What i lke the most about this lessons, is that Jonathan is teaching what he knows and not just trying to sell the Ozone products. Thumbs up and many many thanks for this kind of educational videos !
I’ve never seen a combination of presentation skills and visual production values on UA-cam that comes anywhere near this series. I bought RX7’s promotional package of de-noise, de-click, etc. on sale to help with a horrendous ambient noise problem interfering with voiceover recording. It’s a near miracle. Still, with no background in music production I just can’t stop watching this video series. This is the gold standard for clarity in information delivery.
RX is a great product series and I have started to use it in place of Waves X-Click for some time now. Izotope's detection resolution is very impressive!
I've been in the audio game for 15 years and I'm still learning new things. If someone assumes that they know it all then they'll never progress. Staying hungry and open to new things is the key.
0:32 A limiter is basically a compressor with a super high ratio 0:47 In analog world, limiter not 100% brick wall 1:20 Limiter allows us to specify final target level 1:50 Can be useful to play with limiter at the start of mastering session to get track to target loudness 2:42 Limiter is ALWAYS last in chain 2:50 Can also think of limiter as a safety 3:02 Drop threshold of limiter, will increase output by same amount (i.e. -5db on limiter = +5b on output) 4:02 Try to listen to level matched when bypassing limiter to hear true A/B difference 6:04 In terms of LUFS, Short Term is probably what we are most interested in while mastering. Integrated LUFS is what streaming services use to determine how much of a “penalty” to give your track. Target LUFS Apple: -16LUFS UA-cam: -13LUFS Spotify: -14LUFS Tidal: -14LUFS 8:00 If you know you want to end up at -14LUFS Integrated and you know the beginning of the track is lower, then the louder portion will be louder than -14LUFS (maybe around 3-4db difference) 9:20 Limiters will impact the bass the most as bass has the strongest amount of amplitude signal 10:48 Limiters have a fast release, this invariably can cause distortion. Keep this in mind, and listen out for it in sibilant areas. 11:39 Having a side chain input in the compressor can ensure your stereo field doesn’t steer around 12:02 De-coupling in a limiter can help you have control over the stereo width 12:35 Difference in IRC modes in Ozone IRC 1: Analog limiter, very little look ahead. IRC 2: More of a look ahead* digital limiter IRC 3: A sophisticated limiter, there is a look up table to choose a profile, this mode has the least distortion associated with it IRC 4: Spectral Shaper/Dynamic EQ, that pulls back peaks in the spectrum to allow the limiter to work less before limiting is applied *Look ahead means the limiter uses buffer memory to look ahead at the frequency coming in. This allows it to process it more clean
I don't know what it is, but even after buying and viewing TONS of tutorials of various qualities, THIS is the guy I trust %100. Fantastic relay of knowledge in such a beautiful and pleasant way. I love it.
I've watched some of these tutorials multiple times. each time i retain a new idea than my previous watch. Thank you for putting this content out there. I've really been enjoying and learning from your experience and teaching. Sending your tons of gratitude and positive energy. I really appreciate this series are you listening.
I don't think I've found any other Tutorial videos that are as informative and educative as this series.... I have become an avid fan...subbed, belled and all the rest.... As far I'm concerned they can't be published quick enough.... Excellent Video's Top quality instruction and absolutely the best info on the net regards mastering and mixing, Thank you for sharing your expertise.
I truly appreciate you sharing your professional advice, tips and tricks of the trade. This knowledge can definitely help everyone regardless of the level of skill. This gives me the confidence and knowledge to help me master my own tracks without "overdoing it". Thank you very much
Such a great series. Every video in this series is immediately applicable and explains so much things I couldn't quite get my head around. Succinct and invaluable. Thank you Jonathan and iZotope!
Great tutorials; you've removed years of googling and broken keyboards. Playback level on a/b is a big value point! Thanks for sharing your professional wisdom.
Ha...nice job. Well planned and presented. Lighting was above par, diction clarity and depth of your voice spot on, Camera shots and the Pull to Focus at the perfect time and NOT over-done made it easy to absorb the excellent information provided. I figured if you put that much time in to it you deserved a solid complement.
