izotope ozone User Manual
MULTIBAND DYNAMICS
Mastering the dynamics of a mix using compressors, limiters, expanders and gates is probably
themost challenging step of the process, but the one that can make the most difference
themost challenging step of the process, but the one that can make the most difference
between a “basement tape” and a commercial sounding mix. Taking the time to master (no
pun intended) multiband dynamics can be well worth the effort.
There are a few things that make mastering dynamics challenging:
1) The effect is subtle, at least if done correctly. It’s not something you clearly hear, like
a flanger or vocoder or so forth, but instead something that is “felt” in the mix.
a flanger or vocoder or so forth, but instead something that is “felt” in the mix.
2) A compressor is usually not working all the time. So most of the time you might be listening
for an effect that isn’t kicking in. Level histograms and compression meters such as those
for an effect that isn’t kicking in. Level histograms and compression meters such as those
provided in Ozone can be invaluable in referencing when the compression is occurring, and by
how much.
3) Not all compressors are created equal. While the concept is simple enough (turn down the
volume when it crosses a threshold) the design and implementation (and therefore the
quality) of compressors varies considerably.
Applying a quality compressor correctly, however, can smooth the peaks (and valleys) in your
mix and make it sound fuller, smoother or just plain louder (if that’s the desired goal).
Compression Basics
Ozone includes a multiband multifunction dynamics processor. Before jumping into the
multiple dimensions provided by this, though, let’s start with just the simplest case: A single
band compressor.
An analogy often used for describing compressors is that of a mixing engineer with their hand
on the overall output gain while watching the level meter. When the level exceeds a certain
point (the Threshold in compressor terms) the engineer starts turning down the level.
point (the Threshold in compressor terms) the engineer starts turning down the level.
How much they turn down the level as the output gain exceeds the threshold is called the
“ratio”. Higher ratios mean that the engineer (or compressor) turns down the volume control
more aggressively when the level is above the threshold, to bring the output level back down
closer to the threshold point. With a ratio of 3:1, if the output level exceeds the threshold by 3
closer to the threshold point. With a ratio of 3:1, if the output level exceeds the threshold by 3
dB the engineer turns down the output level so the net output is only 1 dB above the
threshold. So the signal will exceed the threshold level, but not by as much as if there wasn’t
any compression.
any compression.
An illustration might help, and also introduce the dynamics meters provided in Ozone.
Ozone™ Mastering Guide
Page 44 of 66
©2003 iZotope, Inc.