Ozone 10 Masterclass - Elevate Your Sound

1. Intro: Are you struggling to achieve the professional sound that you really want in your mixes? Do you find it a little bit difficult to get your tracks to sound polished and cohesive, but not being able to achieve the sound that you want can be frustrating, especially when you know your tracks have potential. I know because I haven't been there. It can also hold you back from reaching your goals and make it harder to stand out in this competitive industry. That is why you need ozone. Ozone is a key to unlock a professional sound in your mixes. It's advanced features, maybe the go-to choice for top tire producers and engineers. By attending my course, as I'm telling you, will learn how to use its powerful tools, achieve a nice professional sound that will make it tracks 100 times better in comparison with what you've already done until now, you will also learn a lot of tips about advanced processing and when you can use these tips on your workflow for better and quicker results to make your life easier. Don't let the lack of professional final tracks hold you back any longer and stand in the way of your music dreams and sign up for the awesome tank corps today and start mastering the tools. You need to take your music to the next level. 2. 1. First View: Let me explain a little bit how the structure of this course is going to be. Because I don't want to dive right away on the mix assistant. I just want to explain you first what these tools are and how you can use these modules so that you can change things later if you want. It is also really important to know how everything works because later it will be also easier for you to understand how the mixer system works. This section now here is the detail view. Here we've got our system view. And if you go on the detail you here, we've got our single chain, e.g. you can go here and choose, let's say the imager. And then you have everything information from this tool. Here we've got some presets that you can go and choose, and also you can make your own custom presets. Here, this section has the undo and the history. But about this, we're going to talk later. You can go here and let's say e.g. you make four bonds and you make these changes, but you don't feel like it is okay, it was earlier. You can draw it here up and click Undo, and everything comes back. Here. We've got our settings where we can change some stuff if you want to do that later. E.g. here you can choose the critical or the full octave. And if you go on the spectrum. Now we've got this view. In general, you can go and change a lot of things here. But to say the truth, I really like how the default settings are. So if I were you, I would just keep it like this. Here we've got our stereo input gain, which right now is linked. If you click here, it is unlinked. This is the left channel and this is the right channel. So let's put them back on Link and I just leave it as it tastes. And here we've got also the output gain. It is also linked. Also here It's really important. I really love to go here and use the short-term and the stereo. Because when I am muttering attract, I'm always referring to l UFS. If you go here, done and you press young bypass, you are going to bypass everything that is happening right now from the awesome ten, this means all plug-ins here will be bypassed. And here we've got the gain much e.g. if I go here and the limit of the maximizer, and I said to, okay, I want you to push it like this. Now, if I go here and click the gain much, it will come back. These are ways that you can compare your track how it sounds without being loud. Shall we got steroids, mono maker, myself. Now I want to swap the left and right. So here we've got the reference. If you click here and you say, Okay, I want to add a track. You can choose the file that you've got a reference, but I would highly suggest not an MP3, just choose a wav file. And we're going to talk about it later, how you can use this feature here, we've got the codec. If you go here and press, you activate the codec. So this is a codec preview how the south e.g. it will solve if you've got an MP3 file and in 320 kb, let's have a listen, e.g. and I will choose everything so that you can hear what everything does. Yeah, we can hear the solo artifacts. Hello, 320 kb/s. We're not losing so much information in comparison with 96. Here, we are losing a lot of things. This is just a preview how your track and sound in this cortex. Now let's talk about dithering. It's a little bit difficult to understand, but I will try to explain you as simple as possible. Imagine you have a big picture with a lot of details and you want to make a smaller version of it. But if you want to do this smaller version, some of the details will be lost because there's not enough space for them to put them in. What direction does it helps the smaller picture to look smoother and not lose so much details. This is all in the same way. We change the beak audio files into smaller ones. As a result, some of the sounds might be lost or might sound a little bit weird. Here, we've got different bit debts. You've got the 24 2016 here you can say also the dealer amount if you want it to be like really strong or medium or low. If you click on, off, then you can activate the harmonics suppression. And here you can also choose the noise shaping. Here we got also the beat meter, where you go out and you can reset it. E.g. right now, we've got a team that's when you can activate also this branch here. If you want to activate the filter, you have to put, let's go ahead and say, it says filter DC offset in real time before the maximizer. The maximizer or Windows limiter module must be a single chain to enable DC offset filtering. I have been using isotope awesome ten like a really long time. And to see the truth, I never went here to either enable or the codecs to enable them. I just leave it like it is and I bypass them. 3. 