6:25 short term LUFS 6:55 streaming service use intergrated LUFS 8:20 loudest section 3-4 dB higher than the average 9:20 limiters lose low frequencies and gain high frequency distortion 10:45 limiters have fast release times 12:45 irc 1 like analogue limiter, little look ahead (more transient reduction, warmer and punchier ) (punch through the middle for rock/punk). 13:20 irc2 like look ahead Digital limiter (smoother and allows LF warmth to come through). 13:55 irc3 has look up table and chooses the algorithm that will produce the lowest distortion (cleaner, brighter, least amount of colour) 14:30 irc4 spectral shaper 14:45 long release = smoother and defeat excitement
Thank you so very much for uploading! I needed a good refresher to help me get back into the swing of things since it's been a while since I went to school. These videos have been very helpful with that!
This is an excellent series, very well explained and informative. The limiter can be a dangerous tool, IMO and mostly isn't ever needed. If the engineer has done a good job with dynamic range compression to make the signal louder, limiting isn't needed at all. Be careful as the limiter destroys every part of the signal limited, or clipped. So, it's not only the bass that gets limited first, we have higher frequency signal modulated on the peaks of the bass signal, so all of the higher frequency signal gets wiped out (flat-lined) for a given number of milliseconds.
Been mixing 9 years. I would like to think im at a professional level as I've put in hours apon hours of perfecting my mixing skills as well as training me ears.. That being said, the more i study Mastering the more i realise how different of an art it is and how i have SOO much to learn to be a better master engineer. Weird how i can easily hear different frequencies or needs of compression a MIX would need.. But my ear is far from trained well to hear what a track needs in the Master phase. There is too many Mastering tutorials that throw on only an eq and a limiter on defult settings cruching 8 db of gain and callimg it a day. Much respect to this teacher for teachimg the art of the different shapes you can achieve in the sound by playing with so many different variables.
The limiter he's talking about is Ozone's 'maximiser' - fairly easy. But the limiter in Dynamics with its attack/release, knee... etc., is a little more complicated.
The insidious limiter effect was really an eye opener. I found myself getting horrendous sibilance when misusing a limiter and wondered where the hell it came from
hey ! pls make video about how to get proper stereo imaging in a whole stereo field and what are advance tips to mix a whole song and placing its element in stereo field Thanks 💚🙏
You bet your ass I'm listening. That's why I, after about 6 years of searching, I still haven't found a limiter that does what it should. And completely transparently.
Software limiters just aren’t transparent or even musical sounding. They are affordable compared to hardware but not comparable. The Pendulum Audio PL2 is an incredible hardware Limiter that is also musical and transparent.
So is he saying that you should trigger your mixbus compresser with a mono sum of your stereo mix in the sidechain, to avoid the stereo balance to go off (when referencing the tom fill going across the sound field) at 11.46
when I use the automatic mastering of ozone 10, which masters at 11 lufs and I change it to 14 lufs, setting for spotify, with "learn theshoud", there is distortion. It's piano, violin and voice. How to solve it?
I do everything they say about mastering. But when i play my song and i play a professional mastered song. Arm i feel a huge difference. How do pro's go about thier mastering chain.
@@seanjones9389 That aswell but there is so much more to mastering than they explained so far in that series. Consider reading Bob Katz book, that one is really great Also fuck around with different plugins (or hardware units if you can afford them) to feel what brings you forward the most efficient way Or maybe your room isn't treated good enough and you confuse your ears (brain technically) and so on... theres many shits to a "simple" topic like adjusting a 2 track stereo mix i guess
5 років тому
Adam, are you comparing the same song, one version you mastered and another one that was mastered by a mastering engineer or are you comparing your finish song with a entirely different artist or bands master?..
Hey get a mastered version of your song and compare it to your mastered version of the same song take it from there. But remember to "fix it in the mix"
I cant believe these lessons are free.. so incredible
agreed
Dude we feel so blessed for this man.
Exactly
I know right!
💯 just huuuuge
What i lke the most about this lessons, is that Jonathan is teaching what he knows and not just trying to sell the Ozone products. Thumbs up and many many thanks for this kind of educational videos !
