Mastering with Ozone 11

1. Intro Ozone 11: Imagine taking your mixes from something really flat and lifeless to a professional ready ready tracks that jump out of speakers. This isn't just another music production course. This is your blueprint to mastering elect the pros using the Isotope Ozon 11, the most intelligent matching tool on the planet. Whether you are producing pop or crashing some IDM beats or laying down some killer hip hop tracks, ozones, 11 revolutionary tools will transform your sound 100% we are talking intelligent assistants that read your mix, target, loudness optimization, and workload techniques that professional engineers use in top studios. In just a few hours, you'll learn how to create masters that compete with commercial releases, use AI power tools to balance policy tracks, unlock professional grade clarity with punch, and dial in the perfect sound for any general. No more guesswork, no more flat sounding tracks, just pure professional mastering power. Are you ready for your next step? If yes, let's go and find out. 2. 1. Master Assistant (Easy Mode): Hey, guys, welcome to this course. We are going to talk about the Ozone 11 and how good this plug in can be to make your masters sound much, much better, let's say, even if you don't have so much experience. I would like firstly to start with a master assistant, which is one of the best features, in my opinion on the Ozone 11. And what it really does, it just listens to the track, and somehow it suggests some different settings, and you are going to see what it really does. When I go and put it here right now, for example, this track is on 118 BPM. So let's go and make a loop there. So like this, maybe. Okay, now let's go and find the loudest part. This would be like the drop, let's say, because here I can listen so many different elements and the best way to go and use a master assistant is to find this lovedest part, and then I'm going to click here. Let's go and relearn and play. So, for some reason, the tonal balance, the OSN 11 found that this is kind of rock track, which is wrong. In this case, I'm going to put it on an idiom track. And you can see that the tunnel balance here changed right away. That's going to put RLarn Again, it found that it is a rock, but somehow it's wrong. So let's go and work with the IDM profile that we have here, and we see some different sections here. But before I go and explain everything what this thing does, I'm just going and click here what is going to do? This one is going to gain mach so that we can hear right away what the plugin did without any volume changes. So the difference is pretty big. I hope you can hear also by yourself. Here we have also the vocal balance, which is a new feature from Ozon 11. And right now, it suggests that you should go and boost a little bit here the vocal. And here we have four different sections from the frequency spectrum. We have the low, the low meat, the high mid and the high And if I go and apply here the equalizer, you're going to see that somehow it tries to push this one on the tolerant balance inside this blue area right now. And if I go and take this out, Now, it is much more closer to the blue one. When I'm changing this one here, if I go and open this, you're going to see that I am going to change also a big here on these sections. These ones, if I go and put them down, you're going to see that I have almost nothing that I applied here. And let's say for example, that I live it on 46% you see here that I am down. And if I go here again and boost it like 140%, you're going to see that I have boosted this one here. So this one works as a global equalizer. Now let's go and bring it down on 100% right now. Go back here. We are going to dive deeper on these suggestions that we had from Ozon, but these are going to happen on our next tutorials. Now let's go and focus on the loudness section here. We have also the streaming and the full scale. These are two different options where if I leave it on full scale and go here, you are going to see that the output level is going to be at -0.1. But if I go here and change this one to streaming, it's going to be minus one. We're talking about a true peak, right? So think of it like this. It's a big difference between the streaming and the full and what's this name, full scale because the streaming requires at -14 LUFS somewhere there, and Spotify, for example. But if you are exporting for big labels and digs and so on, then I can guarantee you that all of them want to have a peck at minus zero point. One and hit March 8 LUFS. So these are two different sections that you need to know about. Now, here on the maximizer, if I going to boost, let's say for this one here. For example, right now, we're going to see that I'm having a 10.9 if I'm going to put it down. Now let's go and talk about maximizer here. And if I go, for example, right now, let's have a look. It's at plus 9.6. Sorry, let's go back. And if I go and boost it like this, now we have at plus 13.7. So this controls only this gain section here. Let's go and bring it back now. With these two, you can bypass both of them. And now let's go and talk about the extras. We have the dynamic match, the width match, the clarity amount, and the stabilizer amount. The dynamic match here we can control if I go on my assistant, you can see here that I'm going to control the impact. Let's say, for example, I put this one on 100%, and this is going to be at 100%. Let's