2. Dynamic EQ: Now let's go and start with a dynamic equalizer. Here we've got two options, the analog to digital and knee here you can go and choose e.g. if you want to put the dynamic equalizer on the mid sides, or on the left or right here. And e.g. let's go here on the meat here you can solve only the hands, take it out. On the sides. Hello. We don't have so much information on the sides. But this is how it works. If you didn't know what the dynamic equalizer is, think of it like this. It's a combination between a compressor and Equalizer. It's like a two-step thing, e.g. on the first step, you put an equalizer and you say, Okay, I want e.g. between 500 hz and then between 1,000 hz, this frequency spectrum to be attenuated. But I'm going to say then on to step two, I'm going to put the compressor and I'm going to say, I want you to attenuate e.g. like two dBs every time the signal from the equalizer passes this threshold that we set on the compressor. Here I've got some different curves. You can go over here and choose between, let's say the bell or the bunch shelf. And if you go and choose e.g. the base, you see a different curve. Let's put back again on the proportional. And let me explain you how this thing works with a threshold. Right now, I will do a bit too much. So I will just say, Okay, I would put on 15 just to demonstrate how this thing works, let's put them on -15 min. It might be, it might be a bit easier for you to understand. Okay, So right now, if you see down here, we've got an attenuation of minus three dB, minus three dB. So that's means every time this frequencies go above this threshold, this algorithm to be attenuated or minus two degrees. Let me push a little bit more so that you can hear what I can do also the same if you go here, let's put it back again where it was. And here we've got our settings for the threshold enter the compressor inside the dynamic EQ. Now we've got the auto-scaling about if you want, you can go into the activate this one and you can change the attack, the release, and the offset. Another trick that a lot of people don't know is if you go here on the side and you click and go upwards, you can have more spectrum here to view. And also the same happens if you go downwards, you have more spectrum to you if you want to post some frequencies. In addition, here, you had got the Solo button. So that means you here only this what is being done and what is being changed right now. Only these frequencies. You can go and choose also the curve. You can make it a bit narrower or wider here. And also good trick is if you want to change all these again, just click Shift on your keyboard. And you go up and down. And it keeps the frequency, the frequency from the spectrum, but it changed only the gain. You can also do the same if you want to keep the gain and change the frequencies, click Shift again and go left and right. Let's take it out from your convected rate here. Let's say swallow. If you double-click comes, it's going to be on the set. But let's say you go e.g. to settings, whatever, you want to visit them, all by one. You go here and everything is done. Or said. You go and click the option key or the Command key on the Mac. You can go and keep here with a mouse and you can preview how everything sounds. This is how the dynamic equalizer works. And we're going to see later how it works when we are going to master track. 4. 3. Dynamics: Now the next one that we're going to see is the dynamics. And here we've got right now only one band here. We've got three different views. Here. We've got the crossover spectrum view. Here we got the gain reduction Traceview, and here we got the detection filter view. So e.g. here, if you're going high-pass, you are going to work here only in these frequencies you can make also a bit narrower. They can be more drastic so that we can understand how it works. E.g. right now is a compression. It's not helping so much when we get the kick. But yeah, professor watching bit harder because it is going to be triggered from the kicking. The age of eight is another kind of filter. But always I just limit on none. I don't use it on the bus. I got other things that I use when I want to do this study. Let's go back here on our crossover view. Here we've got also the stereo and the mid side. So that means you can also compress only the myths are only the sides. Let's put back on stereo. And here we've got also the other gain, the auto release. And right now we got only one bond. But if you go and click 123 and we've got until four bonds, four different bands that we can play with. Now if you go here and press the learn, you will see right away that these are going to be moving. So that means this is what stop suggests that we can go and put the bands like this, and then we can go and compress them. Here we've got our normal compressor settings, e.g. here is the limiter and here is the threshold for the compressor. Let's go and solve this one. Here I would get our meter, which tells us that in our answer we got a minus four dB reduction with in this band when we set the threshold here, we've got three different metering modes. The first one is a pig, which picks the level of the incoming signal. The other one is the envelope, which uses average level of the incoming signal. And the other one is the RMS, which uses the average level of the incoming singular. Here we've got some typical compressor settings. The ratio, the attack, the release in nicknames that controls the range of the threshold. If I go here and e.g. change these settings, you can see also this one being changed. Let's go put it here, e.g. right now, this is the curve that is going to be changed. Let's put down some release also down. Let's put it a bit heavier, the compressor. And let's have a listen. Let's take everything out. One compressor settings from the whole track. Above it. We got also the dry and wet for the parlor compression. And here we can put, we said e.g. other also bands. And I go and click here. I can have a detailed view of everything what is going on right now in comparison with this, that we have only these few firm every band. And finally we get also the bunk in here so that you can make up some gain. Or if you go here on the old, then you can have a global game. 5. 