Hi there and welcome to this next lesson in this lesson. We're going to dive deep into the world of limiting and explore the maximizer module, which is a crucial tool for achieving the desired loudness and impact on your master. Before we dive into the maximizer module, let's understand the significance of limiting in the mastering process. Limiting is the final stage of mastering and plays a critical role. It ensures that your audio reaches the desired loudness level without clipping or distortion. It's like a safety net that prevents your audio from getting overboard. Maintaining a clear and controlled sound limiters work just like compressors in that they have a threshold. And when the signal exceeds the threshold gain reduction occurs, the difference between the compressor and a limiter though is that limiter has an infinity to one ratio, meaning it doesn't let any of the signal past the threshold. Hence limiting it. Here is some terminology to understand before we dive into ozone'...

s Limiter Lufslufs stands for loudness units relative to full scale. And it's a standardized measurement of loudness that provides a consistent way to measure and compare the loudness of audio. It considers human perception making it a viable metric for broadcasting and streaming platforms. Lufs values help ensure consistent playback volume across different tracks. We can measure loudness with amplitude which is the strength of an audio signal, although this doesn't take human perception into account. Whereas L EFS does DB FS which stands for decibels full scale DB FS is a measurement of the signal level relative to the maximum digital audio signal level zero. DB FS represents the maximum peak level that can be recorded or played back without clipping levels above zero. DB FS result in distortion relation to limiting limiting is a crucial process and mastering for controlling peaks and achieving the desired loudness while preventing clipping by setting the threshold in a limiter, you can effectively raise the overall level of your audio making it louder. Lufs is often used as a reference point to determine how loud the master should be for different distribution platforms, guiding the limit to settings DB FS is used to monitor and prevent digital distortion caused by exceeding the maximum level. Now let's take a deep look at ozone eleven's limiter and maximize a module. So let's click on the plus button up here and select maximizer maximizes interface. The maximizer module's interface consist of several key components gain. This determines how much signal is being input into the module. The higher the gain, the closer the signal reaches the output level and the more limiting takes place, learn input gain. This sets the desired loudness target for the maximizer and adjust the gain level to reach that target based on five seconds of listening output level. This sets the point at which limiting begins, this ceiling determines the maximum allowed output level is typically set just below zero DB to ensure no clipping occurs. True peak, true peak limiting accounts for any over sampling generated by the digital to audio conversion. This option will increase the CPU usage but ensures no distortion or clipping occurs when converting to analog mode. Each mode has its own sonic characteristics and choosing the right one depends on your music, drama and taste. One thing to mention attack and release times when limiting provide different feels for the music and can have quite drastic impacts on your master. Generally, we want our release times to be quite musical sounding and natural in order to make the effects of limiter more subtle Irc. This stands for intelligent release control. It uses A I and algorithmically calculates attack and release times for the limiter and each one has its own sonic characteristic. Some are designed to preserve transient such as the IRC two. While others are designed to reduce pumping and distortion such as the IRC four character. This adjusts the overall attack and release times of the maximizer. The speed of which is dependent on the mode secondary controls. We also have several powerful secondary controls that provide advanced capabilities for shaping your master. The first is upward compression. This is a transparent form of compression that boost the gain of the quiet sections of your audio rather than reducing peaks. The amount control lets you determine the maximum gain apply to quieter parts offering fine tune control. The processing is level matched to maintain consistency and preserve audio integrity. Upward compression is applied before the IRC maximizer enhancing dynamics and loudness. Notice that as I increase the upward compression, a blue line indicating an increase in gain appears in a gain reduction trace view. You can think of this as the opposite to gain reduction. Soft clip, soft clip adds subtle saturation to the signal as it's been limited to increase the perceived loudness without causing distortion. Saturation adds subtle harmonic distortion and character to the mix and enhances the warmth and presence of the sound. The amount control adjusts the wet dry mix with 100% resulting in full clipping at zero DB FS. We have three modes that begin saturation at different levels before the threshold light, moderate and heavy light has three DB before the threshold, moderate has nine DB before the threshold and heavy has 30 DB before the threshold and soft clip is enabled before the IRC maximizer transient emphasis. The transient emphasis control fine tunes transient shaping before limiting, adjust the amount control to control the degree of transient emphasis with higher values resulting in more pronounced transients. This is useful for preserving sharpness and impact in transient sounds like drums while optimizing overall loudness, stereo independence. In an extreme example, imagine we have a track which is heavily tilted on the left side. Most limiters are in stereo. Hence, when the left side reaches the output level, it will compress both the left and right sides by an equal amount. Even though the right side is below the output level. By providing stereo independence, the maximizer can limit the transient or sustain sections of the master separately transient slider. This adjusts the limited response to transient material across the left and right channels, sustained slider. This adjusts the limited response to sustained material across the left and right channels. The link button links and un links, transient and sustained sliders for independent or synchronized control by independently limiting the left and right channels. You are able to increase the loudness across the whole master. It's worth noting that at 100% the stereo image will narrow as there's less difference between the left and right channels of your master tips for achieving a loud and clear master, achieving a loud and clear master is an art. Here are some tips to help you get the most out of the maximizer module. Use your ears always trust your ears while meters and numbers are helpful. Your perception of how the audio sounds should guide your adjustments, metering, pay attention to your meters, but don't solely rely on them. Visual feedback can help you avoid over limiting, but it's the listening experience that truly matters. A B comparison. Use the bypass function on a maximizer module to A B compare your processed and unprocessed audio. This helps ensure that your limiting is enhancing the mix. This is only useful though if you gain match in ozone 11, be sure to check out the lesson later on in this course about delta button game match in mids side to learn more about game matching, preserve dynamics. While loudness is important, don't sacrifice dynamics entirely. A well controlled master can be both loud and dynamic. OK. So that's the end of this lesson. In this lesson, we've explored the importance of limiting and mastering and delve into the maximizer module in ozone 11. Limiting is the final touch that can make your master competitive and polished with the right settings and a keen ear. You can achieve loudness while maintaining a clean and controlled sound. So 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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The Maximizer Module

The Maximizer Module

Lesson Info

7. The Maximizer 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