go and put back on 50. And now the width match is exactly the same with imager. You can see that the amount that you are going to apply here is going to be like 100%. By default, it was right now from our master seat at 50%. And then we have also the clarity amount. The clarity amount, if I remember well, is if I go here and choose this one. And here we have a 25 the amount. Let's go and bust it at 100%. Yeah, we have it here. Let's go and bring it back. And it was 25, if I remember well. And then we have also the stabilizer amount. The stabilizer amount controls this section here, the amount from this plug in from this feature from the stabilizer. To sum up, this is the easy quick view, let's say, from Ozone 11. And you might think, Okay, if I have so many options and I can go and dive in into this, why should I go and use this section here? Well, there are a lot of bedroom producers that do not have so much knowledge about how everything works and everything, what this one is or this one or this one. And for them, it's much easier and quicker to say the truth if they just have a good result while using only these parameters. So in other words, the master assessment here in this view is like a dummy guide so that you can go and use right away and have really great results without knowing anything about mastering. 3. 2. Analyze what master assistant suggested : Okay, guys. So now let's go and have a look what the master assistant suggested. So plugin the first feature that comes here is the mastery balance. And what the mastery balance does, somehow Ozon 11 found that the vocals were a bit quieter as they should. So that's why the master assistant right now, it boosts like 3.5 dB, only the vocals. It uses AI to identify the vocals and it boosts them. Then we have here, the equalizer and now the equalizer suggests that we have to boost at two debes at 2.7 hertz somewhere there. Let's go and deactivate everything and have a listen how everything sounds and I'm going to activate one by one. Right now, we had also a small cat low shelf at 22 hertz, like one db. These are minor adjustments to the Bs here, to the Bs there, and have a listen how it is with and without the equalizer. So somehow it opens a lot because we are boosting here at 0.7, and we have also a big boost here, again, TBs at 13, 14 K somewhere there. And it also cleans some mid lows here in this frequency spectrum. Now let's go on the impact. In case you don't know what the impact does, actually it relates here to the dynamic match here in this section, and it actually helps to push or attenuate transient. So in this case, it works like a smart compressor. And here, you see, we have two different sections that we can go and choose. We have the stereo in the mid side. We're not going to dive deep right now what this section does. I'm just going to leave it like this. And here right now, it suggests that below 120, we have here we are pushing some transient a little bit, and here we are taking down some transient, and here we are pushing again and here, again, the same. Let's go and put it in another section because somehow I find that the vocals here on this track are a bit distracting. If you listen carefully, you are going to hear that the laws become more present and the trial becomes much fuller. Now let's go on to imager. The imager suggests that we have a bit more steroid here on this section and on this section. We are having also at plus three here at the recover sites. And now let's go on the clarity. The clarity is an AI that brings small, let's say the mids and the highs. You can see also here that we are affecting only the frequencies above, let's say, above 300 and have a listen to what it does. And here again. If you go and activate Delta here, you're going to listen to what this amount really does. And here you can see that it has a big difference if I go and let it like this, for example, you're going to see that this one down is going to be more stable here on this frequency is from 300 until 1.5 somewhere there, we are going to have a sustainable reduction here, but if I go and put it down again, you're going to see that it works differently. Let's go and be it back again on zero. Here we have also the attack and the release. I just leave it like it is. And here you can also say, Okay, I want to have only the frequencies to use a clarity feature. Let's go and bring it back on 300. And now we have also the stabilizer. Let me go and activate it. The stabilizer works like a smart dynamic Q. And right now we have here the shape mode, which is going also to boost. But if I go and put the cat, you're going to see here that we have only cat if I go and make it a bit bigger, Big difference, right, so let's go and bring it back. And here we have also the smoothing as well. If you have a look right now here on this wave form, you're going to see that it's much smoother. Let's go and bring it up again. Down. So let's go and break it back again on 50. And here we have the dry wet, let's say, for this high frequency spectrum. And we can also tame the transients with this button. Now, let's go on the next feature that we have here. It's a dynamic Q again, but this time only the dynamic, not the stabilizer. And right now we have a small suggestion, small pickings here on this section. Let's go and sold. Here we have a really quick attack and quick release and we can see that we are not compressing a lot like one degree somewhere there. Let's go