![]() The threshold tells Ozone’s Maximizer when to start limiting. Below, we dive into the different parameters within the Maximizer and use them to top off our mix. The limiter in Ozone 9 Elements is referred to as the Maximizer. ![]() Note that each streaming platform has a different target LUFS level:Ī limiter is essentially a compressor with an incredibly high ratio (10:1 or more), and its main purpose is to make a track loud without causing clipping. ![]() By using LUFS to measure loudness rather than RMS, loudness normalization helps level the playing field so every song gets played at the same average loudness as the other tracks in the catalogue. You’ve probably heard of the Loudness Wars and how they came to an end with the introduction of loudness normalization on streaming platforms. In this article, we’re going to get our track up to commercial loudness with limiting, the final stage of the mastering process. ![]() In our previous article in the Mastering basics with iZotope’s Ozone 9 Elements series, we discussed how to use the Imager in Ozone 9 Elements to broaden your mix and give it some depth.įor a refresher, here are the mixes before and after our adjustments to the Imager: To get Ozone 9 Elements, all you need to do is log into your Splice account (you can create an account for free here) and simply download the plugin. Splice has partnered with iZotope to offer the mastering plugin Ozone 9 Elements (a $129 value) for free to all Splice users until June 5th, 2020.Īt Splice, we understand that these are challenging times for many music creators, and are committed to getting through this together by providing resources and educational material to improve your music production skills. ![]()
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