Learn how to use codec preview in iZotope Ozone before exporting.
- [Instructor] In this chapter, we're going to really start taking a look at some of the final techniques that we're going to use to prepare our master tracks for final export. One of the things that's a bit newer in the world of digital audio is the way it's distributed, and in many cases these days, that's not on a CD, that's happening online, on iTunes, or Spotify, something like that. So it's really important to know how our final masters are going to sound at different compression rates, as MP3 files or AAC files, which are typical for things like Spotify or iTunes.
So we can check our mixes by going all the way at the end of our signal flow after the maximizer and before the final output codec preview. To enable codec preview, which is actually kind of a module in itself, we click on this button, and then we're going to want to turn it on by clicking on this little speaker here. Now by default, we're on an MP3 setting, and I have 128 selected as my compression, which is essentially the codec bitrate. And by most audio standards, a 320 MP3 is a good quality MP3 as far as MP3s go, and in many cases, especially for music for the dance floor, most DJs will request a minimum of a 320 MP3, because it's going to have a bare minimum of acceptable information when you're playing on a loud system for the dance floor.
But I have this rock track again, and let's take a listen. And I'm going to go from an extreme setting of 320 all the way down to 96, which is essentially a really low quality MP3. But you'll most likely hear the difference of those extreme settings. ("Letters from the Skipper" by Gaillion) So there's our 320.
Now I'm going to bring it all the way down to 96. ("Letters from the Skipper" by Gaillion) ♫ So weighted - [Instructor] When I bring it down to 96, I hear almost like a flanging effect in the symbols. Most MP3s are not 96. That's very, very low. An average is like 128, so let's take a listen. ♫ And bone ♫ Carried aloft to the late summer breeze ♫ Like so many letters - [Instructor] Let's just hear this loud part.
♫ Oh - [Instructor] So to me, this is acceptable. We can also hear our mixes in AAC. ("Letters from the Skipper" by Gaillion) Which is just a different kind of compression. And then another thing that's kind of interesting, and I'm bring back to 320, we can solo the codec artifacts. Now let's check this out. (distorted music plays) So this is essentially all of these artifacts that are introduced when we compress these MP3 files.
And as we move to lower and lower bitrates, we're actually going to hear more and more artifacts. Let's check that out. I'm going to just skip over and maybe do every other one. (distorted music plays) So that's just a way to solo and hear the difference between our compressed audio and our original masters before we output them from Ozone and send them off to be distributed digitally online.
- Navigating the Ozone 7 interface
- Working with and creating presets
- Working with the EQ module
- Using the Dynamic EQ module
- Using the Dynamic Compressor
- Working with the Exciter module
- Working with vintage tools
- Using the Ozone Maximizer
- Exporting your mastered project
- Mastering dance, rock, and hip-hop tracks