Using Ozone at CRAS to teach Mastering
Today’s streaming services like Spotify, Soundcloud, Apple Music, where streaming formats like AAC and MP3 are the standards, have presented audio engineers with the challenge of mastering their music for the correct listening formats. The tool of choice for CRAS? Ozone.
“Ozone is a big hit,” says Nunes. Students love the idea of mastering and auditioning their mixes before uploading them to Soundcloud, especially the codec auditioning of MP3 and AAC files.”
Beyond listening formats and loudness, Ozone Advanced is also the go-to for other fundamental mastering lessons. “It’s a great educational tool for so many reasons, but we love to be able to demo specific mastering DSP processing like multiband compression, imaging, and mid/side processing,” says instructor Nancy Sharlou. “The Ozone demo follows our discussion of mastering gear, so it’s perfect to introduce them to certain mastering techniques and approaches. We ultimately complete a finished master using Ozone and export to multiple formats. The codec preview and dithering options allow us to critically listen for clipping, artifacts, and to better dial in a finished product. Our AWS control rooms are equipped with ATC monitors, so it is the ideal environment for our students to ear train and take full advantage of what Ozone can do for mastering.”
Along with Ozone, iZotope’s Insight meter package is used in the CRAS Broadcasting curriculum as the primarily loudness monitor, teaching the principles of FCC regulations.
Using RX at CRAS to teach Audio Repair
At CRAS, RX is used predominantly in their post production classes to clean up foley and automated dialogue replacement (ADR).
“Since the students own the plugins, they really get to explore and experiment outside of the classroom with their own projects,” says Nunes. “They get to see the products in use during our classrooms and then continue to work on it after-hours. With RX, they get to iron out any details that didn’t go perfectly during their after-hours sessions. For example, clipping or distortion in recordings, hum removal, and headphone bleed into vocal mics.”