4. EQ: The next tool that we are going to have a look on is the equalizer. Here we get two modes to use. The first one is the HUD, and here we've got all our equalizers right now, e.g. we get the fourth deactivated. But if we click here, you will see it right away appearing. Let's go back on our HUD here we've got also two different EQ moles. The first one is the analog, which has a minimal phase. And the other one is the digital, which is linear phase equalizer. Here we've got again the stereo, the mid side, and the left and right, like we already mentioned. Here, we've got the amount. I'm going to explain in a while what this is. We've got the same settings like we already mentioned on the dynamic EQ. The big difference is only here, but I will explain it also in a while. Let's have a look how this sounds. You can also solar. So in the mid side. Now we are going to activate and deactivate to see how it sounds, is to go to solo. These more mono field. It's bucket then it'd be the wider on the high frequencies. If you are on headphones, you will hear right now that it's louder on the left side. A bit quiet on the left side. And if we go here on the right side, you can choose. It works exactly the same. We've got also the channeling. You bought them. Now we come here on the amount. Now we are on 100%, let's say e.g. this is the cue that we wanted. Okay, this is not the correct way. But let me show how it works. Let's put it back on zero. Now, if we go up, you can see that it starts to work. Now this is on 100%. If I go here on zero, you will see that equalizing coming back on the zero. So this is like a dry wet fader, which means e.g. if you go a little bit higher here, if you go like too much, this is going to like 200 per cent of wet. And here it's going to be like 30% width. Here we've got again the reset button. And let's have a look here. E.g. what these things means. Here's the frequency that we're on right now that we're changing. Here's the gains that plus and minus. And here's the curve. You can also change the curve here from this. Now if you click here, this will not come out. But if you go and choose here the digital, then you will see this face mode, which means it adjusted the phase response of the selected digital filter. Again, like previously, Let's take it back on the analog. If you go and click the Shift on your keyboard, you will move up and down if you want. And again, if you let go and put the end, press again, the shifts and you go left and right. It will say it will give the same gain or the same reduction if you are down and you're just going to change the frequencies. Of course here we've got again the different bells that we already mentioned earlier, but here, e.g. we've got also the low shelf, which is here, this one. You can choose also the low-pass, a little bit more flat. You can choose also other kinds of filters. This is the high cut, the low category. And you can also choose e.g. this Baxendale. This is like a small boost on the high frequencies. If you want e.g. to use this one, when you want to put a little bit more present on your truck in the high frequencies. Let's reset everything. In addition, we got the same trick that we already mentioned earlier on the dynamic EQ. If you hold the Option on your keyboard, then you can preview here. Now the one thing that might be useful for you if you go here on your settings and you choose the equalizer, and then you click the Show extra curves. You will see that three other more curves appear here. This is the phase response. And let's see if we can activate some e.g. suppose this one. We can see that this curve is changing with this one. It's put on digital. Now, you see that when we are on a linear phase requires and legs the digital, we're not introducing any phases. 6. 5. Exciter: Let's go now on our next tool. This is going to be the exciter. Exciter is such rater. We got again here two different views. This one is the crossover spectrum of you in this one is a post filter view. Again, like earlier, we got two different modules here we can choose between the meat and the side if we want to saturate onto the side, e.g. or sterile field. We've got again four bonds here. Let's add them. And we're going to say to Austin, okay, I want you to show me which, which one you think the bands would be for this track. Okay, now awesome, such as these bands, the first one is until here, like 194 hz. The second one is until 3,000 hz, and the other one is until 11,700 and some were there. The amount fader here is how much saturation you are going to apply on this field, e.g. in the mix is how much, like how much dry or wet this saturation should be. Let's have a listen on this, one of these, but here, let's put it on solo. It'd be louder. Now your heels are some distortion. Too much saturation. Let's take it out from Nike all we got also some different modes from the saturated or you can try e.g. the analog style to some other saturate doors. E.g. the retro is one of my favorites, but let's put it on another band here. Let's go e.g. and put the retro. But here, if I overdo it here right away, that this too much this really bright right now. If I were you e.g. if this truck outlet somewhere there and then mix it in, It's loosened hotel. I can hear the high hats and also a little bit this percussion loop do we have on our pitch coming a little bit more in the front, a little bit more present. In addition, you have here the oversampling option, which says increases quality, but it requires more processing power. So that means if your computer is not so powerful, I would avoid choosing this one. 7. 