take it out again. Let's have a look here. Again, here we have not so much gain reduction from the threshold from the compressor. But if you want, you can go and turn down a little bit more. For example, right now, we are heading at minus two. Let's go and leave it back again. And here, for example, we have the high hats that are a bit more too much in your face, and you can go and attenuate them also here. The last one is a high cut, high shelf, let's say, And now let's go on the last part, which is going to be the maximizer. Here, we have some different algorithms, but most of the time, you are going to see that the IRC for modern is going to be chosen. And because here we have the full scale, again, we have at mi 0.1, and right now we are using also some upward compression, and this is sounds and we are getting a -8.7 minus nine somewhere there, and the debe reduction t three. And it doesn't suggest any soft clipping or transient emphasis, nothing like this. It just suggests we are boosting a little bit here from our input gain and some lit bit from the character. 4. 3. Vocal Focusing: And one of them is one of the most important in my opinion, is this stems here separator that you can go and see. And what it does, it can recognize, for example, on the track, where is the vocal and it applies all the settings that we are going to choose here only on this section. Let's say, for example, I want to work only on the drums and I want to compress only the drums. Let's go and use a compressor. Now the compressor applies only on the drums. So it's really useful for gamma. I'm going to use this one on the vocal because I find that we have some dirtiness there on the vocals. Let's go and use an equalizer and take out some lows here. Mm h pass. And I think that there is some dirtiness here in these low frequencies because I can hear right away that it doesn't complement the track. No. Or you can just go here and use a clarity and focus only on the vocals and then just go and sit stabilizer. And now we just want to cut. But also, let's have a rest on how it sounds here in this section. We can hear right with that the vocals becomes a bit more clear here in this frequencies because we took it out, and somehow now it works much better on the track. You can go and use also, for example, it's an exciter here on these frequencies, and we are still going to work only on the vocals in case you want some more present here, let's say, from this section here. 5. 4. Transient sustain feature: Now let's talk about the new feature that the ozone 11 has, and this is going to be the transit and sustain. So you're going to find the sustain options here on clarity. If you go and check, for example, the steromtzt, then you are going to find also the sustain test. Okay. Then you can go and find also as a dynamic que, then on equalizer, exciter, imager, low end focus, magic Que. Of course, I don't know if it's going to be so useful here, but okay, and spectral shaper. And the last one is going to be the stabilizer. In case you don't know what the transit sustained feature is, think of it like this. Transients are the quick sharp sounds at the beginning of a note or a sound. For example, a drum kit or snare or kick. I think of it like it's like a snap of a snare drum hit or the plug of a guitar string. It's a part that gives the sound punch and initial impacts. On the other hand, stain is a part of the sound that lasts after the initial hit so for example, if you hit, let's say, a piano key, the sound continues to ring out for a while, and that's the stain. It's the smoother, longer lasting of this part of the sound. With the osm ten, you have the possibility to make transients, for example, much punchier, louder and cleaner, and you can also control the sustain, for example, in a base or make it a bit richer or quieter if you want. Let's have a look here, for example. Right now, we have this track. And I'm going here to take out the game match, and I'm going to use only the clarity on the transients and tell me what you think. Let's go and make it also a bit louder. Let's go and use this one here. I want only the maximizer to. Let's go and pick this one here. And now I'm going to use the clarity only on the drums and have a listen again. Well, this is really useful because you can see here that I can go also and have different syntics for sustain and different setting also for the transient. Now let's go on the dynamic hue. I'm going to bypass it. And let's say I want to use the dynamic hue only on the transient. You can also hear right away, a big difference. I'm going to to try also the equalizer, but this time on the base and have an idea what it could make it here on the sustain. Now, let's have a look here on the exciter. Let's say that, for example, I want to work only here on the vocal on this section here from one until six again. This is what it indicates are only the transients and let's go and again the sustained. So you understand how this really works. You can go and use it also on the imager or on the low end. Let's say, for example, I want to have here. Let's go and deactivate on the exciter. I want to have here a more punch drum here on this section. This way, this one, right now, it helps the kick to come a little bit more to cut through. But you can also go and use on the sustain to make the kick a bit shorter. And now you can go also and use it on mas cue, but as I said, I will not see myself somehow using it on the mas cue. Here we have also the spectral shaper. This is a good solution if you want, for example, somehow, your high hats a bit too much. You can go and use it on heavy mode or on medium mode. And you can tame some transients from the high hats. Let's go and deactivate this one. And now we have it also on the stabilizer. And the stabilizer is the most easy. And the stabilizer, in my opinion, is the quickest so that you can get a better result without going too much deep on the other features. For example, right now, I have much more snappier drums in comparison with earlier, and I am using only the transient because I really love how this stabilizer works, and I'm just boosting here like two or three DBs while using here this feature from Ozon 11. 