparison between your project and a mix or master of a track, that really stands out as a high standard or bar to shoot for, in this context, don't we all use reference tracks?? at least mentally anyway???

Use reference mixes. Get a few pro songs that match what you're hoping for in your own frequency balance- put them on tracks outside your mix/master chain, and try to match your levels and dynamics by A/B'ing back and forth (doesn't hurt to use a spectrum analyzer along with this).

Edited February 3, 2020 by d733dfdaf8

I totally agree on the benefits, even necessity of coming to a mixing or mastering session with "fresh" ears. Ear fatigue is definitely something to be aware of and avoid when trying to make "sound decisions" ...pun intended. As to using reference tracks, I was indeed referring to the use of tracks on CD, Vinyl, Disk drives, even tape, drawn from one's own listening library, was my assumption, however I guess there would be quite a few that only have mp3's as a "library", in which case I could see reluctance to use such as a strict blueprint, but in the more general sense of the word "reference" tracks are a great help, if in only terms of being used for comparison between your project and a mix or master of a track, that really stands out as a high standard or bar to shoot for, in this context, don't we all use reference tracks?? at least mentally anyway???

Use reference mixes. Get a few pro songs that match what you're hoping for in your own frequency balance- put them on tracks outside your mix/master chain, and try to match your levels and dynamics by A/B'ing back and forth (doesn't hurt to use a spectrum analyzer along with this).

 

yes, but get them from cds; don't use mp3s for this (my suggestion, anyway)...

i just bought Ozone 9 and Neuron 3. its incredible, and cant wait to get into mastering my self ! great thread !