6. Imager: The next tool that we want to see is the imager. Here we've got three different views. The first one is the spectrum of the crossover spectrum you, the second one is the correlation Traceview, and the third one is the stereo spectrum you here, right now we got only one bond. You can also add another three bands. So in total you have four bonds. It works exactly like earlier. You go and let it late. Then awesome. Next project. This is the bands that often suggests right now. So if you go and push downwards, it means that it is going to be on mono. It's going to be, it's going to make e.g. in this case, every frequencies that are below 199 hz on mono. Right now, we already have a lot of more information. Let's choose this one, e.g. because I want to show you how it really works. Right now we have a lot of information and if we put it down, it becomes mono. You can see also here from the vector scope. And if you push up, it becomes more stereo. Before I dive in and explain you what these two things are, Let's go ahead and choose here again, the correlation trace. And here you can check if your truck is out of phase or not. If it is on the white, then it is okay. But if it goes down below this zero and it gets on the red, then it means you have some issues. They're just wanted to jumble. Let me do a small trick. Put everything on one, and let's test it again. Right now it's everything up and make him stare at it. You can see little red lines. This means that we have some phase issues. Let's go back and undo everything. Put everything back. Now let's look at these two modes here. We've got the recovery sites. The recovery site is lagging Big Jim guys. What it does, as it says, it recovers some sites from the original signal, e.g. let's say we got this one here, this band. And we say, okay, I want a bit more mono. Now we've made it a bit more mana here. And then you say, okay, this is okay, but I want, I don't want it so much. I want the steroids, the steroids also to build with more present on this band or this frequency bands. So you go here and you click and you enable it. Let's put it on solid. Now these are the frequencies that you can recover. He found gouache here, e.g. you didn't have something to recover. But if I put it on mono, you have a lot of things more to recover. This is great because it allows you to bring back some elements you lost when you narrow the mix in this frequency band. Really important here also to mention that recovers sides is not only for this bug enabled right now, it's for the whole track, e.g. your code here, and let's put this one back. Now we'll make this high frequencies more mono. This is what we are going to recover. So the recovery site is for the whole track and not only for one band. Here we've got also the steroids, two senators. I'd never use this one, but I can explain you what this one does. E.g. if you choose this band here and you wanted to make it a bit more stereo. Steroids, we'll add a little bit more natural width if your truck in this band is a little bit more narrow than you wanted. Here again, we've got those are three different views for the vector scope. The first one is the central overly see here. This one shows that it's the truck is not going to match on the left side or on the right side. Here we've got the sudden really important here also to have a look is when your trucks goals, e.g. on minus one, then you have some phase issues. If I go here on this button and put it again on the stereo, let's take this thing out. You would see that right now tends to go down minus zero. Also like we already mentioned here above, you will find also again, the amount, this is the dry wet right now we are on 100%. And if I go here and make these changes, e.g. okay, let's leave it like this one. And I'm going to apply this 100%. Then you're going to hear, by the way. 8. 7. Impact: Now the next tool that we're going to see is the impact. The impact is something new from isotope awesome ten. And I'm going to explain right now how good these tool is, the impact of works like a smart compressor that, that's tonal and dynamic sharing, but in multi-band, it controls also micro dynamics thing, e.g. There's an app from your cake or the snap from your snare. And the purpose of impact is to enhance the feeling of your track. But I think it's a little bit simpler if I show you right now how it works. Here we've got four bonds right now, but if you want, you can delete the other bands and you can live only this part. Like earlier also, you can add the other three bands and you can press learn. Here also is the dry wet that we already got on the previous tools. Here again, you get the stereo in the mid side option if you want to use the impact Only e.g. the meats or on the side. In this orange area. Here we've got the four faders. If you push upwards, it expands the micro dynamics of band. Or if you pushed downward, it compressors. So let's have a listen. What does? Let's try also another one band. Let's go here. You can see right away that way we are here down on the -100. The female is getting compressed like a lot. This one also. If you push it upwards and you can hear that the club, right, right now, you have a little bit more control on the Cloud and other elements that are in this area. If you want to know what changes you are actually doing, you can press here the Delta. And let's have a listen. This is what we are changing right now. That's going to push it up. You can also hear the synth from the behind that the violin or just being played. It also here in this area, you can hear that the spring also expanded. If I go and put it here. Now here we don't have so many information. But if I go here, you can hear a lot of things happening. As we already mentioned, the impact is time-based. That's why you're here. You see here this envelope. Right now we are saved with 150 BPM, and then we have an envelope from 16th. And if you want, you can change this one and you can put it on aid. Orange can deactivate the sink. Then you have milliseconds. The smaller the number here on millisecond phase, the quicker attack you have, any quicker release you have. Let's put it back on sync and put it again on 16th. Yeah, we got also the other Guinea which applies gain to compensate the level changes that are introduced by the processing. In addition, we got also the balanced. If you click here, you can see that if I move this fader, everything moves together because you've got also some presets here that you can choose, e.g. low and tamer. Let's have a listen how it sounds. Difficult to hear right away what is going on right now. But I can feel that this is being compressed a little bit more. And also this band frequency here is also compressible bit more. Right now we are on milliseconds, but if I go and put it here on sync and do it 16. And she also changing here that the wave is changing. You don't have such a big release down, released yet. On the way, if you see, it's a little bit quicker. If I go here, e.g. see a bigger deep and over release bugs. I'm seeing in my opinion, this picture in combination with the stabilizer that we are going to see later, are really great. James for the isotope awesome ten. You will see also by yourself that when we are going to practice all of these together, you are going to have an amazing result in these combination with the stabilizer and the impact. 