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#OZONE 7 LOGIC PRO 8 PROFESSIONAL#
If you want the CD to sound coherent, then use about the same RMS level for the peak of every track.Logic Pro is a complete collection of sophisticated creative tools for professional songwriting, beat making, editing and mixing, built around a modern interface that’s designed to get results quickly and also deliver more power whenever it’s needed. The point is, if trying to tie together all tracks on the CD at the same volume, they should all be limited to -.3 or so (using the limiter in ozone- and select yes if there's an option to make sure no inter-sample peaks escape the limiter), and then you have to use the RMS meter to figure out how hard each track is actually being pushed into the limiter and how loud it sounds. In house, which I produce, we have people putting out singles now with RMS at -5 (totally insane). For a conservatively loud modern master, RMS usually hovers around -12db. It's quite different from where your track is peaking at. Ok third, do you understand RMS levels? As someone else noted, RMS is what the perceived loudness of your track will be. If you're pressing to vinyl I may need correction here, as I've never done so, but for digital/cd masters you should be using almost all if not all available headroom.
There's no reason to give yourself headroom after ozone unless you are sending it to a mastering engineer- in which case you really shouldn't be using ozone in the first place, aside maybe from some gentle excitement/reverb/eq. Most modern masters output at -.5db to -.1db. Second, is there a reason you're giving yourself 3 db of headroom AFTER the master? The point of mastering, among other things, is to be the final step in the chain and prevent digital overs eg over 0db, and to maximize loudness (how loud varies depending on genre obviously). Some of the more experienced ME's on the board like Holger can explain this better but AFAIK, it can really mess with your tracks overall balance and frequency content. Normalizing is not good when applied to a whole mix. First off- no, you should NOT normalize tracks on export. Ok there's a few things I think you need clarification on. If you are sending these over to a mastering engineer, disable Ozone and keep things indeed below -3 to -3dB so they have headroom where to operate. We are dealing with brickwall limiting today with a -0.2dB or so max level. If you master yourself as a final product, -3dB is very low, reminds me of tracks from the sixties. Is this the way it is usually done with these tools? I foolishly assumed there would be some tool that would make every song right at the end the same level for when it is put onto CD. I have by site, looking at the metering on the input stage in Ozone tried to level out all the tracks so they are the same volume. I tried to give myself 3 db of headroom on the mix out from my desk and I think this is where the volume difference is inconsistant. I have since made up my mind it is probably not the best thing to do. I originally had the same thoughts as you, but it was on mastering out that I had volume level changes between tracks and I thought maybe normalizing would sort that out.
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