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Kniferide wrote: Tue Jan 28, 2025 12:32 pm I put all songs in their own track, insert Izotope ozone on each song, and put Ozone on the master output. I do 90% of the processing for each song in the Track, and use the insert on the master to do "generic" Glue or whatever term you want to use. My mastering chain of FX rarely includes anything other than Ozone. Sometimes maybe a saturater, but not much else since Ozone has like every tool in it, and I try to be done with anything heavy handed before I get to the "Mastering" stage. I'll Hit my LUFS/Peak target in each track, and the Master Insert is doing very very little. I make regions for each song so sliding them around to try new track orders is easy. I place a 2 sec space between each song as a general rule. I always render out a Full Project and "side A&B" as well as each individual track in MP3 320kbps, Wave 16/44.1, Wave24/48K, and Flac. That is the extent of my mastering procedure. People tend to make too much of what happens in Mastering these days to sell you a bunch of stuff. I say find one tool set like Fab Filter or Izotope etc, that has all the tools and stick with it. When it comes to Mastering I prefer the route of Neutrality.

jorsh wrote: Mon Feb 03, 2025 10:20 pm
so the instance of Ozone that you have on the Master chain - are you typically just using the Maximizer module for that one? for the "Glue?"
and is that not throwing off what you already have dialed in for LUFS/Peak target that you already have set for the instances of Ozone that you have on the individual track FX chains?

also, curious what your LUFS/Peak targets are these days? or if it depends on the style of the project you're working on?

also also - the Flight OST sounds great!

handsbloodyhands wrote: Tue Feb 04, 2025 12:46 pm Is there a way to build a drum pattern in Reaper like you would recording an 8 bar pattern on like a Linn drum? Where you can tap out the hi hats, then while thats looping back add in kick. Then layer/build as the previous ones playback.
I make a 8 bar loop and hit record. When it starts over it just erases all the previous hits and I can't build upon it.

FOUND IT - Record:Midi Overdub.

Kniferide wrote: Tue Feb 04, 2025 2:27 pm

all those Right Click menu options are easy to misplace. I couldn't remember this one the other day too.

handsbloodyhands wrote: Tue Feb 04, 2025 2:36 pm

Kniferide wrote: Tue Feb 04, 2025 2:27 pm

all those Right Click menu options are easy to misplace. I couldn't remember this one the other day too.

This video gave me the information -

Kniferide wrote: Tue Feb 04, 2025 2:25 pm

jorsh wrote: Mon Feb 03, 2025 10:20 pm
so the instance of Ozone that you have on the Master chain - are you typically just using the Maximizer module for that one? for the "Glue?"
and is that not throwing off what you already have dialed in for LUFS/Peak target that you already have set for the instances of Ozone that you have on the individual track FX chains?

also, curious what your LUFS/Peak targets are these days? or if it depends on the style of the project you're working on?

also also - the Flight OST sounds great!

Thanks, My brother in law and some friends make short films all the time and I sometimes help with the soundtracks. It's fun, when they just let me do what i want but they don't always want "The Thing" or Metroid ripoffs.

For my master processing, I let the maximizer/leveler on each track do most of the lords work and just have one on the master doing very light duty, I usually also have a super light and slow compressor doing like 1.5:1 or 2:1 at max, just a dB or two, a EQ that mostly is handling some additional High Pass and maybe a little mid touchup, and that is pretty much all my master insert of Izotope ever does, the tracks do the hard stuff. I will sometimes have something like True Iron by Kazorg, or some silly tape emulator on the Master to just give some overall character to each track equally as a "Glue" of some kind. My mastering is more about level consistency across tracks and making sure some song doesn't have such a differing eq signature that it sticks out like a sore thumb, but I really don't do much to it at all. I render out a few mixes hitting level thresholds for Streaming, Uncompressed Full Scale in 16 and 24 bit, some MP3's and Flacs. I do not care about "competing" with other song volumes and bristle at the idea that things need to be "louder" and less dynamic. I'f I can really hear compression happening, I tend to dislike it unless it is for effect, like a super crushed room mic or something.

The main reason I like using the same "mastering suite" solution for mastering each track and the master is because if it is unique chains across all the tracks and also the Master out, It feels like i'm in a mixing headspace again. Like, "ooo... wonder what this would sound like on here!". If it is the same boring but powerful tool everywhere I look, I just reach for the solution to a problem. It also is a lot faster to not have to acclimate to a bunch of different interfaces to handle what is really just some simple EQ and Dynamics control. I don't need it to look like some rusty vintage gear on one track and a PKE Meter on another. Just cut 40hz please. Izotope has a fairly clean interface, as does Fab Filter.

jorsh wrote: Tue Feb 04, 2025 10:23 pm
cheers! thanks again for taking the time to type this out.

Kniferide wrote: Wed Feb 05, 2025 10:12 am

jorsh wrote: Tue Feb 04, 2025 10:23 pm
cheers! thanks again for taking the time to type this out.

Damn that was long. Sorry. I was at work and bored so if I type into EA it looks like I'm actually doing work of some sort.

jorsh wrote: Wed Feb 05, 2025 2:19 pm
*if this release doesn't go platinum or earn me more than 70 cents from streaming royalties i am holding you accountable though.