Ozone has some great analytical abilities and some nice sort of background processes. But for the most part, everything it does Maximus can do. Maximus' unique approach to the transfer curve means you have more control over how the sound behaves than you would using literally anything else.

SeamlessR I hear ya bro. And that does actually make sense. I crush the bajesus out of some tracks in a mix to purposefully kill dynamics for taste as well, so I really do understand what you're saying. And yeah, synths are SO different from all the other animals in a mix. That's something I'm struggling with now in my own tunes. They behave nothing like a guitar as far as dynamics are concerned. I still have much to learn, so I totally respect everyone's ideas and opinions on the matter.

+Александр Усков The limiter shown here isn't doing anything. I'm using it purely as a metering option. The 32bit wav files show kind of weird in their clip form as the clip's range is 0db. So there are peaks that go beyond that.

Sure man, it's totally ok to do that. Here's the thing that so many people screw up on (and something I struggled with for over a year): People try to get the final limiter to do too much work. You really need to get your dynamics under control before that final step. Even Dave Pensido recommends getting the dynamics/volume "80% there" before the final limiting. I track/mix/master my own stuff and these days I'm finishing the mix clocking in around -6 to -3db or so. When I finally hit Ozone (which I use in a separate session in my DAW after mixing), I don't have to hit that limiter very hard. I aim for around 8 to 7 RMS on the loudest parts. That's usually the chorus (I write rock as opposed to electronic - but use a ton of synths). And that's STILL a tiny bit more quiet than the industry "standard" for loud.

Stephen Harrell I also produce music with my band so I completely get how it translates! thanks man, I can see very well how it can be once you open your headroom from -6db to 0db so I quite often Play with this volume until there's a no peak headroom, sometimes I feel like using multiband compression as an extra equalizer rather than a volume boost!

basically what im asking is how is limiting different from clipping

It's really square/rectangle type comparisons. Distortion/clipping is compression/limiting. But a compressor/limiter plugin differs by having time variables (attack, release) that exist to control harmonic change. If you limited a sine wave with zero time variable length it would distort and you'd see additional harmonics cropping up. Do it hard enough and it'll become a square wave. If you limited the same sine wave but with time variables that prevent the amplitude from modulating fast enough, then it would stay a sine wave, and be kept below the limit. Specifically, if your time variables kept the modulation slower than the oscillation of said sine wave. If it reacts faster than the oscillation, then it'll start to affect the shape of the waveform (hence waveshaping) which adds harmonic content.

SeamlessR thank you. still a bit beyond me but its all starting to come together.

Yes, he's saying, once he's made enough of his track that he knows what the song will generally sound like, then he does his mastering. So all his mixing decisions are based off the mastered version of the song

yea we are ;)

Rory McAlindon i also waych loads of ableton tuts because I have mastered patcher so can recreate racks! Any tutorial really.

Lukeme9X That's pretty damn cool, I'm merely an amateur atm =/

Not really under 301, cause even before it reaches 301, probably around 400+ have viewed the video.

Andy Flow just keep watching tutorials and trying and you'll get there m8!

It's soft saturation. It's funny that i thought he said saw saturation too,before i looked at the manual. As he says it's free compression with a price of adding some distortion and brickwalls anything that goes above the line you set it at. I tried it and it's too much distortion for me in most cases because i make hardstyle and combine it with many aggressive genres like metal and add my own distortion before hand. If it sounds good use it,if not don't use it just because it's analog.

lol i say saw saturation

Imagine you're a DJ playing out songs in the club. You don't want every new song you play to be a different volume and have to constantly turn everything up or down. And since everyone masters loud, you have to be comparable so your tracks sound decent next to everyone else's.

Blow Standards So if everyone had quieter mixes we wouldnt need to use compressors?

You still would use compressors but it wouldn't be as loud, look up the loudness war as well.

To add to that, he's said before that louder music just sounds 'better' quality to our ears.

ElMoShApPiNeSs But then my question comes back. Why not turn the volume up?

what are you trying to accomplish here