Mixing Acoustic Guitars

Acoustic guitars are one of the most dynamic and expressive instruments used in modern music. They have a broad frequency range covering almost the entire audible spectrum. The instrument can serve many different roles in an arrangement as a harmonic, melodic, or percussive element. All of these factors will affect how you approach both the recording and mixing acoustic guitars.

Context
The first thing to do is think about its role in the song/mix. Is the guitar the main harmonic instrument? Is it supposed to enhance or thicken other harmonic instruments like electric guitars? Is it enhancing the melody, playing arpeggios or single notes? Is it a percussive element more like a shaker just to fill out the rhythm section? Figure out the goal, then you can begin processing.

Tone control
Depending on the guitar, microphone, pick, player and role in the arrangement, acoustic guitars always require at least a little equalization to fit in a mix. Cutting of nonmusical sub frequencies (everything below 100Hz) is a must. A low shelf may be required to tame the remaining low-end. In the midrange, take out any unflattering frequencies causing 'boxiness' or anything that might mask the vocals. A broad, gentle high shelf boost can enhance articulation and an overall more sparkly sound. The general strategy is to remove what you don't need, then enhance what you do.

Dynamics
An acoustic guitar performance is often extremely dynamic, which is often a problem. A compressor will even out the differences between loud and soft notes and help keep the level more constant throughout the track. It's easy to take it too far, so keep the gain reduction to no more than 3-4dB. The compressor's attack control will allow you to clamp down on the beginning of the notes, or when set slower (about 20-50ms) will enhance the transient which helps it stand out more in the mix.

At this point you may want to adjust the sound envelope further though use of a transient shaper. This tool can increase or decrease pick attack, and separately adjust sustain.

Depth
Sending your acoustic track(s) into a stereo reverb will add space and distance to the sound. The trick here is to not wash out the sound in a ton of reverb, but just to move the move the mics back a bit into an imaginary room. Usually, a short room type verb with the highs rolled off is the best bet. Try to make the reverb sound like an office or large bedroom - short decay with and a bit of early reflections. The predelay control will separate your source from the room.

Summary
And so, following the above strategy you should now have an acoustic guitar track with a balanced frequency response, even dynamics and sense of space around the instrument, (if that was what the track required). The track is ready to be put in the mix with the other instruments. Tweak the EQ in context with the other tracks, adjust the reverb send amount, and even EQ the reverb if needed.

Examples
Acoustic Raw
Acoustic Processed

Double Tracking Guitars

Double-neck guitar optional

Double tracking is a very common recording/production technique for almost any genre of music. When it comes to rhythm guitars, this technique is almost a standard method of recording with single tracking used only for solos.

This is also a technique that is often confusing for beginners.Double tracking simply means recording the same part twice and panning each to opposite sides. This creates a wide stereo spread based on the unique nuances in timing and dynamics of each performance. This is the guitarist playing a section of the song perfectly, then repeating it as closely as possible on a second track.

This isn't the same as recording in stereo, using two mics, using a chorus effect or duplicating and delaying one side. Some of these techniques are ways of 'faking' or 'automatic' double tracking, but are simply no substitute for an expertly performed double track. There must be two separate performances for the effect to work.

How To double track guitars
1 - record mono rhythm guitar, with either a microphone on a real amp or virtual amp. This track would be panned center.
2 - when a good take is achieved, and any punch ins are finished, go through the recorded track and tighten up any timing issues.
Here's how it sounds with the first guitar along with drums. The guitar is in the middle.
[mono guitar] (warning heavy metal!)
3 - after editing, pan this guitar (and any extra mics for this performance) to the left.
4 - That was perfect, now play it again! Make a new track and pan it right.
5 - repeat steps 1 and 2 using the same guitar, pickup selection, amp, microphone and any other variables unchanged. Making a change will increase the stereo width but will often result in an unbalanced tone.
Here's the same part with the doubled guitars.
[doubled guitar]

This repeats for each section of the song and if there are multiple guitar parts written or two guitarists in the band, usually each will be double tracked. If there are two guitarists in the band, there could be some confusion. Guitarist 1 plays all his parts twice, guitarist 2 plays all his parts twice. In a simple song this would mean 4 tracks for the rhythm guitars. Often this gets up to 12 or 16 tracks pretty quickly. Guitar solos are usually right up the middle or 'stereoized' with other techniques to make them pop out.