9. 8. Low End Focus: Now let's go on our next tool, which is the low-end focus. This will make more simple. Here we got this section selected. You don't have a multi-band, you just select e.g. let's say from 60 or 200. But I will just leave it like it is like 2,200. And here we got also two different modes. This is the punching mode. It has a faster response time to emphasize the transient pigs. And here we've got the smooth mode, which is a lower response time to enhance the sustained elements from this bank frequency. Here we got the stair in the mid side option, also, like we had earlier. The low-end folks tool is designed to reduce the Martinez from your truck and clean up the low end from your check that it might have e.g. if you have a really loud eight or eight in combination with your kick, Let's have a listen now what this tool exactly does, I would just play the track and I will exaggerate with a contrast so that you can hear right away how this thing works. You can see right away that the transient really loud. A really big difference. If you know what we're doing. This is what we are doing right now. We're adding some partners here. Let's take out the transients are illiquid. This is what we are taking now. Right now. Let's do the same notes as smooth, and you're going to hear either way, the low-end become more. Now we've got the ATO, it sounded a bit longer. And now it gives it a bit more sharper. On the end. Here we've got the makeup gain. So that means if you go here, e.g. and you say, Okay, I got one leg, I'll challenge. You can now get worse or you can take, I'll do it the more. You're going to try to find this feeling that to live on your low end with and without its look, this one here, only on the iterate. Make it a bit more. Here. I hope you can hear the difference what the low end focused tool does. 10. 9. Master Rebalance: Now let's go on our next tool. The next tool is going to be the master rebalance. The muscle balance has an integrated kind of artificial intelligence that it can recognize where the vocals are and where the basis and where the drums are, that you can use it e.g. if you think that your vocals on your master might be a bit too loud or might be a bit not so loud, you need to push them just a little bit. I will show you later how I use it, but let's have a look right now how it works. Here we see only three elements. We get the vocals to bass and the drums. So it's true, let's say for jumped up. Jumps are a little bit too loud. It's quite fast in here. What it does make it a bit louder. You can hear right away that the drums are more quiet right now. Let's go and do it also on the base to have a look how it sounds. Absolutely. Very, very nice. Okay, right now I'm just doing too much. Let's show you how it works. This is a pretty simple tool, but sometimes it could save your final mix. 11. 10. Match EQ: Our next tool is going to be the Match EQ. Here we got only two options. We've got the capture and they apply to, and this is the reference that we're going to take. So let me explain how this thing works. You're going to put the awesome here on your master output. And let's say e.g. you like how this truck sounds. And you want to have this equalizer somewhere there, someone like really close from this reference track with your truck here. So what you do, You go here and solo the track, your reference track and you let it play and you capture. Okay, Now we got it. So now you go on your track, but you want to apply to and then let it play and then you capture this white line here is what isotopes suggest that you should change on your truck with the equalized? So if I do a little bit too much, you can say e.g. it boosts us here some frequencies between the 306 K. And then we've got another one boost here, but we have a little bit more time here on the low end. Here we got two options, the smoothing and the amount. This is how much you want to apply this to your track. And this is the smoothing and right now it is pretty smooth. I think. If I go and put it on zero, you see that it comes, it becomes really, really narrow. And I would suggest if you do this, just put it on smooth in the beginning and then you check from your amount. Let's have a look here. What we can do. Let's bypass now the Match EQ and hear what the final result will be. But really important is to not overdo it. Because if you overdo it, you would hear right away that your drug will not sound, okay, e.g. if I do it here, I put the models 100% here right away. Too much. Lagging, really big difference. But let's say e.g. you like the highs from this track. And you want to apply what the reference gut here. What do we got here? As a suggestion, only from three gate and above. You can go here and you can drag. And then we got this EQ curve applied only on the free cake. You can also do the same if you want to apply this EQ curve on the lows or on the meat at the end of the day, it depends what you really like. 12. 