{"id":3797,"date":"2017-10-05T11:03:46","date_gmt":"2017-10-05T15:03:46","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=3797"},"modified":"2019-10-03T17:49:23","modified_gmt":"2019-10-03T21:49:23","slug":"mastering-with-ozone-8-equalization","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/mastering-with-ozone-8-equalization\/","title":{"rendered":"Mastering with Ozone 8: Equalization"},"content":{"rendered":"

This blog post is part of a series on Mastering with Ozone 8 Standard. If you missed a tutorial, click on the topics below to catch up:<\/p>\n

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  1. What is mastering?<\/a><\/li>\n
  2. Signal Flow & Metering<\/a><\/li>\n
  3. EQ<\/a><\/li>\n
  4. Compression<\/a><\/li>\n
  5. Limiting<\/a><\/li>\n
  6. Preparation<\/a><\/li>\n<\/ol>\n

    Ozone 9 Advanced<\/strong><\/a>, the latest version of iZotope\u2019s mastering suite, offers even more powerful features \u2014 check out the guide here<\/strong><\/a>.<\/strong><\/em><\/p>\n

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    In mastering, a really good EQ can do wonders. EQs are used to balance out the frequency spectrum of a mix, fix harsh tones, and make things sound clearer and more detailed. iZotope Ozone 8 Standard has two mastering-grade equalizers both with excellent functionality and sonic capabilities.<\/p>\n

    Before we dig deeper into iZotope’s EQs, here are two power-user tips for you to keep in mind:<\/p>\n

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    1. \n

      Try not cut or boost over 3dB<\/h4>\n

      The general rule here is that if you have to cut or boost a frequency band over 3dB, it means there’s most likely a problem with the mix. Remember that mastering is all about subtle touches that eventually add up to a polished, professional sound. If you find yourself in this situation, the best thing to do is to speak to the mix engineer (if you have access to him or her) and talk about the frequency spectrum to see if the problem can be addressed in the mix before mastering begins.<\/p>\n

      \"mastering-101-ozone-eq\"<\/p>\n

      In Ozone 8’s EQ, each band can only be boosted at a max of 6dB, and cut at a max of -8dB. Thus, the effective range of Ozone’s EQ is 14dB in total. Ableton’s stock EQ8, for example, can be boosted to a max of 15dB and cut to a max of -15dB which brings its effective range to 30dB. These facts matters because when you compare visually a 2dB boost on both EQ8 and Ozone 8, the Ozone 8 EQ will look like it’s boosted more!<\/p>\n

      Ultimately, how the visuals of an EQ curve shouldn’t influence you on how much you cut or boost, but if you are boosting anything above\u00a03dB<\/strong> in Ozone 8, you’ll see that it looks like you are processing too much.<\/li>\n

    2. \n
      Use Wide Qs<\/h5>\n

      Wider Qs (wider bandwidths) sound more musical than narrow\/surgical EQ bandwidths. AS a result, I recommended that while mastering, you should use try using a wider Q and working on broad strokes rather than notching out resonant frequencies.<\/li>\n<\/ol>\n

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      Before you start EQ-ing, it’s good to understand the different types of EQ modes and their pros and cons. This will help you use the right EQ\u00a0at the right time.<\/p>\n

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      1. \n

        Analog mode: Minimum Phase EQ (IIR)<\/strong><\/h4>\n