You have to be careful playing the doubled part, if it's too far off from the original it will make a unwanted ping-ponging effect especially in headphones.
Quad Tracking is exactly the same, but you record each part 4 times. Each take has to be perfectly in sync or it just sounds like a terrible mess.

Poor alternatives
So why can't we just duplicate and delay/shift the recording a little for the same effect? Well, simply because it sounds like crap and I'll show you.
[delay]
This is what happens when you copy the original mono recording, delay the copy by 20ms and pan each hard left and right.

Similarly, why not use a stereo chorus?
[chorus]
Still sounds really bad compared to double tracking. I'm not saying don't ever use Chorus, just don't use as an alternative to the big wide powerful double-track sound.

Modulation Effects Explained

Modulation Effects Explained
Modulation effects are a great way to create movement within a mix. This article will explain the different types of modulation effects available for mixing.

1. Tremolo
2. Vibrato
3. Flanging
4. Phase Shifting or Phasing
5. Chorus

All of these effects are built around a Low Frequency Oscillator more commonly referred to as just an LFO. An LFO is an audio signal usually less than 20Hz that creates a pulsating rhythm rather than an audible tone. These are used for manipulate synthesizer tones, and as you will see, to create various modulation effects. All the effects listed use Sine wave as the waveshape for the LFO.

Using Guitar Pedals For Mixing

Today I have a quick tip that can make mixing a lot of fun.
Use guitar pedals for mixing

Plugins are great but its just not the same as running sounds through real analog circuits. You can send sounds out of your audio interface, tweak the pedal settings and even 'play' the pedal to do realtime automation. It can be a lot of fun to work this way.

For the demonstration I've recorded an electric guitar directly into my DAW with Amplitube for amp and cabinet simulation. I'm going to then run the signal through an Electro-Harmonix Memory Boy analog delay pedal.

Here is the sound of the direct guitar.
Direct Guitar
Here is the guitar with the Amplitube plugin added (stereo, amp+speaker+mic)
Guitar + Amplitube

Now I'm going to run the sound through the pedal. To do this in your home studio you need an audio interface with a couple spare analog outputs, if your interface has 4 analog outputs, that's perfect.
Connect a guitar cable from output 3 of the interface to the input of the pedal. Connect the ouput of the pedal to one of the instrument inputs of your interface (usually in 1 or 2). In this case, I'm going from output 5 through the Memory Boy and into input 1 of my Profire 2626.

In the DAW you need to tell the signal where to go. Most DAWs will have a plugin for hardware inserts. In this next example I have the hardware insert before the amp, just like if I had the pedal before the amp. When you do this remember to keep the mix control of the pedal to about 50% or less, you still want to have the clean guitar get through.
Hear how it sounds with the delay before the amp
Guitar + analog delay insert

There's another way to use pedals and that's as a separate FX track. Add a new mono track to your project. You can either use the the hardware insert plugin again and have the other tracks send to this track, or set the track to monitor the analog input and have the other tracks send to the analog output.

Here I have the guitar track sending to my delay track, which has the hardware insert plugin set the same as before. The direct guitar signal goes into amp plugin, then to the master output. The signal from this track is also going to the delay track. It then goes into the insert plugin, out the interface, into the delay, (set to 100% wet, no clean sound) and then into the interface and to the same track. I hope this makes sense. The benefit of doing it this way is you can blend in as much of this signal as you want. You can also use plugins before and after to shape the sound independently of the original tracks. Also, you can send multiple tracks in at the same time.

Here is the guitar through the delay as a send. (delay after the amp in the chain)
Guitar + Delay Send

And finally, here is what the delay track sounds like soloed.
Delay Return Soloed

I hope this has been helpful.

Hand Percussion Recording Tips

A box of hand percussion instruments is one of the best investments you can make for your home studio. Shakers, rattles, tambourines and other clicky things can be added to just about any style of music from folk to electronic to heavy metal (hear White Zombie for proof of tambourine in metal).

You can these instruments to fill out sparse arrangements, increase energy in a chorus or to add emphasis to certain beats.
 
