Je comprends. But, it’s still a nice check after you’ve used whatever automatic make-my-mix-perfect-for-me plugin you choose. 
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Good metering is really important.
It’s useful to meter individual track loudness as well even well before mastering, while mixing. Usually one or two will be the main offenders 
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Here’s a new David Bennett video that speaks to loops. The intro section is great!
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Yep, if you don’t target the correct overall loudness, it will be renormalized to do so. Target no more than -2dBFS peaks and -14 LUFS.
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I don’t know for sure if Ozone 12 Elements does that. Anyways, tracks do sound better with it, on higher end equipment, on laptop/smartphone catastrophes and on YouTube. That means: with little effort I can make my DJ friends and myself happy, so that’s win-win!
So I guess I’m now one of those compression/loudness terrorists (!!!) that I hated so much - until this morning…
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For peak dBFS just set the ozone master limiter to -2.0.
For overall LUFS target, Elements should (I forget) but even if not, S1 should tell you the average LUFS when you render the final master.
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I will look into that with my next track.
I just finished remastering “Pretti Good Shot!”, and have the same results. It’s MUCH better! Will post it later…
Still, it’s not perfect, as the EQ stresses some frequencies that lead to a presence of certain instruments that I want to be more subtle, as in: hidden in the mix (like something that works subconsciously, not “look at me, here I am!!!”).
But still it’s a huge step forward.
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Next test with “Pretti Good Shot!”
Same results as with the previous tracks, so I stick to my insights.
The sound of the Ozone Elements 12 version is really excellent, in my opinion - I even prefer it to the original mix. Yes, it lacks sub bass, but it wins in the rest of the frequency range.
It works both on higher end equipment and laptop and smartphone speakers, though I really miss the deep end here.
So, I’ll stick with Ozone Elements 12 until I have enough knowledge to polish my mixes manually.
Original Mix:
Ozone 12 Elements:
BX Mastering Studio:
I didn’t bother messing around with manual compression and EQ on the final mix. I s#ck at it, so that would be time wasted.
I liked the original mix, but I admit that I like the Ozone 12 mix better, enough so that I checked my upgrade price from either Ozone 12 Elements or Ozone 11 Standard to v12 Standard. I got those other version via last two versions of Komplete. The Ozone 12 Standard upgrade was on sale for around 140 €, but my “loyalty” price was 97,30 €. Gotta trust my ears, old as they are, so…installing now. 
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Still having trouble downloading from NI. Will try again tomorrow. Gotta walk the dogs. Calling it quits for the day.
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Cool! Give us some feedback on that one - but only bad stuff, as I don’t want to buy further thingies this year. Enough is enough!
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Will do. I tried using the iZotope portal instead of NI’s. Downloaded in seconds. Installing now. Will try it out tomorrow.
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meant to get back to you earlier on this but got distracted. here is the YouTube guy I follow, baphometrix’s take on it. it’s an interesting viewpoint for sure. basically in a nutshell he believes that all the standards for these streaming services are changing all the time anyways and will continue to change. i wish I could copy and paste part of this but it’s from his Google doc that he always has accessible in all his ctz videos and it cannot be copied. I’m not really interested in any of the streaming services anyways, the only thing I could see uploading to would be Bandcamp which I do not think has any limitations.
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this guy btw. warning, his videos are very thorough, very insightful, and insanely boring
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He has a point very long term, but the fact is that right now, your choice is either you mix to a loudness target now, or YouTube etc will normalize it for you in a way you have no control over.
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Ok, reworking “Whores (…)” now … it still lacks this “gaat als een trein” (goes like a train) feeling, you know, the drive forward.
I’ll add a ticking effect as well as the classic “I feel love” filters, which I loved so much in the 70s:
I remember how I heard this song for the first time, and it was out of this world! Donna Summer’s voice and those filters beamed me into another dimension….
Does anybody know how to do that effect with plugins?
Specifically what effect? Every synth in there has some kind of filter on it. You mean the chirpy ride-like thing on the 16th notes?
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I guess so!?
I remember when I way playing around with a Quasimidi 309, back in the day (replicating “Tin There” by Underworld), I just needed to play with some (filter?) knobs to get some magic.
Not sure specifically which effect you mean but it’s likely a simple filter envelope on the cutoff frequency of a resonant filter.
Oscillators are the heart of a synth and modulators are its brain. But its filters are its soul.
I would recommend you grab Syntorial and learn the basics of subtractive synthesis - it’s probably an even better way to learn than B2B as it takes advantage of unique capabilities of teaching with a software synth. Seriously worth the money.
Here’s a demo of someone doing it 303 acid style:
