iZOTOPE Ozone 9 Demo - Warren Huart: Produce Like A Pro

how everybody hope you're doing marvelously well this is very exciting today isotope have released ozone 9 and we are getting to try it out I don't use ozone 9 so this is going to be a new thing for me one of the things this has is a sort of AI feature and machine learning if you like where you can lay in an already mastered reference track and then it will read it and take the EQ and compression and all of the other settings and then apply them to your track there's something I really want to try out plus I just want to hear some of the presets and just see how ozone 9 works one of the best things about this is you have three chances to win this Thank You isotope for letting us have this to give away I really appreciate it so don't forget to enter to win you know how to do that [Music] one of the things now that we're increasingly mixing in the box tends to happen as we tend to mix almost mastered levels I find one almost every mix I do in the box and every mix I've ever been sent that's been done in the box comes in like pretty darn hot you know we end up putting stuff on the master buss and use it a little bit more aggressively than we would when we're mixing through consoles that just by nature seems to happen so I've quite a few mixes here that are not necessarily square way but printed pretty hot we also have a track that I mixed that I referenced an older album to do and I also have the benefit of a world class mastering engineer doing that so we're going to see how that shoots out later on using those references but I think the biggest thing for ozone 9 for me is to see what it does with those in the box tracks because when you've committed and you're starting to get tracks that are almost I would say square waves but a pretty close to being limited what can it do with that because that quite frankly is the world most of us are in we're getting tracks all the time mastering engineers are getting them there are not quite blobs but they're very very aggressively compressed and limited so this is going to be an interesting thing for me so let's start off by listening to it in those scenarios and then we'll go and test out its reference mode and the mastering system okay so let's start with the young and restless so we've got the mastering assistant here I'm going to go for high intensity and I'm going to go C D and I'm not going to use a reference I'm gonna go modern because even though it's a rock song I want it to sound as modern as possible so I'm gonna start somewhere in the middle of the song now you can see this is printed loud and yeah it's printed loud you know I had a slamming through the console so there's probably not a lot it's going to do certainly not a lot of limiting it's already you know pretty hot we've selected CD which is the hotter of the two options if you remember streaming here is minus one CD is minus 0.3 okay so let us keep it on modern on the module let's go in and read it [Music] [Music] you gotta stand up listen I've new beginnings we'll go [Music] that's knows so what it's done there that I've noticed an enormous amount now we're going to dynamic EQ is it's controlling some of that harshness there's a little bit going on in this area here what are we looking at that one five and it just where it gets a little too aggressive there's a little bit in that 600 when you get down the vocal and there's some low mids they're being pulled out being controlled [Music] this I feel like is probably 99% of the time how this plugin is going to be used because the reality is is that most people mixing in the box these days are mixing and their files look and sound like the files I did there I believe that mix was done in the Box I did it in the box and I'm printing loud and proud and that is really where we're at so immediately this tool is solving issues it's solving that buildup of low-mid it's getting rid of a little bit of that honk enos in the vocal round which is typically always around about six seven hundred you know pulling some of that out and it's controlling some of the high mids which are a little too abrasive okay good work made absolutely perfect sense to me now sliding doors as you can see another track that I'm printing super super hot okay so again mixed in the box so let's go and do the same thing here go to high intensity so it really controls it to its maximum go to CDE so it's printing the maximum thing and let's listen to that search [Music] so here it is [Music] [Music] so it's very interesting these are songs I mixed these are songs I mix these as songs I mixed inside of a box and you can hear similar kind of area so there's little build ups a little bit hot air on the hata mids where this gets a little harsh roughly again about six seven hundred in this part of the song a little bit nasally there again because the vocals like sitting right up there on the mix it's pulling out some of that and again some low mid cuts and there's some nice control on the high end so but again what it's doing is very very tasteful it's tasteful and I think a perfect you know use of a plug-in perfect for the modern age we're mixing in the box have stood before and after again here is the after first [Music] [Music] [Music] the two things I really notice are the time when I took it off I missed the taming on there that kind of rat on the vocal and this and the vocal and miss the taming of it really beautiful I also really enjoy just that low mid cut well I do really really like and it makes me very very happy is it's not doing any crazy stuff in the low low end that's one of the things that's really really important for me is getting great detail down low end it has not done any hard work down there so that's really excellent to see for me I will try a more classic kind of rock thing with our friends Robert John on the wreck here's the track whiskey [Music] it's probably a real average everyday kind of experience this band we recorded this we did the whole album in one day tracked everything live in a studio ten songs and there's no samples or anything on it so this is real world experience let's go I'm not going to use the reference it's going to go to high-intensity loud and proud I'm gonna hit the vintage control we