Once you start building your collection it's hard to stop, most small percussion instruments are inexpensive and many you can make yourself. Having a variety of options will get you closer to the ideal sound for each song and minimal processing after recording.

As with any musical instrument, there is more to playing percussion than just shaking or smacking it. Even the humble egg shaker is capable of a variety of distinct sounds just by changing hand position. I recommend watching some videos on YouTube for egg shaker, maraca, and tambourine for ideas and techniques.




One of the most important things in getting a natural sound from shakers, tambs etc is distance. Ideally you record the performance in a large space with not a lot of acoustic treatment. Hang the mic up high above the player pointed down. I have compared recording a shaker overdub in my control room vs the hallway outside with tile floor and it was dramatically different. Having the reflections from the floor and walls helped create a more 3D sound even with one mic. Placing acoustic treatment behind the mic or on the sides around the mic sucks all the life out. Any shaker tracks I've recorded close and in dryer environments (acoustically) have had a harsh, scratchy sound and were much harder to fit in a mix.

If you do prefer the sound of a close miked percussion performance play across the mic, rather than directly towards it for a more even low and mid frequency response.

Experiment with microphone options, condensers and dynamics will bring out drastically different qualities in percussion. Condensers at a distance will capture a more realistic sound, FET models will pick up the fast transients more accurately than tube models. Dynamic mics react much more slowly and have a less accurate but still very usable sound. Combining a few types of mics may help get you the perfect sound.

 

For music styles like indie rock, an audiophile quality recording of a tambourine isn't going to be very helpful, you're just going to have to distort and filter it later! Instead, experiment with different mics, tape recorders, toy mics and effect pedals to make things nasty. Besides being a lot of fun, it can be exactly what the song needs.

For processing these tracks I like short delays and reverb to create a doubling effect but it all depends on what the role of the percussion is in the arrangement, whether it should be drawing attention or just adding texture. Close miked percussion tends to need more processing especially if you want it to sound natural (you see the contradiction there?). Using high and low cut filters to limit the spectrum to only whats necessary often helps when there are many of these parts. Alright, now that you are prepared, make some noise!

Distortion Explained Part 2

Distortion Explained Part 2
Part 2 of this article covers the differences between various types of guitar distortions - Overdrives, Fuzz, hi-gain and more. Part 1 is here.

Distortion Pedals

Overdrive/Crunch

Some distortion effects provide an “overdrive” effect. Either by using a vacuum tube, or by using simulated tube modeling techniques, the top of the wave form is compressed, giving a smoother distorted signal than regular distortion effects. When an overdrive effect is used at a high setting, the sound’s waveform can become clipped, which imparts a gritty or “dirty” tone, which sounds like a tube amplifier “driven” to its limit. Used in conjunction with an amplifier, especially a tube amplifier, driven to the point of mild tonal breakup short of what would be generally considered distortion or overdrive, or along with another, stronger overdrive or distortion pedal, these can produce extremely thick distortion. Today there is a huge variety of overdrive pedals including the Boss OD-3 Overdrive.

Overdrive Distortion

Overdrive distortion is a well-known distortion. While the general purpose is to emulate classic “warm-tube” sounds, distortion pedals can be distinguished from overdrive pedals in that the intent is to provide players with instant access to the sound of a high-gain Marshall amplifier such as the JCM800 pushed past the point of tonal breakup and into the range of tonal distortion known to electric guitarists as “saturated gain.” Some guitarists will use these pedals along with an already distorted amp or along with a milder overdrive effect to produce radically high-gain sounds. Although most distortion devices use solid-state circuitry, some “tube distortion” pedals are designed with preamplifier vacuum tubes. In some cases, tube distortion pedals use power tubes or a preamp tube used as a power tube driving a built-in “dummy load.”
The Boss DS-1 Distortion is a solid state overdrive distortion pedal.

Fuzz

Fuzz was originally intended to recreate the classic 1960’s tone of an overdriven tube amp combined with torn speaker cones. Oldschool guitar players would use a screwdriver to poke several holes through the the guitar amp speaker to achieve a similar sound. Since the original designs, more extreme fuzz pedals have been designed and produced, incorporating octave-up effects, oscillation, gating, and greater amounts of distortion. The Electro-Harmonix Big Muff is a classic fuzz pedal.

