Hi there and welcome to this next lesson in this lesson. We'll explore several important aspects of ozone that adds the finishing touches to your mastering process. We'll delve into the significance of the delta button. Maintaining consistent levels with game match the use of mid-sized processing across all modules. The choice of audio codex and the roles of diver bit depth reduction. These elements are crucial for ensuring that your mastered audio is of the highest quality and ready for distribution. The significance of the delta button. The delta button in ozone 11 is a feature used for A B comparison. When the delta button is activated, it allows you to listen to the difference between your current settings and the original unprocessed audio. This is a viable tool for critically assessing the impact of your processing changes on the audio signal. So here's how it typically works. When the delta button is off, you hear the currently processed audio. When you activate the delta butto...

n, you switch to hearing the difference between the processed audio and the original unprocessed audio. This allows you to focus on the specific alterations made by your processing settings. It's particularly useful for fine tuning and making sure enhancements are achieving the desired results without introducing unwanted artifacts or coloration. But the delta bottom provides an instant way to toggle between the original and processed versions of the audio. For critical evaluation. How to maintain consistent levels with game match achieving consistent audio across multiple tracks. Or when you're comparing your mastered audio to a reference track is essential. The game match feature in ozone 11 ensures that your audio is level matched for accurate comparison by activating game match. You can listen to your processed audio at the same perceived loudness as the original making it easier to assess the impact of your mastering adjustments without being swayed by changes in volume. Game match streamlines. The mastering workflow helps you make informed decisions. Don't forget to turn off a game match button before exporting your master. Otherwise you'll be exporting a much lower Lufs than intended using mids site across all modules. OK? So now let's adjust the mids side and we can do this by turning on the module you want to adjust and then selecting this icon here and selecting mids side, mids side processing is a powerful technique that allows you to separately manipulate the mono and stereo components of your audio. In ozone 11, you can use mids side processing across all modules given you precise control over the spatial characteristics of your audio. I want to spend some time talking about mid-sized processing because I think it's one of the most powerful tools we have as mastering engineers, benefits of mids side processing, enhance control over the stereo field. The separation of the mid and the side offers a level of control that's not achievable. With traditional stereo processing, you can precisely adjust the width of the stereo image focusing on instruments and vocals in the center while widening or narrowing the spatial perception as needed. One challenge with mastering is separating the instruments as we often only have one file to work with mid-sized processing can be used as a method of separating the elements of your mix selective equalization. You can apply eco adjustments separately to the mid and side channels and we can slap mid or side with these buttons up here. This allows for targeted tonal shaping. For example, you can boost the low frequencies in the center channel to enhance the punch of the kick drum and bass while simultaneously brightening the side channel to add airiness to symbols and stereo effects. Likewise, subtractive EQ can be used on the side to leave more room for the base and kick which are usually planned to the center controlling dynamics and loudness by applying compression to the center and side channels independently. We have more control over dynamics. In addition, it gives us two sets of headroom to work with. For example, if we wanted to add compression to our master to tame a particularly loud snare pan centrally add in sterile compression would cause both the middle and size to compress when the snare hits by only compressing the middle. We can let the size of the master breathe while tame in the middle, where the snare is located simultaneously, you also have the option for transient sustain, allowing you to target different aspects of your master. This is yet another way. Ozone 11 gives you control and makes it easy for you to target certain elements of the mix. For example, if we want to boost the low end of our master, but we only want to target the bass guitar, I'd make adjustments to the sustained section while leaving the transient section. So let's turn on the EQ bell here and then play the track back and adjust the filter frequency of the bell. If I wanted to target the kick, I'd choose a similar frequency only target the transient. So let's swap this over to transient up here and play the track back and then adjust the gain and filter frequency of the EQ bell to hear the difference techniques for using mids side processing, accounting for the stereo width, the relationship between the sender and sides influences the overall stereo width. It's important that we are careful as not to overuse mid-sized processing as we may end up with an unnaturally wide master in dramas like hip hop. This is uncommon as it reduces the focus and drive of the master correcting phase issues. Mids side processing can reveal phase issues in your master. Remember to address any phase misalignments before applying mids side techniques to achieve the best results. Phase issues can compromise the effectiveness of mids side eq and processing. This correction is best carried out in the next stage of the production process. Enhancing spatial perception, use mid size processing to create a sense of depth in your mix. For instance, you can emphasize the center channel to make the vocals and lead instruments feel more forward or you can enhance the side channels to push background elements to the edges of the stereo field, creating a spatial sound stage. OK. So that's the end of this part one video, I'll see you in part two.

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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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The Delta Button, Gain Match and Mid/Side

The Delta Button, Gain Match and Mid/Side

Lesson Info

13. The Delta Button, Gain Match and Mid/Side

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

Saturation - Vintage Tape Module and Exciter Module

Vintage Module vs Modern Modules