When should one consider Izotope Ozone on native AA3?

Any thoughts on what would be one considers Izotope Ozone instead of native AA3?

Thank you

Steve

Steve C2 wrote:

With regard to surveillance equipment.  I'm pretty sure I fall into the category of people who have inadequate monitoring facilities.  In my case, I do not rely on my workstation hardware monitoring.  I use it as a starting point and then listen to a decent stereo and then change again as needed.  It is, at best, an inefficient way of working, I guess that, ultimately, we want to test any work mastered on the reading system at least one who will use for listening purposes.  What are your thoughts on that?

I did not deliberately say "surveillance equipment"... I said environment, because it is just as much on the acoustics of the room that you use as the equipment inside. Really, you should monitor speakers and not hifi. Speakers HiFi are designed for her 'good', and it is certainly not what you want. You need speakers that make some sort of attempt to be precise-, which means that when something is wrong, it shows. In fact, you want all her trouble, until it is right, one way or another. Not only that, but before using it in anger, you want to hear a bunch of commercially produced things first, until you have "learned" that your particular system resembles the place, it is set up, with mixtures of verified. And how you set up in the room is very important - as is the acoustic treatment of the first room properly. Virtually all rooms of servants must low trapping, and invariably, they first treatment of reflection as well. You can do everything yourself, but do not consider carefully first. And once you've done all that and got to a usable state, then you will want to leave it alone for a while. I don't a not disturb my final environment monitoring for 20 years - at all. Do not replace the monitors, or anything. It wasn't perfect, but I was used to it, and it was the most important thing. It is not so bad for me however. I am a qualified acoustician and I can sort these things anyway!

After some time (especially if you are used to monitoring in strange places) you get to learn what to exclude your listening, but still it is better to have to do less of what more, that is why the acoustic treatment is important. And after awhile, you get enough confidence in what you do that you don't have to play on the charges of other systems - what is good; These other systems all have their own idiosyncrasies, and if you are right, then this is will sound like acceptable on them because it won't ever anyway. In regards to the stage monitors, you'll have trouble finding anything useful for less than the minimum of $250 / pair - and they will be not ideal by any means; But if they are intended to be used as monitors, then they are going to be more acceptable than stereo, regardless.

Do you have any suggestions on software of the atmosphere?  I am currently working with a recording that was done in a room with walls of cinder blocks, so there is a good amount of echo.  I played, to some extent, with the echo a.a. tool, but seems like you know better approaches.  (I'm going on the assumption (you can correct me where I; m wrong) that purely software based solutions of mastering as AA will not, in general, as well as dedicated hardware solutions.)  My goal, however, is, over time, produce more listenable records as I can.

For the atmosphere control software, look here. There is absolutely nothing wrong with the mastering software at all--unless you happen to be the manufacturer of many over-priced hardware mastering, of course... have a decent monitor pair, a decent known environment and ears not tired, when you do that are much more important. I use not quite deliberately all equipment material control; People like the results, they pay me and they come back. And I would say it was pretty good.

Tags: Audition

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