Hi-Gain

Hi-Gain is the sound most used in Heavy metal. High gain in normal electric guitar playing simply references a thick sound produced by heavily overdriven amplifier tubes, a distortion pedal, or some combination of both–the essential component is the typically loud, thick, harmonically rich, and sustaining quality of the tone. However, the Hi-Gain sound of modern pedals is somewhat distinct from, although descended from, this sound. The distortion often produces sounds not possible any other way. Many extreme distortions are either hi-gain or the descendants of such.
An example of a hi-gain pedal is the Line 6 Uber Metal

Power-tube pedal

Power tube distortion is a unique kind of saturation when tube amps output stages are overdriven, unfortunately this kind of really powerful distortion only happens at high volumes. A Power-Tube pedal contains a power tube and optional dummy load, or a preamp tube used as a power tube. This allows the device to produce power-tube distortion independently of volume.
An example of a tube based distortion pedal is the Ibanez Tube King
 

Another way to distort

Digital Wave Shaping

The word clipping in recording is usually a bad thing. And generally it is, unless we’re trying to distort something on purpose. In the digital world we can use powerful wave shaping tools to drastically distort and manipulate a sound. Rather than subject you to the technical explanation of how it works, just listen to Nine Inch Nails, they use this a lot. It’s perfect for really harsh, aggressive, unnatural and broken sounds. The Ohmforce Ohmicide plugin is an example of this style.

Why Is This Important?

Alright, so why did I just explain those different types of distortion sounds? Because knowing those sounds can help you be a better musician, engineer and producer. It will help you make decisions on what gear to purchase and what is appropriate for a song.

What Else?

Besides guitar what else is distortion good for? Well, pretty much anything, as long as it’s appropriate for the song.

• Slight distortion can make something sound more exciting, too much can sometimes make it really tiny sounding.
• When recording electric guitars, you can get a way bigger sound by using less gain and recording the same part multiple times, double or quad-tracking.
• Distortion can sound really cool on drums, but you may have to heavily gate the drums, the sustain can get out of control.

Distortion Explained Part 1

Distortion Explained Part 1

It is hard to think about the sound of an electric guitar without thinking about distortion. There was a time when electric guitars were always clean. Hard to imagine now.

Traditionally distortion was an unwanted feature in amplifier design. Distortion only occurred when the amp was damaged or overdriven. Possibly the first intentional use of distortion was in the 1951 recording of “Rocket 88″ By Ike Turner and the Kings of rhythm.

Chuck Berry liked to use small tube amps that were easy to overdrive for his trademark sound and other guitarists would intentionally damage their speakers by poking holes in them, causing them to distort.

Leo Fender then started designing amps with some light compression and slight overdrive and Jim Marshall started to design the first amps with significant overdrive. That sound caught on quickly and by the time Jimi Hendrix was using Roger Mayer’s effects pedals, distortion would forever be associated with the electric guitar.

Not just for guitars
When you're recording and mixing, you can use a bit of distortion to give any sound more edge, grit, energy and excitement. Drums, vocals, bass, samples - they can all benefit from a touch of distortion at times. Understanding the different ways distortion can be created and how they sound can help you get better sounds and make better recordings.

So What Is Distortion?

The word distortion means any change in the amplified waveform from the input signal. In the context of musical distortion this means clipping the peaks off the waveform. Because both valves and transistors behave linearly within a certain voltage region, distortion circuits are finely tuned so that the average signal peak just barely pushes the circuit into the clipping region, resulting in the softest clip and the least harsh distortion. Because of this, as the guitar strings are plucked harder, the amount of distortion and the resulting volume both increase, and lighter plucking cleans-up the sound. Distortion adds harmonics and makes a sound more exciting.

Amp Distortion

Valve Overdrive

Before transistors, the traditional way to create distortion was with vacuum valves also known as vacuum tubes. A vacuum tube has a maximum input voltage determined by its bias and a minimum input voltage determined by its supply voltage. When any part of the input waveform approaches these limits, the valve’s amplification becomes less linear, meaning that smaller voltages get amplified more than the large ones. This causes the peaks of the output waveform to be compressed, resulting in a waveform that looks “squashed”. This is known as “soft clipping”, and generates even-order harmonics that add to the warmth and richness of the guitar’s tone. If the valve is driven harder, the compression becomes more extreme and the peaks of the waveforms are clipped. This adds additional odd-order harmonics, creating a “dirty” or “gritty” tone.

