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Jaycen Joshua's The God Particle plug-in

IMHO, much much preferred the without version. All the dynamics have been nuked at the beginning by TGP, Very nicely programmed by the way.
That's not really an accurate assessment because the second version is at a louder volume. Both tracks need to be normalized to the same loudness to be comparable.

1704381467191.png
 
That's not really an accurate assessment because the second version is at a louder volume. Both tracks need to be normalized to the same loudness to be comparable.

1704381467191.png
Yes it is. You can "see" how much less dynamic range there is in the second example and I can most definitely hear it irrespective of the lack of level matching.
 
Yes it is. You can "see" how much less dynamic range there is in the second example and I can most definitely hear it irrespective of the lack of level matching.
In your post, you were referring to the dynamics at the beginning of the piece. Those are not effected, as shown in my screenshot. Only the loudest parts' dynamics are impacted. My guess is @Rudianos left the limiter turned on.
 
Before I start mixing, but I suck and learn how to mix over the last months.

But in the end I always realize it’s too loud, after hours of mixing and listening to it. Been like this for the last three mixes
I realized no one answered you. Use reference tracks along with TGP. I prefer Metric AB for referencing. Then you'll know if your kick is too loud. My current combo is TGP, Metric AB, and Slate VSX (my favorite purchase of 2023).
 
Noticed that this has competition (of sorts) with another plugin sporting a similar concept.


And I guess you could say both are somewhat akin to the Brainworx Masterdesk concept.
 
Noticed that this has competition (of sorts) with another plugin sporting a similar concept.


And I guess you could say both are somewhat akin to the Brainworx Masterdesk concept.

It’s not a competitor in the slightest since The God Particle is a MIX bus plugin and Master Plan is a MASTER bus plugin. Completely different use cases and you can absolutely use both on the same project, my engineer does and the results are great!
 
You're right, I think perahps I was looking at how similar the concepts are in terms of simplifying a complex chain of plugins. Lesson learned!
 
You're right, I think perahps I was looking at how similar the concepts are in terms of simplifying a complex chain of plugins. Lesson learned!

What they do is basically the exact same to be honest, eq, saturation, multiband compression, stereo widening, limiting, etc. it’s all the same stuff. The main difference is where the intended use case is, that’s where I think people are getting confused, cause I’ve even seen some YouTube videos comparing the two when they shouldn’t be compared at all, they should be used together
 
Semantics, ain't it?
you'd only use one instance of this so it might as well be on the master especially since you're supposed to work top down from it anyway.
 
Semantics, ain't it?
you'd only use one instance of this so it might as well be on the master especially since you're supposed to work top down from it anyway.

You would put it on your master, yes. But it’s not *for* mastering. Jaycen isn’t a mastering engineer, he made this for his mix bus, which he would then send to a mastering engineer
 
Not semantics, KEM has a valid point. Traditionally, mastering has been about mostly balancing and polishing a final mix without touching much of anything else. The processing some people consider mastering these days isn't actually "traditional" mastering at all but many times a complete overhaul of the stereo mix where they stack 24 plugins on top of each other and call it a day when it sounds like mix 2.0 with a limiter on top.

To get near to the good results before the traditional mastering process is why the mix bus processing was "invented" in the first place. The idea is to already bring the sound closer to the desired outcome before the mastering stage, sometimes due to general aesthetics or due to technical reasons: for example, you will never get the mix to glue the same way together if you slap a compressor on top of the stereo file instead of mixing into the compressor and balancing stuff "within".

Despite of TGP sporting a limiter (which should be taken away when exporting stuff for mastering as mentioned), the whole idea of using a mixbus plugin is to enhance your mix in a non-destructive way before mastering for various reasons. Sometimes it's the bus compression, sometime just a general passthrough of a plugin that does something nice to the overall sound like a gentle saturator....or sometimes, a complete shortcut for a better mix due to lack of time or sometimes skills. Some stuff you can insert later though- most likely TGP with milder settings but also stuff like Saturn. That "faster master"- preset has saved my hurry ass a couple of times already. :D

Mixing into a plugin is always a commitment- despite of what the actual plugin is doing, you can't strip it away anymore easily at some point because the longer you've mixed and balanced everything into it, the faster the whole mix falls apart when you turn it off due to the rough nature of the plugins normally used in that stage. The mastering plugins will still always be more surgical, balancing and polishing and should be left out of the mixing process, but using a mixbus plugin to bring the sound closer to a "ready-sounding" mix is a different thing and used only in the mixing process.
 
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Couple of other observations from looking at this. JJ shared his Ozone 4 preset on Insta, which can be (and has been) translated into all versions of Ozone by some interested Redditors. However, since then, iZotope has of course introduced Neutron with the goal of selling that more as a mixing tool, and then Ozone for mastering - and ideally in combination. (I'm guessing that Neutron didn't exist when he made the original preset.)

Neutron features most of the same modules (or variations of those) in Ozone, but without the stereo imaging stuff, and also there is a single limiter in the Neutron mothership plugin, as a pose to the limiting introduced on a per-band basis in the Ozone compressor. One nice touch in Neutron that is not in Ozone Standard module headers, is that you can dial each module in as a %. I will likely need to play with the parallel compression to dial this one in at it's pretty pumpy just on those initial settings. Can also be done in parallel of course on a send or in Ableton using a rack.

I remade the Ozone preset in 10 standard, and it's quite interesting that it hits pretty hard. This did leave me wondering actually whether iZotope shouldn't make Neutron and Ozone one plugin somehow, as it feels a little like (for example) there are tools you'd think could be implemented across the range (eg: mid-side mode in Neutron, parallel processing per module in Ozone) that aren't. And also given that they have 3 main plugins including Ozone, Neutron and also Nectar for vocals; will their approach of having all these modules start to look a bit OTT (pardon the pun) in the face of all these simplified one-stop-shops.

Still. I do like having these plugs around as I grow into them, and looking into these kinds of processing templates is really useful to learn how to get more out of the tools.
 
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I was watching this video about TGP and it seems it has a very drastic EQ right out of the gate. And it's static (not program dependent at all). In what situation would you actually want to mix through this EQ curve for all of your material??

Screenshot 2024-01-06 at 9.49.08 AM.png

 
I was watching this video about TGP and it seems it has a very drastic EQ right out of the gate. And it's static (not program dependent at all). In what situation would you actually want to mix through this EQ curve for all of your material??

Screenshot 2024-01-06 at 9.49.08 AM.png



The EQ curve is mainly to help push things into the multiband compressor so that you’ll properly hit the targets, when you actually have TGP on you won’t hear a massive mid hump with a huge high end drop off, it sounds very natural
 
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