haven't used the vintage yet so let's see what it does we'll keep you know I'm going to make it CD destination some of us accept [Music] [Music] on a bad train I mean going back to the original mix which I did sounds like a sock is over it compared with that this has so much more life but not to the detriment of making it sound too bright fizzy and clinical I think that that's probably a very no problem definitely a very very smart thing that we've gone for this vintage EQ comp and limiter they've added something where they're brightening the overall mix which is pretty much the requirement of any mastering engineer to bring out the detail on the top-end I've known their marshalling engineer it doesn't work in their area okay maybe they're taming it as well obviously but it's also not sounding like it's taking my head off this is really nice [Music] batteries [Music] love always controls hair low boost 35 I love this [Music] [Music] that's really powerful EQ really powerful EQ you really felt that doing something [Music] at point nine of a DB at sixty makes a huge difference [Music] you see what we've got okay so got modules modern and modules vintage vintage I assume would be maybe additional warmth and the low mids maybe a smooth a high-end short but I hear that's a new feature it says create a processing chain using non vintage modules okay using vintage modules okay so that would probably be tube with tube gear or tube emulations I should say things with Transformers emulation Zoar things would transform us to give it more weight destination streaming or CD that's a nice feature because obviously levels for streaming and CD are very very different it says maximum ceiling to minus 1 DB and minus point 3 dB yeah that's good because you've probably read if you haven't you've heard that streaming sites now will turn your music down if it's too loud they'll turn it down that could be detrimental so you don't want to hit it too loud that's nice alright so the intensity control here we're hovering over it says set the target loudness to minus 14 L u FS minus 12 for medium and minus 11 so obviously wherever you go it gets louder and louder so you got low 3 DB down to DB and then well - 11 l u FS so that makes some sense now I wonder I played it from the top there and there's quite a quiet intro and then the whole band comes in and that djembe comes in with a super powerful low-end so I'm gonna do a couple of things well let's accept this and have a listen so this is where it's been listening to the front and from when the rest of the instruments came in so now I'm going to listen [Music] whoa [Music] [Music] [Music] I like this fast and slow attack character transient sustain so stereo independence transient transient emphasis I'm really kind of excited to hear this because actually that sounds really good to be quite frank now I'm gonna listen to the actual master that's at the ozone emily's has got the mid-range more forward the vocals more pronounced the low ends tanked it was all very very obvious now I will say as I was saying earlier I started it early on before that happened so let's do it differently let's go back to the master assistance and I'm going to go high intensity so it's louder because Emily's was a lot louder and now I'm going to go and play it from when the djembe is already in [Music] Corsa so here's a suggestion to help you get started see I like that it's not telling you hey you know this is the second coming it's saying to get you started so this isn't to it in context here is kind of start from that djembe again so we get the low end [Music] [Music] so now the low-end is a lot more controlled because I started at the beginning of when the djembe came in so if you're going to use the mastering assistant be smart about it take it to a section that's going to tell it more information about the song so by starting it on the djembe with a low end in it's taking that far more into account [Music] - Emily's [Music] [Music] I'm intrigued to see how this stereo independence is going to work [Music] [Music] that was gross in about family so what I'm doing is I'm giving a little 2k boost as a kind of glassiness to it [Music] everybody in everybody the people that surround me just wanna be free Oh Oh [Music] [Music] interesting it's becoming so much closer I mean the mixer system has allowed it to it's a lot more controlled it's controlling issues in the low-mids which is making it sound a bit more punchy as controlling that but I dialed in a bit more low lows just a tiny bit just to give that a little bit more than from that boom and that low end of the djembe and I've been messing here you can see with some of the high mids just trying to bring the vocal forward I don't know if I've quite got it yet you can hear it's getting a lot closer to to Emily's master now obviously emily is a world-class mastering engineer with years of experience making incredible masters and I'm doing my quick version here but you can see with the master assistant solving some of the problems for me where I pulled out some of these low mids and then by me darling in like some low lows it's getting fairly close I mean I'm not gonna win an award I'm certainly not gonna win a Grammy for the master here but that is a pretty reasonably good sounding master for a guy who's not a mastering engineer and has spent five minutes on it Sarah listen again [Music] it's little sp I think maybe I pulled out some of those high mid boost there or I could put a de-esser across the whole mix not unheard of with mastering engineers I did crank the output here to get it to the same kind of competitive level that it was for the CD you know I've done two changes they're brought the vocal forward by bring up the high mids and I've done that low lows and the rest of it was done by the master assistant itself now let's try something really kind of fun I am going to get rid of this completely clean it out put another instance of it on just so there's nothing saved from there so here we have a new instance here now what I'm going to do is we're going to do something pretty radical I'm going to take we'll go back to the high intensity I'm actually going to take the reference because this is a more reality who's going to have the opportunity to take an already master track and compare it the exact song I mean maybe you could you're going to pay somebody to do an amazing master and then try it it's not the real world but how about this when we produce this when we were working on it we referenced Trevor Hall as I was talked about earlier so let's load in a Trevor Hall track Green Mountain State this is of Trevor's record this is like off the record chapter of the forest who's got like 13 million plays or 31 million players just on Spotify let alone every everywhere else and all the other things so keep it modern I think that's the way to go this one was master by Adam a.m. there's another amazing master engineer anime and Emmas are both incredible towns so now I'm going to press play on this [Music] we already just [Music] [Music] that's interesting using the Trevor Hall song as a reference it has done some of that high mid boost I was doing it a little lower down to try and bring out some of the sort of vocal up front but it's doing that as well it's a bit more exaggerating smooth the top it's got some mid-range cut bear in mind both of these records were recorded and mixed by me on this console in this room djembe was on both songs and it's interesting obviously different days different singers everything but interesting how it analyzes the EQ I don't expect to sound anything like Emily's master [Music] [Music] to be interesting again using a reference track of an already mastered one not the same song a different one it's made it bright it's brought the vocal forward by that high mid boost and then there's this sort of top boost there's a mid-range cut which is quite a difference between Emily's version and this it's interesting it's like a different way of doing it what is the moral I suppose you you find references there as close as possible not just to how you want it to sound like boom and fears and having great air over the top or good low end or you know really detailed mid-range but probably similar kind of arrangements we did sort of do that now this will really really throw a Spaniard Spaniard in the works why don't we load in Emily's track so now you see we've loaded it in we have Green Mountain State which is actually quite dynamic here so probably was not a great example to use now we've got Emily's version of everybody knows this is a reference of Emily Lazar master [Music] [Music] [Music] [Music] [Music] now it's interesting first thing I did was raise the threshold there because it was being a little too aggressive and everything and supplied but essentially sonically it's really close there's a boost in the high and there it's not as detailed crazy as I would have thought it's it's got a hyped high end which is similar to what it was doing when it was bringing in the other track by Trevor Hall it was hearing more high end however now it's more gentle it's got a little bit of a lift down the lows there it hasn't ducked as much in the mid-range and it is a down sight closer it's much much closer still that low-mid ducking going on there a little bit in the mid weed range about 2k we were boosting before just above it here it's not exactly the same but it's much much much closer so very very interesting technology I think all of this has sort of shown us the same thing is that it's going to read and understand other tracks and I think the best way to do this is to take different references that you like the sound of and see what you can do you know to really really improve it that was pretty interesting for me because it know how sophisticated it was going to be but it's pretty darn sophisticated does it sound exactly the same no because Emily would have got there through many other different ways top mastering engineers would use hardware as well as software in a combination of stuff hers is really really really clean and loud as this is getting louder which happens quite a lot just hear a little bit of like grit coming in but dang it's pretty darn close now again there is no way you're going to have the luxury of having a world-class mastering engineer up against it but it does prove the fact that it can get super super close given the right materials so thank you ever so much isotope for letting us review this and also giving one of three copies that you can win there's three copies to win here you know what to do there's all kinds of links and stuff down around here dancing around here I should say to enter please give us any feedback if you've used ozone before give us some feedback you can see this is an incredibly useful tool especially for those of us that are mixing more and more in the Box where mixers tend to come out with a little additional compression and EQ and even limiting and that it really does prove itself well I really liked obviously the unfair advantage of having a world-class mastering engineer and being able to take their information and apply it that really came out really quite nicely and was a lot closer than I would have imagined given you know it's ears versus gear however we're not going to be in that situation very often where we have the track mastered by a world-class Grammy winning mastering engineer to do it and then compare but it did favor very well I think ultimately this is going to be a tool for those of us that are mixing in a box and need to get master quality as quickly as possible the fact that it's set there and it pulled out these low mids hush harshness in the high mids was really good I should probably have found a bad mix with really bad low-end issues but fortunately all the mixers that I did here unwittingly all didn't have any low-end mission issues but they did have some low mid stuff and that's quite important so thank you ever so much for watching don't forget to enter to win one of three copies have a Marvis time recording mixing leave us a bunch of comments and questions below and we'll see you again all very very soon [Music] [Applause] [Music]

Channel: Produce Like A Pro

Views: 29,628

Rating: 4.9637189 out of 5

Keywords: Warren Huart, Produce Like A Pro, Home studio, Home recording, Recording Audio, Music Production, Record Producer, Recording Studio, iZOTOPE, Ozone 9, demo, Review, Giveaway

Id: 63SfIztlaSA

Length: 30min 9sec (1809 seconds)

Published: Thu Oct 03 2019