11. Maximizer: I know this information that I gave you until now are a lot. Okay. I can understand. But to say the truth, they are really important. If you want to understand later how the muscular system works. Just be a little bit patient guys. We got only for more tools to look at and we're going to dive in on the muscular system. Now the next tool that we're going to talk about is the maximizer. Here we got two different views here. We've got the spectrum analyzer you, and here we've got the gain reduction Traceview. Here we can set our loudness target, let's say e.g. I. Want this one to be on -14, e.g. and when I let them play. Next, we'll be moving alone. Now. Here, see here hitting -14 and you can also reset. And here we've got some different modes for the mastering. So this is the basic one, and IRC stands for intelligent release control. The first one is about the smooth and fig, limiting for a richer sound, you can use the first mode here if you want to have this smoke at thick sound on your truck. Because in this mode, the limiter x quickly and it prevents pumping above we got the same one, but it is on low-latency mode. So that means if your computer cannot handle heavyweight plugins, this will make it a bit easier for your PC. Here we've got the IOC to use this one if you want to have a clear and sharp limiting to preserve pigs, in other words, you preserve your transient so that your truck sounds sharper. The IRC three here, it's a bit more aggressive limiter and it is a little bit more intensive. So you get also some other modes here, the pumping, the crest and the clipping. Let's have a listen how it sounds, e.g. the clipping. The final function here that we got is the IRC for this is the heaviest option that you can use this the more CPU intensive, but it prevents pumping and distortion. We're going to play now everything altogether, but we're going to do it now on the post-production. I'm just going to play this loop from every mode and you can decide which one you liked the most. It is also really important guys. This ceiling here, e.g. if you want your music to be played on Spotify, on all on iTunes or e.g. on YouTube. Most of them, they require a minus one ceiling here. If you're producing EDM, you will see that also from other producers that the aim on minus eight and your face. Let's go and try this one here. Let's go and put this one minus Ed HDFS. But watch out, it's going to be really loud. And also in addition, they said the ceiling, the maximum here from the output at -0.1. So let's have a listen. Right now we are hitting here at minus eight. And here you can also set from the character how fast or how slow the attack and the release from the liver there will be. Right away. Here we've got also some other presets that you can use if you want. Let's go now here on the soft clip, this is a new edition from the ozone ten. So what the subscript does, it add some distortion on your chart. And in general, it makes it a bit louder. But without affecting so much the general output. Here we got three modes. Let's enable this one here we've got the light mode, which saturates freebies below the threshold. This one is the middle mode, the median mode with saturates 90 beats B, so below the threshold. And this one is the high, which saturates 30 degrees below the threshold. Let's have a listen what this thing does. Let's put it not a little bit so loud, but Let's aim like -12 minus one. That's going to give her and it's now we aren't getting deactivated right now and apply for a jump to the next 35%, to 6%. Maybe a little bit more. We are hitting like minus ten and UFS, but we don't have so much working here from the limiter. The limiter works not so heavy right now. So this is why we don't have also this distortion and also this pumping effect that you can hear sometimes if you overdo it. This is achieved from the soft palate. If I go here and choose the other modes, Let's have a listen how it sounds, but I will tell you right now it will not sound so good. Here right away. 100% of next month we don't want one. Not so much, like 30 or somewhere there. And also really important here is when you are mastering, if you go heel down, you see a lot of times some numbers appearing and disappearing. It is really important that this number does not exceed the minus x six dB. Because then you will hear right away, you will have a lot of distortion and final trunk will not sound so natural. All the transients will be gone also, it will sound like one big break. And we don't want this one. Let's put it back here on minus one, the ceiling and deactivate the soft clip. And let's talk about the transient nerve passes. It does what it says. It emphasizes the charges on the chalk. I don't know if you can hear such a big difference, but to say the truth, I cannot hear like a really big difference from 100% and 200 per cent sometimes with a zero, a lot of times I don't even use this feature. Now let's go here and we see we've got the transient and the sustain here. If you go with your mouse, you'll see that it says Joint zero per cent or independent at 100% and limiting of transient material instead of channels. So let's have a listen what does right now? I can hear some difference on the way to read, but fair truth, I don't like how it sounds. This is also the reason why I don't really use this one. I just lived on zero. And it's okay. 13. 12. Spectral Shaper: Now let's have a look on one spectrum shaper, the spectral shape, or it is some kind of an artificial intelligent that finds problematic areas in your track and it reduces them. Here we've got again two graphs. And also we've got three modes here, the light, medium, and heavy. I know we've got also the threshold that we say, okay, I want you to be activated when you hit e.g. let's say only in this area that we are choosing right now. You can go this video right now. And if you press that, you can hear right away what it does. Let's go and choose the other ones. Okay? Let's listen now on the medium here in this area, e.g. right now, the awesome ten finds some problematic area of some problem multi frequencies from the club. Let's have a listen here right away that it's almost lifeless right now. What's on large? Sum all the presets, Let's choose this one which controls. Now choose this area. But