Mastering with Ozone in Sonar (process question)

Hi all,
 
Just wanted to clarify best practice for my process of mastering, so  I appreciate any insight you can offer.
 
After my mixdwon, I export a 24 bit file that I will then use to master in a separate project. First question, should I turn off Sonar's dithering at this stage (as I'm going to dither in my mastering phase with Ozone)?
 
In the mastering project, I put Ozone on my master bus and apply the desired changes from within Ozone. When I'm ready to export to a master file, again, do I turn off Sonar's dithering?
 
Last question. My mastering project has an audio track, where I import the mixdown file, I send this to a Master bus. I typically lower the faders on both of these so that they stay out of the orange (I try and keep my mixdowns below -6db). I use Ozone's Loudness Maximizer to bring the volume up. Sounds good this way, but I just wasn't sure if this was the ideal way to do this?
 
Thanks for any wisdom you folks can impart. Cheers.
 
~Mojo
 
Using Sonar X1d Producer with Ozone 4 on Window7 64-bit with M-Audio Fast Track Pro.

Thanks Michael,
 
Yes, I forgot to clarify. My mixdowns are exported to 24-bit, but my masters are exported to 16-bit. I'm just starting to master my own material, I previously had it done by a 3rd party. Just want to make sure I get the process stuff right.
 
Thanks very much for the reply!

Dither in Sonar must be disabled at all stages. They advise not to do dither twice, so if you export audio from a sonar mixed session intended for ozone, do not apply dither in sonar. I apply dither only at the final stage when rendering the mastered file to 44.1kHz 16 bit , and I do it in ozone (and not in sonar export).
 
I do it different with the mix/master: the mix is always at -1 dB, then I put ozone on the master bus and see every module visuals. For instance if the averaged spectrum is far from guidelines, I try and apply ozone filter to match the guidelines, but I apply it subtractively. If it sounds better, I disable ozone filter and go back in the mix and see who is coming out in that frequency band and rather equalise that instrument at track level, until ozone spectrum says it's fine (and my ears). Parallel compression I use it occasionally (on problems), stereo imaging again I use visuals to see if my mix is wide, but then I don't apply ozone delayed imaging tools, rather I go back in the mix and adjust sonar track pan (or better, channel tools, on stereo tracks) and so on.
So I treat ozone as a graphical measuring consultant, but I prefer other equalizers, reverbs, compressors over ozone. The only ozone module I really use is the maximizer, that's why the mixdown may be at -1. This level is achieved in the mix by applying small compression to almost every track, in sonar prochannel. The raise in ozone maximizer depends on the genre.
 
I understand that if you use ozone equalizer additively, you need a mixdown at -6 dB. For the maximizer itself, its behaviour until 0 dB is completely transparent. For instance, if your mix is at -2, you lower the faders 4 dB to get it to -6 dB. Then export and open ozone. if you raise +4dB in ozone maximizer you will have the same sound.
 
PS There is no strict need of saving a stereo file and opening a new session with ozone, you can put ozone on the master bus of the mix project and the result will be exactly the same (if your CPU allows). Anyway, if you are used that way, it does not matter.

You only dither when going down in bit rate/depth and thats the very last step you will do.

Cj

bitflipper


Why export to 24 bits? It's just going to be converted back to 32 bits when you import into the other project, so just export it as a 32-bit file. 

Then, since presumably you're using Ozone for limiting in the mastering project, turn SONAR's dither off and let Ozone handle the dither.

This is exactly what I was thinking too,however I'm not rich enough ATM for Ozone,but after demoing it,I'm definitely going to buy it at somepoint.


Bob