6. 5. Clarity: Now let's talk about the clarity feature, which is also new on the Ozon 11, and I have already shown a little bit about the clarity, but I thought maybe it's better if I show a bit more here about tilt and what this really does. Let's have a listen for example right now. I'm going to leave it on 50%, and I'm going to change the tilt here. Big difference here is when I go on the right side, you are going to hear that the sound becomes much more brighter in this section here, but somehow you have more attenuation here in the mid. But when I go here on the left side, you are going to hear that the sound becomes darker. And it focuses more here in this section from 300 until one K. And here we have a big attenuation. So you can go and use this function if for example, let's say you want your sound to have a bit brighter kind of character. You can hear right away that it adds also some brightness and it opens up the mix a lot. Let's go and try this one also on another example. Let's go and use. Wonder B or I do describe while you out with someone else. Watch me. When you done it really Wish I it again. What did you say? What's make a Loop here? I wonder BO dos cry while you out with someone else. Watch me. Let's also add the limiter back again, but I've lost up or I do cry while you're out with someone else, I wouldn't you you and me when you don't agree. Is it again. Oh. A for myself. All I do is cry while you out with someone else. You with me? When you done it really. Wish I it and gain For example, right now, it's a bit too much. You should be also really careful with this one, because if you overdo it, you will ruin your mix. You can also go here and use the clarity on the vocal. Oh. Well, for myself. All I do is cry while you out with someone else. A with me, When you done it really. Wish I it and g her. By myself. All I do is crate it while you're out with someone else. Water. Or you can go and use it here on the base, and let's take out these frequencies. Let's say that our focus would be here. Wonder. Buy myself. All I do is write while you're out with someone else. Watch with me W you done at 3:00 A.M. Wish I in again. By myself. All I do is crate while you're out with someone else. And now it focuses only on the bass. Let's have a listen also on our first track what this function does. So to sum up, most of the times the Ozon 11 clarity will focus will add a bit more here from one K until 16 at 20 K, and it works as a smart EQ because you'll see that it changes like the whole time and it depends also on the track. 7. 6. Upward Compression: Now let's talk about the upward compression. The upward compression does what it says. It's going to push the quietest parts on your track without affecting the loudest parts of it. So have a listen how it is with and without. I'm going to overdo it a little bit so that you can have an idea what it does. And if I go and gain much, you're going to see that it is doing a lot of it is adding a lot of volume, but it doesn't affect the loudest part. It affects only the quietest parts. So if I go here, for example, on my limiter, I have no upward compression, no soft clipping here, you're going to see that I am hitting minus five or somewhere there, which is too much so that I should go and bring down a bit. You have to be really careful with upward compression because if you overdo it, you are going to have not any more dynamic on your truck. And everything will sound distorted and a brick. For example, here, I have also the compression just working, and I have also the maximizer to show you the different on the waveform. Let's go check out the maximizer and this is the waveform right now with this compression. And And I'm going to change here to the maximizer. So it works as an expander. If you have the fab filter P Q or PMB, it works like an expander. And let's have a list but it really does. O. It's really useful to say the truth because sometimes it can happen that your truck doesn't has a really big dynamic, and this is how you can go and not eliminate, but take out a bit here from this dynamic. But you have also to be really careful because I go like this. And here, if you have a look right now, I am hitting its -6.6, but to say the truth, it sounds like crap because I have overdone it here on the upward compression. The track doesn't have any dynamic and also check also the rest of the track. So, in my opinion, the sweet spot is somewhere there at plus three. Now let's go and try this again on other tracks. Let's go. Let's go take out the gain. M. Well, it makes the tracks fuller, but you have to be really careful with it. Let's go and try this one again on this track here. So let's go. Come to Cty. No. I can hold. But C so I can't go go So right now, I am hitting at minus eight -7.5 somewhere there. Well, in general, this is a really good technique if you want to have louder mixes. But one more time, I have to say it, you have to be really careful with it. 8. 