Thats because everyone knows that ozone products are a must-have :D
I’ve never seen a combination of presentation skills and visual production values on UA-cam that comes anywhere near this series.
I bought RX7’s promotional package of de-noise, de-click, etc. on sale to help with a horrendous ambient noise problem interfering with voiceover recording. It’s a near miracle. Still, with no background in music production I just can’t stop watching this video series. This is the gold standard for clarity in information delivery.
check out fabfilter tutorials, they're pretty much the best I've seen
RX is a great product series and I have started to use it in place of Waves X-Click for some time now. Izotope's detection resolution is very impressive!
I've been an engineer all my life and I'm still learning a huge amount from these videos. I could listen to Jonathan all day.
I've been in the audio game for 15 years and I'm still learning new things. If someone assumes that they know it all then they'll never progress. Staying hungry and open to new things is the key.
@@Syklonus these are not new concepts though ... are you sure you guys are engineers?
0:32 A limiter is basically a compressor with a super high ratio
0:47 In analog world, limiter not 100% brick wall
1:20 Limiter allows us to specify final target level
1:50 Can be useful to play with limiter at the start of mastering session to get track to target loudness
2:42 Limiter is ALWAYS last in chain
2:50 Can also think of limiter as a safety
3:02 Drop threshold of limiter, will increase output by same amount (i.e. -5db on limiter = +5b on output)
4:02 Try to listen to level matched when bypassing limiter to hear true A/B difference
6:04 In terms of LUFS, Short Term is probably what we are most interested in while mastering. Integrated LUFS is what streaming services use to determine how much of a “penalty” to give your track.
Target LUFS
Apple: -16LUFS
UA-cam: -13LUFS
Spotify: -14LUFS
Tidal: -14LUFS
8:00 If you know you want to end up at -14LUFS Integrated and you know the beginning of the track is lower, then the louder portion will be louder than -14LUFS (maybe around 3-4db difference)
9:20 Limiters will impact the bass the most as bass has the strongest amount of amplitude signal
10:48 Limiters have a fast release, this invariably can cause distortion. Keep this in mind, and listen out for it in sibilant areas.
11:39 Having a side chain input in the compressor can ensure your stereo field doesn’t steer around
12:02 De-coupling in a limiter can help you have control over the stereo width
12:35 Difference in IRC modes in Ozone
IRC 1: Analog limiter, very little look ahead.
IRC 2: More of a look ahead* digital limiter
IRC 3: A sophisticated limiter, there is a look up table to choose a profile, this mode has the least distortion associated with it
IRC 4: Spectral Shaper/Dynamic EQ, that pulls back peaks in the spectrum to allow the limiter to work less before limiting is applied
*Look ahead means the limiter uses buffer memory to look ahead at the frequency coming in. This allows it to process it more clean
Doing God's work out here
Thank you for this concise recap
Thanks!!
Thank You so much for this
God Bless you
Goat
I don't know what it is, but even after buying and viewing TONS of tutorials of various qualities, THIS is the guy I trust %100. Fantastic relay of knowledge in such a beautiful and pleasant way. I love it.
This is by far the best series of videos on dynamics I have ever seen.
I'm surely not the only one feverishly taking notes.
This is so good. Thanks iZotope.
I've watched some of these tutorials multiple times. each time i retain a new idea than my previous watch. Thank you for putting this content out there. I've really been enjoying and learning from your experience and teaching. Sending your tons of gratitude and positive energy. I really appreciate this series are you listening.
I can't stress enough how amazing of an educator you are. Thanks so much for putting this information out there for free!!!
I don't think I've found any other Tutorial videos that are as informative and educative as this series.... I have become an avid fan...subbed, belled and all the rest.... As far I'm concerned they can't be published quick enough.... Excellent Video's Top quality instruction and absolutely the best info on the net regards mastering and mixing, Thank you for sharing your expertise.
I truly appreciate you sharing your professional advice, tips and tricks of the trade. This knowledge can definitely help everyone regardless of the level of skill. This gives me the confidence and knowledge to help me master my own tracks without "overdoing it". Thank you very much
What a way to sell your products! iZotope, we love you!
