Hi there and welcome to this next lesson in this lesson. We explore the fascinating world of saturation and its pivotal role in mustering. We'll take an in depth look at two powerful modules, the vintage tape module and the exciter module, both of which are designed to infuse warmth, character and harmonics into your audio. You'll discover how to use saturation creatively to enhance your masters understanding, saturation. Saturation is a process that involves introducing harmonic distortion into audio signals. This distortion creates additional harmonics enriching the sound and giving it a warm vintage character. Saturation can have various effects which I'll discuss. Now, firstly adding harmonics saturation introduces harmonics that weren't present in the original signal. These harmonics can make the audio sound richer and more complex. Soft clipping. Saturation often involves soft clipping which rounds off the sharp peaks in the audio wave form. This can help tame transient peaks and...

make the audio smoother and also coloring the sound saturation imparts a color or character to the audio, creating a warm and inviting tone. This can be particularly useful for dramas that benefit from a vintage or analog feel. The vintage tape module, the vintage tape module in ozone 11 is a versatile tool that emulates the characteristics of analog tape machines. It offers several controls which are less. Now firstly is speed adjust the type of saturation to the tape style saturator on hardware tape units, tape speed determines the rate at which the tape physically moves past the tape head drawing playback, faster speeds improve the high quality response and overall quality. While slower speeds shift background noise towards lower frequencies. When increasing them, this makes for more rounded and vintage tonality. Then input drive this adjusts the amount of signal being driven into the saturator. Higher levels of gain lead to more drastic saturation and too much and you'll hear audible distortion. Then we have bias. This allows us to adjust the shape of the distortion curve. Negative values emphasize the saturation on higher frequencies. Making this a great option for adding a shine to the top end, adding clarity positive values target more midrange frequencies, making it more useful for adding depth and weight to the master. Then there's harmonics which adds more even order harmonics to the saturation. Even order harmonics are even multiples of the fundamental frequency. For example, let's say guitar's fundamental frequency was at 400 Hertz. The even order harmonics will be 800 Hertz 1200 Hertz and so on odd order harmonics would be odd multiples of the fundamental frequency. So 850 Hertz or 1300 Hertz for example, practically speaking, even order harmonics tend to be richer pleasant and more musical sounding. While odd order harmonics tend to be edgier more aggressive and carry more depth to the tone. Then we have low emphasis. This adjusts the resonance of the low end resonance is the shape of the high or low pass filter. And the cut off frequency low values flatten the frequency response. Hence leaving the low end fairly unaffected higher values, increase the resonance peak, adding more low end bunch and controlling the sub frequencies. Then we have high emphasis. This adjusts the resonance for the top end, lower values roll off the high frequencies while higher values at the top end shimmer. Let's now have a look at the exciter module. The exciter module in ozone 11 offers different views that allow you to control and visualize it processing. Let's now have a look at the views crossover spectrum view. This view is where you manage multiband crossovers. You can create up to four processing bands each with its crossover frequency, a band, click the plus button to add a new crossover points enable disable band, use a power button to enable or disable processing in the associated band solo band. This allows you to isolate the playback of the associated band with the S button. Remove a band with this, you can remove a band by clicking the X button that appears adjust crossover cutouts, click and drag a handle to adjust the crossover frequency or manually enter a value. The pose filter view, this view displays harmonic highlights representing the saturation applied to your signal across the frequency spectrum. Because saturation adds harmonics above the fundamental frequency. It can be challenging to add saturation without making your master sound too bright or brittle. You can adjust the high shell filter that affects the wet or process output of the module to control high frequency content introduced by the processing. Let's now have a look at some of these controls over sampling. This increases the sampling rate of applied distortion, essentially improving its quality. It reduces aliasing which is where sound wave is improperly represented by the digital samples. The downside of over sampling though is that it uses more CPU link bands when enabled adjustments made to a control will be linked and applied to all other bands by the same amount the modes. Here you can choose different saturation modes to tailor the sonic characteristics to your mix analog. This emulates transistor type odd harmonics, adding driven grit to your audio retro. This is based on transistor characteristics with a slowly decaying row of odd harmonics tape. This offers brighter sounding saturation due to odd harmonics from analog tape tube. This is characterized by clean tonal exhortation with an emphasis on dynamic or transient attacks warm. This generates only even harmonics that decay quickly trio modeled after a tube circuit for realistic analog warmth with a circular over dryer than dual Trout that brings us on to Joel tryout. This models, a full circuit using a vacuum tube, introducing more pronounced overdrive with a warmer tone. It's important to note that differences in what these modes are aren't as important as how they sound. I encourage you to test out the different modes and listen for yourself as to what the differences are. Then we have a amount, this controls the amount of harmonic exhortation for the associated band. Then there's mix which controls the amount of process signal blended back into the unprocessed signal. OK. We have more information on the main differences between vintage and modern standard modules. Later on. In the course in this lesson, we've explored the role of saturation and mastering and delved into two essential modules in ozone 11, the vintage tape module and the exciter module. Saturation is a powerful tool for infusing warmth, character and harmonics into your audio. And these modules offer precise control over the saturation process by using saturation creatively, you can enhance uniqueness and appeal to your masters, taken them to New Sonic Heights. OK. So that's the end of this video. Thanks for watching and I'll see you in the next one.

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Tomas George

Tomas is a UK Music Producer, Composer, Audio Engineer and Video Maker. He's been producing and writing music now for over twenty years, but especially loves teaching it online. Since 2016, he has created online courses about music, audio, and video production that hundreds of thousands of students from around the world have taken. <div><div><br></div></div>

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Saturation - Vintage Tape Module and Exciter Module

Saturation - Vintage Tape Module and Exciter Module

Lesson Info

11. Saturation - Vintage Tape Module and Exciter Module

Lessons

An Introduction to Ozone

The Different Versions of Ozone 11

Master Assistance and Referecing

Stem Focus and Master Rebalance

EQ + EQ Theory - Spectral Shaper, EQ1, EQ2

EQ - Match EQ, Stabilizer

The Maximizer Module

The Impact and Vintage Compressor Modules

Imager Module's Features and Controls

The Clarity Module and Low End Focus Module