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overall mix will blend things together better. In general, if we’re going to apply

mastering reverb we usually end up with Wet around 5.0 to 15.0 (and Dry at 100.0)

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Another interesting effect to play around with is to use a small room size, anywhere

from 0.1 to 0.3, and turn up the wet slider a little more to 20 or 30. In some cases
this can create a fuller sound by adding a short reverb or doubling to the mix. It can

also make some mixes sound terrible. (listen before you send it to the duplicator)

You’ll also want to keep the Room Width at 1.0 if you use this effect, as spreading out
an extremely short reverb wouldn’t be very natural since you’d be creating a small
room with wide walls, which just doesn’t make sense (or sound good)

Room Width

The Ozone mastering reverb is of course a stereo reverb. It doesn’t return the same reverb

signal in the left and right channels, as this would sound unnatural, and not what would
happen in a room. Instead, it creates a nice spacious “diffuse” sound by returning slightly

different left and right channels of reverb. The Room Width slider lets you control how

different the left and right channels will be. In an “acoustic” sense, you perceive this as the
width of the room, or at least the width of the reverb signal.

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In most cases, you’ll want the width to be from 1.0 to 2.0.

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As you turn up the width, you’ll tend to perceive more reverb. At higher room widths,

try turning down the room size. This might seem counterintuitive, but give it a listen

(turn up the width to an extreme of 3.0) and you’ll hear what we mean. The ideal
balance is, well, a balance between the two.

Damping

In a real room, the sound decays as it bounces off the walls. But not all frequencies decay at
the same rate. A padded cell

would decay the high frequencies faster than a bathroom.

Different rooms and wall materials have different absorption properties, and the Damping

control lets you control the characteristics of the high frequency decay of the signal.

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Lower damping settings will result in a brighter sounding reverb. Higher values are,

well, less bright.

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We typically use Ozone with the Damping set from 0.5 to 0.8.

Predelay

Predelay sets the amount of delay in milliseconds between the original signal and the

beginning of the reverb. Consider a large room – you’ll only hear the first bit of reverb after
the original signal has gone out to a wall, bounced off it, and come back to your ears. The

length of time before you hear this initial reflection is controlled with the predelay slider.

High and Low Cutoffs

You may have noticed that the mastering reverb has a spectrum with two vertical lines on it.

These vertical lines are not the same as the multiband controls found in the multiband

Not that we’ve actually been in a padded cell, but that’s how we imagine it would sound.

Ozone™ Mastering Guide

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