Never sleep on checking your mixes in mono-even if you think mono is absolutely dead. Next to the gain match function, you’ll find the mono button, and you should use it often. Check mono compatibility with the mono button Solo the drums and hit the swap button-if the kick and snare stay in the middle, you’re good to go. Perhaps it’s a drumset whose snare and kick need to sit right up the middle. In the mixing world, the same principle applies to any stereo instrument whose center image you wish to lock in. If you perceive a change, you know you have work to do in nudging to the center-that is, if nudging the vocal to the center is the appropriate move. It should seem untouched, because it only occupies the center. You press it, and the whole weight of the mix should change-except for that vocal. Why is this such a handy utility? If you’re mastering and you want to make perfectly sure the vocals are lined up the center, this is a great button to reach for. The Utility panel features a very handy Swap button, which accomplishes one thing and one thing alone: it flips the left and right channels of your mix, so that anything you hear on the left now appears on the right, and vice versa. Flip the stereo orientation with the Swap button to check the center When you’re done with the track, hit the Match button again, and export. Make up the difference on your monitor controller, and now you can make an A/B comparison freely. This is how you know your output fader has been attenuated. So, hit the Gain Match button and Ozone 9 will automatically level-match the unprocessed and processed material. This is something that will most certainly happen if you’re boosting EQ or adding gain anywhere in the chain. This is useful because you can seamlessly flick between processed and unprocessed sound, judging whether your changes are helpful.īut you can’t judge accurately if your processing has caused a jump in level overall. Ozone 9 offers an inline, global bypass button that won’t add clicks or pops when disengaging all the modules at once. Use Bypass with Gain Match for level-matched comparisons Integrated is too long, and momentary is too short. You want to use LUFS short term because it takes into account the appropriate window of time to judge the loudness of a chorus or a verse. Peak will still display your peak values, but the RMS meter will give you a good feel for how loud any given section of your mix is, using the scale that most people now choose for exactly these measurements. Do this, and your meter will operate to the spec most useful at the end of the mix-LUFS, short term.