not so much That's going here. Because if I said here, it does almost nothing. Let's put it on resets. And here we've got also you can choose between other frequencies, e.g. you say, Okay, I want only this band or are only these bumps here? This is how you can optimize it. Now additionally here we've got also three faders. The first one is the tone, which controls the timbre of the spectral processing. And then we got the attack. This is how it controls the attack of the spectral shape or so how quick it will get activated and the release. How fast do we get deactivated? You can put really big attack. Released. It sounds really good pumping right now. If I'm over here, too much processing area. So how do you use this one? I will just go and put the release. Let's put on set and say e.g. let's hear the track. E.g. but I think the high hats are a little bit too harsh. I'll go here and choose this area which hi, hi Char. Okay, and then I will start. You don't want to overdo it, but what we are doing, Let's put on light white button plugin. And here's the difference. This is the way how I would use the spectral shape on my mastering chain. 14. 13. Stabilizer: Now let's go on our next tool. The next one is going to be the stabilizer. This is one of the best tools that you got here on awesome ten, I think when I was making this plugin, they were thinking, okay, how can we make as easy as possible to the producer and the mixing engineer, this procedure of mixing. So they thought we're going to add a smarter Q. So what the stabilizer is? The stabilizer is an intelligent, adaptive EQ. That's carbs the balance for a better and cleaner sound. It also attenuates frequencies and this moves also transients. I believe if e.g. a. Sandwich in here is going to do all this stuff. It will take him like half an hour or maybe 1 h. But with this plugin, it will take less than 5 min. But let's dive in and see how this works. Here we've got two modes and we got the shape and we got also the cut. The shape obliged adaptive EQ boost and cats, too much the Tonal Balance targets. So that means if e.g. my track right now, it sounds like this. You can see here that these frequencies, frequency spectrum here also. Then you have some frequencies, but it is just cutting the highest frequencies here from the high hats. Let's go back now on shape. And here, if you click the Delta, you can hear what you are doing. I'm just doing a little bit too much right now so that you can hear the difference. Which is what takes out that this is what I think here's some frequencies. If I go and cut, you will hear, again, this is what this plugin does. But I wouldn't suggest going on 100, just a little bit down and we're going to mix it in. Let's go and deactivate the delta here we've got some other targets here that we've got, e.g. if the truck is a hiphop track, it suggests as these things go and try again. Let's go and put the shape again. Right now changes what we've got e.g. cryptic. Let's try on. We've got 67 against it, but it sounds a bit different. Settings here might be, it might be the same, but somehow sounds different. Slept hugging, and I will change between e.g. UDM is the other. Okay. Let's put back on all-purpose. Let's go ahead and talk about what these things are. So here we've got the amount is how much you are going to apply. The stabilizer on your chart, 100% is like 100% wet, and on 20 is like 20% wet. Here we got also the speed and the smoothing. Here. It means how quickly the tonal correction will adapt, so the attack of it. And here we've got how it, that's just the contour of the tunnel corrections in shape mode, the smoothing, how, how much it should be. We've got also the temptations. Let him play the track a little bit and I will show you how this thing works. We've got another plugin that we're going to see also how the transient or being tamed. I'm just put it on 100 so that you can see it right away. Right now activated. You don't see anymore. It doesn't regard the transient activation again. We can also hear it right away. When did you first hear something different? Like a lot. If you can carefully, I'll stop talking. Okay, so I can hear right away how this plug-in works. In addition, we got also some presets here, let's say e.g. you want to focus on the hubbub low end. Let's see what this person does. It deactivates the high and the meat, and it has on 100% of the low. Also, the attack is a little bit quicker here and the smoothing is a bit longer. Let's see here. Let's go and reset it. And we are going to speak now for these three bands, it's put back on 50%. Here we've got three bands, the low, mid, and high. If you go here and you see that it says, IT skills the amount of Tonal Correction below 100 hz. So that means that everything that is being applied here would be applied below 100 hz. The same thing happens here, but this time it happens between 100 hz and 5.6 khz. And then we've got also this one here that it happens to be above 5.6 khz. Let's have a close Listen. What this thing does. I will deactivate this both bands. And now we'll put it on 100 per cent on, and I will focus only on the kick on the low end, sorry. And I would just monitor this frequency. I hope you can hear something. What it does right now. It's not so easy to hear it to say the truth because these frequencies here are not so easy to hear, but definitely we can see that there are animals little bit, the low end. Let's put it on zero. On zero to complete the DIP. Let's put it on zero. Now it's completely deactivated, as well as on 50%. Okay, now let's go ahead and try this one. Right now. The isotope suggests is that if we got on 100% should get boosted like 60 be somewhere there. Let's put it back again. Here we've got also the high. So you can hear also that it takes out some harshness from the high hats. That's a little bit more boost here like 3D breeze, like to the Bs on this frequencies from, let's say a 11.51, 0.2 khz until six, known until five. Okay. Now I'm just going to test how I would use it e.g. on this track. Let's put it on zero. Let's have a listen. I