Valve distortion is commonly referred to as overdrive, as it is achieved by driving the valves in an amplifier at a higher level than can be handled cleanly. Multiple stages of valve gain/clipping can be “cascaded” to produce a thicker and more complex distortion sound. In some modern valve effects, the “dirty” or “gritty” tone is actually achieved not by high voltage, but by running the circuit at voltages that are too low for the circuit components, resulting in greater non-linearity and distortion. These designs are referred to as “starved plate” configurations.

Transistor Clipping
Transistor clipping stages, on the other hand, behave far more linearly within their operating regions, and faithfully amplify the instrument’s signal until the input voltage falls outside its operating region, at which point the signal is clipped without compression, this “hard clipping” or limiting. This type of distortion tends to produce more odd-order harmonics. Electronically, this is usually achieved by either amplifying the signal to a point where it must be clipped to the supply rails, or by clipping the signal across diodes. Many solid state distortion devices attempt to emulate the sound of overdriven vacuum valves.

So that is basically how Tube and Solid state amps create distortion. Let’s talk about some different types of distortion sounds as found in effects pedals.

Tape Saturation

Another way to create distortion is with magnetic tape. Magnetic tape has a natural compression and saturation when you send it a really hot signal. Even today, many artists of all genres prefer analog tape’s “musical”, “natural” and especially “warm” sound. Due to harmonic distortion, bass can thicken up, creating the illusion of a fuller-sounding mix. In addition, high end can be slightly compressed, which is more natural to the human ear. It is common for artists to record to digital and re-record the tracks to analog reels for this effect of “natural” sound. While recording to analog tape is likely out of the home studio budget, there are tape saturation plugins that you can use while mixing that simulate the effect quite well. Most tape saturation effects are modeling both the magnetic tape and overloading of electronics.

Part 2 will cover the differences between various types of guitar distortions - Overdrives, Fuzz, hi-gain and more.

Noise Gates Explained

Noise Gates Explained

A noise gate is a form of dynamics processing used to increase dynamic range by lowering the noise floor. A gate is an excellent tool for removing hum from an amp, cleaning up drum tracks between beats, background noise in dialog, and can even be used to reduce the amount of reverb in a recording.

Parameters

The common parameters for a noise gate are:
Threshold – sets the level that the gate will open, when the signal level drops below the threshold the gate closes and mutes the output
Attack – how fast the gate opens
Hold – how long before the gate starts to close
Release – aka Decay, how long until the gate is fully closed again
Range – how much the gated signal will be attenuated
Sidechain – the sidechain is for setting an alternate signal for the gate to be triggered from, sometimes called a Key
Filters – the filters section allows you to fine tune the sidechain signal.

What’s It For?

The normal use for gating is for removing background noise. An essential tool for clean dialog recording.
Some other uses for gates are gated reverb and using the sidechain to activate other effects.

How To Set A Noise Gate

To setup a gate properly, start with the the attack, hold, and release as fast as possible. Set the range to maximum, and the threshold to 0dB.
Start lowering the threshold until the sound starts to get chopped up by the gate. Slow down the attack time to remove any unnatural popping. Adjust the hold and release times to get a more natural decay.
If you don’t want the background noise to be turned down as much then you can reduce the range control.

Other Uses

Gated reverb was a popular effect in the 80s, mostly because of Phil Collins records.
To set it up, take your drum tracks and send them to a stereo reverb with a large room preset.
After the reverb insert a stereo gate. Adjust the gate settings so that the reverb is cut off before then next hit.
In this example you’ll hear the unprocessed drums, then with reverb, then adding the gate. Listen

Favorite Gates

The classic Drawmer DS201 is a hardware noise gate that is hard to beat.
The gate on the Waves SSL E-Channel is good, simple and effective.
The free ReaGate VST is quite good as well.
Noise gates aren’t very much fun to talk about, but they are a powerful tool that you need to know how to use.

Delay Effects Explained

Delay Processors

In it’s simplest form, a delay is made up of very few components.
An audio input, a recording device, a playback device and an audio output.