7. Master Assistant on Rock: Now I wanted to also do it by myself. I wanted to go here and use the master assistant as a starting point, and then I would just go and make my own, let's say, master change. So let's go and have this track. For example, right now, I'm going to use only the master assistant, and then I will dial in. So here we have the mastery balance starts here with a vocal 2.2 boost. Then we have also the equalizer we have here 0.9, like minus one deb on this frequency spectrum, and again, here on 108. Let's go and deactivate rest and gain match it. But only leave the maximizer to have a listen better. Well, I think, for example, this one, I wouldn't use this one. I don't need it. And to say the truth, I don't like to boost with an equalizer. Most of the times I tend to use a saturator. Most of the times I use the equalizer just to attenuate some frequencies that I don't like. So let's go and leave this one, let's say, like 0.05. Now let's go to the impact. I like what it does here. You have much more control. Now, let's go on the imager. For example, I would go here and do it mono. And this one for some reason, it tends to go more on the mo, but I would like to have a bit wider in these frequencies. And Okay, now let's go on the clarity. Maybe I would go and focus here only above two K. It opens up the mix a lot. So this was really good. In my opinion, sounded really great. Now that's when the dynamic occur. But I still, I would go and change some things because I find also some frequencies that bit irritating in my years. And now let's go on the maximizer. Here, we have a soft clip. And here for a gal right now, we are heading at minus six, which is too loud. It's a really big difference, in my opinion, let's go and put p the gain Match, but just down a little bit so that you can hear also yourself what we did here. We're not affecting the loudness. If you listen carefully on the snare, you will hear that it has much more presence right now and it is more defined on these higher frequencies. It opens up also the mix. Really big difference, right? 9. 8. Master Assistant on Deep House: Now let's go and do the same again here on this track. Let's go and re learn. And this time it found correctly, this is dim track, let's say, and it starts right away with an equalizer. Let's go deactivate the others. Come here, I don't need this one. I'm going to take it out. And I think this one I want to take it out like this somewhere there. Now let's go on the impact. I would like also to have a little bit more control here. So this is expanding, let's say, and this one is controlling a little bit more pressing. Now let's go on the imager. Again, I would go and do it on 100% mono here below 120 hertz. This also works really great. We are not having any phasing issues. Now, let's go on the clarity. Let's go and add a bit more presents here above one K. Now, let's go to the stabilizer. I like it on 32. It sounds pretty good. Now on the dynamic queue. Yeah, we can go and mix the cubit earlier here and here. I believe we don't need this one. We take it out. And this one also take it out. Let's and the maxmer. Let's do also a bit soft cleaving. And we can go and use also the transient ter faces here a bit more. Now let's go and listen to track from the beginning. Okay, now I have an idea of what I can go and fix. For example, here on this section, let's say. I can hear right away that the vocals. They need to be fixed a little bit more there. So let's go and take everything out, and I'm going to work only on the vocal here, and I will start with an equalizer. Maybe Booz a little bit here make the vocals a little bit cleaner to come through. Okay. And I believe I can go and use the Muscle balance here because I want also the vocals to be not so loud. I want them to be a bit more back. And then the next thing that I would go and fix is to go here again on my channel, and I'm going to use, again, the ozone. But this time, I will go and take out everything, and I will just focus on the drums, and I will go and use a dynamic QQ on these higher frequencies because I want to have a bit more control on the high hats. And let's go and make this one a loop and have you listen how this one helped. This is the previous, and this is the after after the whole change that we did. Right now, it sounds much more professional in comparison with earlier. So 10. 9. Master Assistant on RnB: Let's go and try to do our best with this truck. This track is an R&B kind of track. I'm just going to leave the maximizer here at the end to have a little bit louder, and I'm going to start here and try to understand if it's something wrong here. Come to Coy No do I can hold in but come to, I can't do it. You own test. So this time, I'm going to use the stems, and I'm going to focus here at the beginning on the base because I find that we have so much low in there. And let's go and start. Come to, I can't do it. You own test, Annie. No do. I can hold in B C to I can't do it. You own test ni. No im door I can hold in my. But come, so, make con. I can hold Imes. But come, so, make it. Go to test on me. No im door I can hold in mys. But come, so make cont it. Gates on me no Lim. Do I can hold