- #Waves l2 ultramaximizer vs ozone 7 limiter how to
- #Waves l2 ultramaximizer vs ozone 7 limiter software
In live, I have trouble with knowing exactly where I'm peaking because there's really no way to know precisely by just looking at the meter. I know you mention that the master track shouldn't peak above -6db in the mixdown. You cna do a lot to treat your room acoustically for pretty cheap these days, so that would be the first place I would start if I was you. I've never heard those, so I really don't know. > This could be down to lack of acoustic treatment, or just a fault of the monitors themselves.
#Waves l2 ultramaximizer vs ozone 7 limiter how to
You cna get an idea of te main issues and look to see if any apply to your studio, and how to address them. Probably cheaper to head somewhere like the acoustics forums over at and start reading about the basics of accoustics.
#Waves l2 ultramaximizer vs ozone 7 limiter software
Ironically, right when you start to get good at this, you'll realize you really don't need to be doing it anyway > Are you on OSX or PC? A quick google of acoustic room measuring software will get you a bunch of different options. Put them on individual tracks, and just checking them now and then until you start to visually correlate what you see with what you hear. I don't know of many guides that tell you how to use meters better per se, but I'd say just get in the habit of using them when you write. So just having and using those tools is really not going to make up for taking the time to learn what you're hearing. Useful for spotting problems your ears are already telling you about, but there's no "ideal" graph or level metering for music. Here's something I wrote about this, if you haven't seen it yet: > Metering tools can be a good thing, but you have to learn to not let your eyes guide your ears. Just my opinion though, I know a lot of people disagree.
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I personally don't see the need for people to be using things like EQ or multi-band compression when mastering their own music, you have so much more flexibility when you just go back and address any issues in the mixdown. Almost all your efforts should be focused on the mixdown, and then the mastering stage is just a light bit of limiting to get the volume up a little.
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While it's only my opinion, I'm a firm believer that there's really no need to "Master" your own music. Bobby Owinski has a book out too that gets good reviews, though I haven't read it myself. It's one of those things I think ALL musicians should read these days, not just for the mastering aspects, but to get a better understanding of what digital is, and how to best use it as a medium.
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> Bob Katz's "Mastering Audio" is basically the bible of mastering, at least for beginners. – System Configuration and Technical Support Diagrams.Could you recommend any reading for getting into mastering? I know a trainer ear is something that takes time, but I'm also looking to figure out what, mathematically I can look for to help me know what needs to be done in the mastering stage? – Audio Plugin support including custom Preset Design to suit your needs. – Remote Recording Services using discrete Skype Accounts and higher quality Codecs. – Loudness Compliance Processing & Consulting for platforms such as Broadcast and Internet/Mobile. Mixing and Sound Processing – including Audio Restoration, Noise Reduction, Speech Volume Leveling, and High Quality Lossless/Lossy Encoding.