Tape Delay

Early delay processors, such as the Echosonic, Echoplex and the Roland Space Echo, were based on analog tape technology. They used magnetic tape as the recording and playback medium. Some of these devices adjusted delay time by adjusting the distance between the playback and record heads, and others used fixed heads and adjustable tape speed.

Analog Delay

Analog delay processors became available in the 70s and used solid state electronics as an alternative to the tape delay.

Compressors Explained

Compression is a form of Dynamics processing which is any device that preforms automatic gain changes. Other Dynamics processors are Noise Gates, Maximisers, and De-Essers.

A 'vintage' style software compressor

Compression

Compression is an effect that can take a while to understand because the results are not always as obvious as other effects. To explain it as simply as possible, when a signal goes into a compressor, it gets turned down. That’s it. How it does this, how fast, and smoothly is what makes each one unique.

Reverb Explained

Digital Reverb Technology
There are two ways of creating a reverb effect in the digital world, by using mathematical calculations to create a sense of space, which is called Algorithmic. And by creating an impulse response, a snapshot of a real space, and applying that to the sound, which is called Convolution.
Reverb is essentially a series of delayed signals, and Algorithmic reverbs work pretty well to recreate this. Most reverb plugins, stomp boxes, and racks are algorithmic style.

EQ and Filters Explained

The terms EQ and filter seem to mean different things, Filtering is generally what we say when we want to remove frequencies, and EQ is when we want to shape the sound by boosting and cutting.
The truth is, it’s all filtering.

Six Essential Mixing Tips

Below I've compiled some of my favorite tips that have helped me over the years on the path of learn to mix. I swear by them and guarantee they will help your home studio productions.

1. For a less cluttered mix, use hipass and lowpass filters to better define the range of each instrument. The free BX_Cleansweep plugin will be your new best friend.
2. Automate everything. With the powerful automation functions available in your DAW there's no reason to set levels to be just "good enough" for the whole song. Fine tune balances for every section, phrase or syllable if you have to. Same goes for sends and effects.
3. Left, Right, or Center. Nearly every element of your song can be assigned to one of those 3 panning positions. Don't fret about finding the perfect pan position for every instrument, or try to make it completely lifelike. Anything other than hard left or right and center will translate differently on every system. You can save those in-between positions for a few select elements.
4. Take breaks to rest your ears and reset your perspective. Mixing is hard work, every couple hours you need to stop, relax and refresh your body. Interruptions and distractions don't count as breaks.
5. All edits completed first. Drum editing, vocal comping and tuning, pocketing bass to kick drum. Those things should be taken care of before the mix stage otherwise you will not be able to develop and maintain a creative flow for the mix.
6. Experiment. Skip the presets and what seemed to work last time. Take things to the extreme, make things distort, use guitar effects for vocals. Try out all your tools and see what makes them break. Just have fun with it. On your way you will find some unique sounds that can only be found by avoiding the presets.

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Mastering With Ozone 4

Izotope Ozone 4 is a suite of powerful mastering effects in one plugin. It is a comprehensive mastering toolkit with an easy to use interface and professional sound quality.
In this article I will briefly explain the use of the 7 processors within Ozone 4. If you don't have the time to read the 122 page manual or the 64 page Mastering guide (PDF) but you want to get started with Ozone and quick, read on.

General operation - Ozone's interface is simple, a window for adjusting effects, buttons to select the effect and meters on the side. You'll notice little sliders below the name of each effect, these will scale the amount of that processor. This is not a feature I find useful, it is if you start with presets (see below). Three of the effects are multiband meaning you have control over four independent processors within a frequency range. Four of the effects can be used in Stereo or M/S configurations meaning you can work with the Left and Right channels together or middle and sides separately. M/S mode is not something I use very often unless there are real problems with the source. Buttons in Ozone can be either left or right clicked to increment/decrement the available options. You can double click a slider to type in a value, and you can alt+click to return something to default. The mousewheel will change whichever slider is hovered over. There is a comprehensive undo history function should you need it.

Headroom - The song you will be mastering should peak no higher than -6dBfs*. If the unmastered file is peaking higher than that you don't give much room for Ozone to do it's thing. Lower the level of that track in the DAW until the loudest point is hitting the meters closer to -6dB.