I'm glued to this series now
Kudos to Jonathan Wyner and iZotope for the videos!
Such a great series. Every video in this series is immediately applicable and explains so much things I couldn't quite get my head around. Succinct and invaluable. Thank you Jonathan and iZotope!
Great tutorials; you've removed years of googling and broken keyboards. Playback level on a/b is a big value point! Thanks for sharing your professional wisdom.
I didn't realize my knowledge was so....limited! ;-) This is great! again!!
I get it :)
Ha...nice job. Well planned and presented. Lighting was above par, diction clarity and depth of your voice spot on, Camera shots and the Pull to Focus at the perfect time and NOT over-done made it easy to absorb the excellent information provided. I figured if you put that much time in to it you deserved a solid complement.
6:25 short term LUFS
6:55 streaming service use intergrated LUFS
8:20 loudest section 3-4 dB higher than the average
9:20 limiters lose low frequencies and gain high frequency distortion
10:45 limiters have fast release times
12:45 irc 1 like analogue limiter, little look ahead (more transient reduction, warmer and punchier ) (punch through the middle for rock/punk).
13:20 irc2 like look ahead Digital limiter (smoother and allows LF warmth to come through).
13:55 irc3 has look up table and chooses the algorithm that will produce the lowest distortion (cleaner, brighter, least amount of colour)
14:30 irc4 spectral shaper
14:45 long release = smoother and defeat excitement
This is a great series and Jonathan is an outstanding teacher. IZotope just gets things right without muss and fuss.
Awesome video and videos. I’m 16 and started producing music. Appreciate the videos!
Ive been using ozone since ozone 4! I love it. Its great to learn from the proverbial horses mouth. Thanks for the videos!
The most instructive videos I ever seen about this topics.
This guy is a legend
Though some of this information is already going over my head, I appreciate that this is free SOOOOOO much. Thank you guys
Thanks so much iZotope & Jonathan Wyner for everything! I am definitely Listening to every episode #grateful
Great video! Appreciate you putting these out!
I like this series, it's informative but also a chill to watch. Thanks iZotope!
This man and this series are a gift to artists and audio engineers everywhere. Thank you so much.
These videos are great! Thanks Izotope and thanks Jonathan for the great quality of these lessons!
Really enjoying this series🧩
This is gold information. And I would like to listen to the big speakers that are in the background.
Wonderful wonderful tutorials, very valuable. And free for us to learn! Amazing. Thanks for making and sharing these valuable lessons!
These videos are amazing
Thank you so very much for uploading! I needed a good refresher to help me get back into the swing of things since it's been a while since I went to school. These videos have been very helpful with that!
Great Brake down and excellent content. Thank you for such a detailed and clear points of view for the up and coming music technician. OZ8 user👍🏻
I love Izotope and would be lost without Ozone.
This is an excellent series, very well explained and informative. The limiter can be a dangerous tool, IMO and mostly isn't ever needed. If the engineer has done a good job with dynamic range compression to make the signal louder, limiting isn't needed at all. Be careful as the limiter destroys every part of the signal limited, or clipped. So, it's not only the bass that gets limited first, we have higher frequency signal modulated on the peaks of the bass signal, so all of the higher frequency signal gets wiped out (flat-lined) for a given number of milliseconds.
Thank you...there are no such a valuable content for free out there... triple A. Does Jonathan still make seminars...?
I like his explanation about the release time !
these videos are simply amazing! thank you so much!
Very helpful thank you
Been mixing 9 years. I would like to think im at a professional level as I've put in hours apon hours of perfecting my mixing skills as well as training me ears.. That being said, the more i study Mastering the more i realise how different of an art it is and how i have SOO much to learn to be a better master engineer. Weird how i can easily hear different frequencies or needs of compression a MIX would need.. But my ear is far from trained well to hear what a track needs in the Master phase. There is too many Mastering tutorials that throw on only an eq and a limiter on defult settings cruching 8 db of gain and callimg it a day. Much respect to this teacher for teachimg the art of the different shapes you can achieve in the sound by playing with so many different variables.
