User manual IZOTOPE OZONE

[. . . ] Mastering with OzoneTM Tools, tips and techniques © 2003 iZotope, Inc. iZotope and Ozone are either registered trademarks or trademarks of iZotope, Inc. in the United States and/or other countries. Other product or company names mentioned herein may be the trademarks of their respective owners. INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ] The area between the lines will be the reverb signal that you hear. Note: As you drag the handles, wait a second to let the filters fully affect the signal. The reverb in Ozone uses analog modeled cutoff filters that have a time constant. The downside is that it takes a second or two after you move a cutoff to hear the fully processed result. The upside is that they sound smooth and "musical". Well, the mastering reverb in Ozone rolls off with high frequencies by design, so you don't necessarily need to roll off the high frequencies yourself. At the same time, rolling off the highs (moving the right line to the left) can take away some of the "tinny-ness" of the reflections, and rolling of the lows (moving the left line to the right) can take away some of the rumble of the reflections. We tend to start with the low cutoff at 100 Hz and the high cutoff at 5 kHz. If we hear "sibilance" (too much "ssss's" and "shhh's") from the singer we move the high cutoff down below 2 kHz, as high frequency reverb can accentuate sibilance in an undesirable way. General Reverb Tips Like any effect, it's easy to overdo reverb. Hear are some tips for "keeping it real" · Bypass the mastering reverb from time to time to get a reality check on what the dry world sounds like. In most cases, reverb should be "sensed" more than it's heard, if used at all on a mix. If you want "more" reverb, keep in mind that you have multiple options. You can increase the wet amount (the level of the reverb mixed into your mix), or you can increase the room size (the length of the reverb) or you can increase the room width. Adjust each of these then use the History window (or A/B/C/D feature) to decide which adjustment was the most effective. You can reorder where the reverb is applied in the signal chain. By default, it's before the multiband modules. Try putting it after the multiband module for a slightly different effect. Instead of compressing the reverb, you'll be adding some reverb to the compressed signal. You might like the sound of a compressed mix, but with some uncompressed "air" on top of it. Compare to commercial mixes for a reality check. What to compare to depends on the sound you're shooting for. Something like Steely Dan is pretty dry (and more of an acoustic room reverb) where something like George Michael or Phil Collins can be very lush (with more of a studio plate reverb sound). [. . . ] In the History screen, you can use the wheel to scroll through the History list. Numeric Entry Using the mouse can be difficult for accurate slider settings. Here's how you can adjust values with precision: · Select the slider you want to adjust by clicking on it. If you click on the slider itself the value will jump to the mouse position, but if you just click on the label of the slider the slider will be selected without changing the value. Selection or "focus" of a slider is indicated by white brackets around the slider. [. . . ]