![]() ![]() how would using the mastering assistant suffer from a bad room?" That being said - Ozone 9 is great, works wonders provided you know your listening environment. My suggestion is that you just use a limiter to make the song loud for car test purposes and once it sounds "almost there" in the wild, then send it out to mastering for a 2nd opinion. You using it after mixing the song, you'll still have some issues, but its not ozone's fault. The mastering engineers who are serious about their jobs use very high end gear in very carefully treated rooms which allows them to hear whats really going on and fix it. Your listening environment is the weak link. It has all the necessary tools and then some to create a master. ![]() So ozone is a great tool - provided someone who has proper monitoring uses it. Meaning - they ask "what did the mix engineer hear and how can I get there?" - if the mix they get is boomy and bassy they assume that their mix environment had messed up bass and use EQ to "restore what the mixer was hearing". ![]() The mastering engineers I know look at the song with the perspective of "restoring". Mastering is 99% "a second opinion" job and %1 fixing what needs to fixed and making the final product comply with some standards which change with time (loudness, brightness etc). The trade off is that the same guy who mixed the song is probably mastering it using the same listening environment with the same pitfalls that were there during mixing. ![]()
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