in my B C to make can't do it. Your own death anni. No li do I can hold in Ms but come do can't do it. You own death anni. No li do. Now, it sounds much more cleaner, in my opinion, I'm going also to use again this time, but on the vocal so can't do it. You own death Annie. No door. I can hold in my but come do we can do it. Go to own desk. No it do I can hold in my. But come so we can't do it. Go to own desk i No, I just want to give a little bit here press on the ice. C, so we can't do it. You own desk, Annie. No i do I can hold in my No. I can hold in s. But come, do me come to it. Your own test, n You can hear rightw that it comes more in front. Come to me come to it. Your own test, ni Noli I can hold it Ms. I can go and compress a little bit more also. Come, so can do it. Your own test, ni. No it I can hold in my but come do come do it. Your own test I need no else I can hold else but come I can't do it. You own death. That's also how it so the beginning, how it sounds right now. Smile. No wonder by myself. All I do is cry while you're out with someone else What you with me, when you don't really Wish I in again and again. But you say you want to go L I want to go. Now that I'm feeling alone, I got to about it home. But I can't I can't do it. You own? I think we can go and pull down a little bit here. That's only. I can hold it. I can't so I can't do it. And now we can go and focus a bit more on the drums. And make the drums a bit snappier. I'm so your own death, y no io Agh and my. But I want also only the transient here, not the sustain. And so we can't do it. Your own death, i No Ag and my B C, so we can't do it. You own death, i, no i I'm going to work only on the kick. Oh. One. And now let's go and use the suggesor here on our master out. Let's go and do re learn. Come to make come to it. Go to test. No I can hold me. But come to make it. Go to test. No I can hold ins. But come to to it. No. I hold in my come to me, come to it. I don't hear such a big difference right now, but let's have a check. So here right now, I have just a little bit here on the equalizer on the laws. And here we don't have so many things going on. C, so, can do it. Own test. No li. I hold my C can do it. As for the clarity, it has a bit more darker kind of sound, and it's on 25%. Come so can't do it. You own test i. No lile. Again, here to stabilize, doesn't do a lot of things. C so. I can't do it. Okay, hold it. But C to, for example, we have here a cat on like 260 herds somewhere there, and it's at 40 Bs dynamic Q. Let's have a listen to how it really does. It really clears it when the AO eight hits. Copy consolation, go to Behold Dope consolation, go to No Do I can hold it. Okay, now let's go here on the maximizer, and we are here we have an upward compression and soft clip. C so comet it go to desk on me. No do I can hold in my but can do can do it. Go to desk on me. No do I can hold in my but can do it. Go to desk. No il. I can hold it. But really, what wonders me that we don't have any suggestion for master Balance because I believe that the drums are too much louder here especially in these low frequencies. Let's go on the drums and bring it in. Come to come to it. Go to own testy Noel. I can hold it. Come to come to it. You own test, i. Nod. Oh I can hold it. Let's also the base. Come to do it. No. I can hold it. Yeah, I believe that the bass was much louder as it should be. So right now, I have it like -4.7, which is a lot. Let's have a is now from the beginning. By for myself. All I do is cry while you're out with someone else, you're in with me while you're done with Wish I in again. But you say want to let go. They don't want to go. Now that I'm feeling alone, I got home. They come on that. No they All I do is cry while you out. Someone else. You hear me? While you don't. Wish I did, guys. But you say I want. I can hear it with that when this part comes, the vocal is much louder as it should. So you can go and walk a bit more here on the dynamics. Someone else? Only. It me when you go to three. We started again. But you say one Oh. He. But still, we are facing a problem that the mix is not the best one in this case. So yes, the Os 11 is one of the best plugins, but it is really important to have a really good and nice mix because the usaring is more to polish sound and not to fix problems. So this is a great example. So whatever you go and do, let me take out everything, and I'll just go and only use the mastery balance. And whatever you do, it will not make miracles. What you it with me, while you down with three day. We shut in, I But you say want to let go. Late I want to call. Hit with me, When you down with three day, A We shut in. Okay. What did you say? Want to let go? Lady want to go? You can hear right away that when this part comes, the vocal become much louder, so it's not easy to fix it. This is the suggestion from the ozone here, and you see that we have a boost on the vocal because the mix was not so loud on the vocals. We have also some attenuation here and a lot of things happening also here on the low frequencies. It is going to be expanding more. Oh. But you can hear also right away that when the 88 and the bass and the kick comes, it is so much distorted and not nice in your ears. So, guys, I hope you found this information useful. As I always say, it is really important to have a great mix. And Ozon 11, it will make it much better at the final stage. Thank you for watching. See you next time.