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These help you achieve the je ne sais quois that the client reference and rough won’t inspire. You must capture the feeling of mixes that inspired you all throughout your life, that’s why you should reference your favorite songs. The client reference and rough mix will appeal to the technical needs-you won’t be close enough to those mixes to fall into emotional traps.īut you still need the emotional traps. You must admire their music and their sonics, and this is as much for inspiration as it is for matching. Whatever you choose, these reference mixes must move you the most. Your list will be different-I grew up in the nineties, which is obvious if you read the previous paragraph. There’s some Soundgarden in there, some Nine Inch Nails, Mos Def, Radiohead, Alan Parsons Project, Tool, D’Angelo, Talking Heads, Porcupine Tree, Alanis, Jeff Buckley, Hawksley Workman, and many others.
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My first batch of personal references is compiled from the music of my childhood. Try to get a WAV file of your client’s preference-it’s always better than the lossy version-and drop it into Ozone 8’s reference section next to the rough. It is your first genre-specific guide as well. The client reference gives you a peek into their predilections and goals for your final result. Why? Because the client also knows what they want to hear-they have an idea of where the project is going. Later on, we’ll see how your own favorites will come in handy, but these mixes should always be informed by the reference your client provides. Use your client’s referenceĪnytime I mix or master a project, I always ask for a reference from the client. Drop it into Ozone 8’s referencing section and let it live amongst your other references. “Save as” the session, label it as the mix, and bounce the current state of the mix as a WAV file. Still, try to draw a firm boundary somewhere between the end of production and the beginning of the mix. An automation of EQ or a deployment of sidechain compression could be considered both a production decision and a mixing move. If you’re working with your own production, you may blur the line between mixing and production while you work. Nothing is more disheartening than A/B-ing your mix with the rough mix after hours of work, only to find you’ve killed the vibe-missing the forest of emotionality for the technical trees. In either case, you need the rough mix to make sure that the rough mix doesn’t make things worse. This is true even if you’re working on mixing your own production-either the rough is a starting point you need to beat or a yardstick to measure how far you’ve come. Use your rough mix as a referenceĪs mix engineer Ike Schultz made clear in our interview with him, always utilize the rough mix as a reference. Six are basic and practical, seven are musical and philosophical, all of them are important. We’ll answer all of these questions and more in the following 13 tips. But how should you reference? When should you reference? What should you listen for while referencing? And how do you select the best references for your particular track, regardless of genre? Indeed, iZotope places hefty importance on referencing-an entire referencing section is built into Ozone. There are plenty of articles telling you which reference mixes to use, as different genres demand different approaches to mixing.