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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 

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. 

 

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 

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). 
 

 

 
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. 

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 

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. 

 

An illustration might help, and also introduce the dynamics meters provided in Ozone. 

 

 

Ozone™ Mastering Guide 

Page 44 of 66 

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