Thank you Jonathan , another stella presentation.
These videos are so well done and have such a great wealth of information. Thank you Jonathan! :)
I'm for sure going to buy the Ozone Mastering suite later this year. Seems like a fun set of tools.
These are very valuable info! Thank you very much!
Wow this guy explains this so well!
Very helpful (again). Thanks for putting this series together!
The limiter he's talking about is Ozone's 'maximiser' - fairly easy. But the limiter in Dynamics with its attack/release, knee... etc., is a little more complicated.
Great stuff - always informative
great topic of level matching.
Stunning tutorials, thank you, so clear and concise! 5⭐️
what a great video!
thank you very much for these! please go in more depth if you want to, I'd love to hear more specifics about LUFS etc!
man this was amazing 🙌 such a good explanation on limiters
Excellent explanation...thanks
Thank you so much
Awesome this is a great series
Another brilliant video. Thank you
Damn the panned toms fill compression example, I completely overlooked!
Love these videos! Thanks so much for putting this out
Thanks!
Thank you, so helpful!
Thanks! I always wondered about the 3 modes in IRC IV, now I know!
Izotope, well done again!
Awesome and we'll explained tutorials. Thanks
Every day certainly is a new learning curve.. Izotope is amazing.
Great episode...thanks for sharing
Many thanks
Thank you.
Excellent video!
Pure gold!
This could do good on Netflix.
The insidious limiter effect was really an eye opener. I found myself getting horrendous sibilance when misusing a limiter and wondered where the hell it came from
Fascinating, sir
So well explained - thanks! Cool studio, BTW.
hey ! pls make video about how to get proper stereo imaging in a whole stereo field and what are advance tips to mix a whole song and placing its element in stereo field
Thanks 💚🙏
We just released a video explaining exactly this! Hit up our channel to watch :)
How can this tutorial be free? I hate long tutorials but those episodes flow like water.
This is gold
You bet your ass I'm listening. That's why I, after about 6 years of searching, I still haven't found a limiter that does what it should. And completely transparently.
What to look for when using the limiter 10:59
I love you so much , really really love you
Thank you! I’m interested in the controller you use (left of computer keyboard)
mastering master
This guys is cool i wanna be like him
10:59 - yes!
Software limiters just aren’t transparent or even musical sounding. They are affordable compared to hardware but not comparable. The Pendulum Audio PL2 is an incredible hardware Limiter that is also musical and transparent.
My guy 🙏🏽
So is he saying that you should trigger your mixbus compresser with a mono sum of your stereo mix in the sidechain, to avoid the stereo balance to go off (when referencing the tom fill going across the sound field) at 11.46
Highly INSIGHTful
No teachers' finer.., than Jonathan Wyner- ;*)
love ya izotope
Thank you very much. (Or as we say "Thank you Vary Mu")
Thank you, ;-)
Oh and thanks for making them VSTs i divorced pts back when digidesign abandoned us
What's the name of the controller he's using at 3:57 ?
Great video, but what's up with the audio on the voice?
when I use the automatic mastering of ozone 10, which masters at 11 lufs and I change it to 14 lufs, setting for spotify, with "learn theshoud", there is distortion. It's piano, violin and voice. How to solve it?
I do everything they say about mastering. But when i play my song and i play a professional mastered song. Arm i feel a huge difference. How do pro's go about thier mastering chain.
It’s your mix bro
@@seanjones9389 That aswell but there is so much more to mastering than they explained so far in that series.
Consider reading Bob Katz book, that one is really great
Also fuck around with different plugins (or hardware units if you can afford them) to feel what brings you forward the most efficient way
Or maybe your room isn't treated good enough and you confuse your ears (brain technically) and so on... theres many shits to a "simple" topic like adjusting a 2 track stereo mix i guess
Adam, are you comparing the same song, one version you mastered and another one that was mastered by a mastering engineer or are you comparing your finish song with a entirely different artist or bands master?..
Difference in what? Level? Also pro mastering engineers are still using analog
Hey get a mastered version of your song and compare it to your mastered version of the same song take it from there. But remember to "fix it in the mix"