Skip the presets - With some effects, particularly reverbs, delays, and modulations, presets are great starting points. Presets for mastering are unhelpful for a number of reasons, with Ozone the presets tend to be way too extreme to be useful. When you first open Ozone the preset browser appears. I recommend just closing that browser and set the processors manually based on what you hear and what is needed.

Loudness Maximizer - The Loudness Maximizer section is where I start working with Ozone. On the left half of this page are 3 sliders. Threshold, Margin and Character. Starting with the Margin control, bring it down to -0.3. This is the maximum level that your song will be mastered to. There is almost no audible difference between -0.3 and 0.0 but if this file will be converted to mp3 you will run into distortion in that process unless you leave a little room. Next is the Threshold, this increases the level of the song. Setting this to -6.0dB is where I usually start and adjust depending on if I need the final to be louder compared to other songs. If your mix peaks at -6dB and your limiter threshold is -6dB you will be making the song much louder without compressing it yet or really changing the dynamics at all. Setting the threshold at -12 will make the final master much louder but you're starting to squish out a lot of the good stuff from the mix. Louder is not better. The 3rd control, Character is the release time of the maximizer. Most often I leave this on transparent. Lastly I click the "Prevent inter-sample clipping" box.

Dither - On the right half of the Maximizer page is the dither and DC offset options which both default to off. You need dither when going from a 24 bit recording to a 16 bit master. Click DC offset on and the Dither Type button once. The settings should be MBIT+, High, 16, Normal.** I've done some experimenting and found this to be not worth experimenting with, set and forget.

Paragraphic Equalizer - Next I switch over to the Equalizer page. The EQ has 8 independent bands that are fully adjustable in type, gain, and Q***. I like to have the EQ parameters shown (show info button) because I'll often type in the values I want. I usually work in analog mode and set the zoom to 6x. I'll usually set a gentle "sweetening" curve with band 1 set to Highpass, 25Hz, 0.60 Q and Band 8 High Shelf 8000Hz, 1.5 dB, 1.00 Q. Somewhere in the lower mids will likely need to be taken out between 250 to 500 Hz depending on where the buildup is. Next I'll sweep and notch out any offending areas. If I'm mastering several songs I'll use a different eq on each song to correct problems and even out the balance between songs. Your computer may not be able to run more than a few Ozones.

Multiband Dynamics - If there is still frequency balance or control problems, the Multiband Dynamics section is a powerful tool for managing those issues, it's also where you can really destroy a good sounding mix so be careful. There are 4 frequency bands with a separate limiter, compressor and expander for each. You can solo each band to hear what's happening in each. My basic strategy here is to play the loudest part of the song and pull the limiter threshold for each band down until it is just barely being hit. Beyond that things can start to sound unnatural if you're not careful. I've never needed the expander in this section.

Mastering Reverb - This effect can be useful for evening out the sound of several different songs by putting all the instruments in the same space. At the top of the reverb page you have a high and low filter. Below are wet and the reverb adjustments. I rarely use this particular effect but when I do, all I change is the wet control and move it only to 5%. I don't want it to be to obvious. You may not need this in a typical mastering situation.

Multiband Harmonic Exciter - This is a particularly powerful section. This is where you add the sparkle and really bring up the excitement for lack of a better term. This is essentially a 4 band distortion. I like Tape mode for rock, wherever I need more aggression and Tube mode where I need something a little smoother but still excited. From left to right, set the amounts to 1, 0.5, 0.5 and 1. I don't find I can use more than 1dB in any band before things sound too crispy. Try adjusting the band crossover points next to fine tune the effect.

Multiband Stereo Imaging - This section is a four band stereo widener/shrinker. This is where users often get carried away, as with everything in Ozone, it's easy to go too far. I set band 1 to 80Hz and set the widening to -0.6, I set band 3 to 0.2 and band 4 to 0.4. That's it, I may adjust the crossovers but I don't take it any farther than this. I'm making the lows more mono and the highs more stereo.

Do it again - At this point you'll likely want to go back to the limiter and go through each of the 6 processors again to fine tune the settings to suit the song your mastering. Compare your master to professionally mastered songs in a similar style and adjust. I've assumed that the mixed song you're working on is already pretty close to perfect and it just needs the final touch of mastering. If there are serious problems with instrument balance, too much bass, trashy cymbals or vocals too loud, get those taken care of before you attempt the mastering.

In closing, I hope this short guide has been helpful, this is just barely covering what Ozone 4 can do, there are so many features, so much flexibility and so many options that I'm always finding something new and am never less than impressed. This is essential software for any project studio.

Buy Izotope Ozone 4 from the Revolution Audio Online Store.

Notes:
* dBfs is the metering scale that is used within your DAW.
** Izotope have a thick pdf just on dither if you're bored.
*** Q is the shape of the curve for an EQ band.

Audio Mastering basic overview

What is Mastering?
Mastering is the final step in the creation of an album before duplication. Mastering is all about the big picture, how the collection of songs works together as an album, and getting the album to sound good on most systems, from HI-FIs to iPods. Mixing is taking a bunch of tracks and making it sound great, Mastering is taking those great mixes and making them even better. It’s the final step of sonic correction and sonic enhancement.

It’s just about loudness right?
There’s a misconception that mastering is just about making a recording loud, that’s just one of the processes involved. Compression, Equalization, Harmonic Exciting and Stereo Widening are often part of the mastering process as well.

Mastering at home
Before you attempt to master at home there are a few requirements.

• Room treatment – If you haven’t take the effort to get your studio sounding as good as it can acoustically you can can't completely trust what you're hearing.
• Monitors – as important as having a great sounding room, you need accurate monitors, you can not master on computer speakers or headphones.
• Experience – Complete understanding of your tools is essential, if you aren’t 200% sure how to properly use a multi-band harmonic exciter, it might be better to leave this to a professional.

Watch out!
Most professionals agree, Mastering your own music is a bad idea. It’s very common for bands to record and mix themselves then send the mixes to a mastering engineer. Why? Partly because of the requirements of mastering, but more because of the emotional attachment you have to your own music. When you’ve just spent a few months recording and mixing, you lose perspective, you can’t see the forest for the trees. If you must master your own music, don’t listen to the songs for few days or weeks, hopefully you will have a different perspective when you do finally listen again. And hopefully you won’t want to go back and remix it all over again.

Seriously, just tell me how.
OK, now with all those warnings out of the way, here is a general strategy and workflow for mastering music.

1. Import files - Your stereo mixdown of each song should be at the same  format as the original files. If you recorded at 24 bit and 48kHz, you export your mix at 24/48k. Bring all the files into a new session with the same settings as the files (24/48).
2. References - It's a good idea to bring in a few other high quality audio mastered songs in a similar style as a target for the sound you're trying to achieve. You can also choose different styles and focus on different aspects, the low end of song A, the brightness of song B, the width of song C etc. Each reference file goes on a separate track and routed so they will not be going to your effects chain, go directly to your interface outputs if possible.
3. Limiting - A brickwall limiter will bring up the level to the modern production standard, depending on how hard it's working your mix balances will change. This is something to be aware of and why I recommend having the limiter on fairly early in the mastering process. Start with a fairly conservative level.
4. EQ - Insert a high quality EQ plugin before the limiter.Start with really gentle settings for sweetening the sound: -1dB at 300Hz; +1dB at 5kHz on the high shelf. If you have a few songs to master in this project I recommend having an EQ for each song to correct problems and even out the frequency balances between songs.
5. Mix bus compression - You may need to use some compression to get the elements of the mix to 'glue' a little better if there's too much separation between instruments. A stereo compressor pushing back a little all the time is a great way to achieve that. Moderate attack and release and a few dB of gain reduction will help smooth things out before hitting the limiter.
6. Fades and sequencing - This is a good time to check the beginnings and ends of each song and make sure they fade in nicely and there's no noise or excess time. If you have multiple songs in the project check that each song flows well into the next, try different song orders etc.
7. Next steps - If you haven't taken a break yet, take a some time to rest your ears. When you come back you should intuitively know what's still a problem and if not leave it alone. It's easy to go to far with mastering.
8. Exporting - If there is a Dither option in the limiter, switch it on. Render/bounce your mastered song with the highest quality settings

 Hopefully this article has been useful to you, if you have any comments or questions about the tools or techniques please leave a comment.