leave quicker speed. I'll go. Tangency takes out all the transitory. Doesn't look like how it sounds. Sometimes it might be useful, yes. This truck right now that's a bit too much impressed. Parallel to the customer. I think I would use it on the cut function because I want this high frequencies from the hi-hats. I find them a little bit too harsh right now and I would use it like this. Also. I forgot to say that we got when we change from the shape to the cat, we've got other also option here. We've got the sensitivity, which means how sensible with the stabilizer be depending on the resonances that we got on the track. In my opinion, this tool is one of the best from the isotope. I can also compare it to the truth to us also some more different stuff. You got a little bit more options there, the banding, but here e.g. you can use this tool only on your hi-hats, on your drafts, and it will sound much better. You'll not have to use it only on your master. You can use it also on your buses. Are also on your eight or eight or some baselines are the sub bass. And so many different options. 15. 14. Vintage Collection: Now there's tools that I'm going to show you now are the last tools that we're going to discuss about in this chapter. And after that, we're going to see how the muscular system works. And we're going to master a trap that I got here for you. The last tools that we're going to see now are the vintage collection tools. Here we got the compressor, that's compressor with that secure and the vintage limiter and the width dots tape. Let's go and start with every data secure dividend emulates the sound of the Baltic EQ. So here we got 35 different options. You can see here we've got 20 hz, 30 hz, 5,060.100. You can load boost. You can post this frequencies, or you can also cut this frequencies. We got also the loan meet. Again, you can take the 200, 300, 500 hz or, and so on. And you can push these frequencies. How it changes. We've got also the meat. You can choose 200-7 K. You can cut here if you want e.g. on three K your leg. And you can go here on the high boost and you want to put some highs here on the truck. Material. You can also easily, you can also change. Now we got also the high mid tones. You can boost again. All you can go here on the hi-hat and you say e.g. here, I don't want so much 20 K. I want to cut a little bit from the 20th gate here that just makes it come down for them too much. And also you've got the option here. You can choose between myth and site, or you can choose between left and right. Let's have a look now on the V-tach compressor here. Let's take it out. Here we've got three different modes. We got the sharp, the balance, and the smooth, the sharp mood tends to emulate and 11 76. So that means it gives a lot of emphasis on the transient. And here the smooth emulates of the compressor. So it gives more emphasis here on the body. And it tends to make the truck more glued. And here we've got the balance and it does what it says. It is a combination of sharp and smooth somewhere in the middle here we've got also some typical compressor settings. Here we get the threshold ratio, attack, the release in the gain. And here we've got also the other gain. Here we've got the filtering that happens if we want e.g. to apply this compressor above 400 hz, e.g. or you say, Okay, I don't want the compressor to be applied above this frequencies, e.g. here. And let's have a listen. Alright, now, it's compressor awards war between this frequency here. Let's put it on Rosette here we've got also the Trace view. And you can see if I pull it down, this is what the risks are walks right now. Changed to be attached really quick. You can see also that these waves change. Big release. Again, it changes the original one. You can see how much pressure is being applied right now. You can test it also in your mixes and you can decide if you like the sound. Now let's go on the next tool that we got, the weightage tape dividends step emulates the standard 810 to track tape deck. And here you can see we've got three tapes speeds. We got to 37.5. Here, we've got the input drive. The input drive works as a separator. And here we've got the beers. Here it says that it affects the character of distortion. So in other words, if you go here, let's put it here, e.g. and let's push it upwards. It makes it sound as if more compressed. Here if you go downwards, you can hear that emphasizes more to the eyes of charged. Back to the harmonics doesn't attack each other. I'll also assumes not only by listening. Right now we've got this waveform that I can feel it right now that if we leave it on Thursday and we got e.g. this setting, but the truck becomes a bit more compressed and a little bit more emphasis on the lows. Let's reset everything. Take them, take this out. Here. We've got also the FRC, so it does what it says. It emphasizes low. You can hear that much loud right down. It's like passage. To share the truth. I would be really careful when I use low emphasis because that's so much depth. And sometimes you don't want this on your track. The high emphasis, more different. When bypass. Let's put it on Thursday. To the distal small buds that are hopping on the background are a little bit more present right now with a high emphasis on like 100%. Now let's go to our final vintage tool. We got the wind that's limiter. The voltage limiter here emulates the effect size 670. And if I go here on the analog, we got a faster attack and it gives more emphasis on the lowest. One is a little bit more balanced and it is a little bit more precise and prevents clipping and pigs. Then we get the modern mode, which is more focused on the clarity and presence for truck. In addition, we've got here the character. The character controls how quick the attack and the release of the limiter will be. So e.g. if I go here, we've got really quick release and really quick attack. I'll go here. It's much different as we also saw earlier. We got to hear the truth big and we got the link has been quite yet. But I will not use this one. I will just put it on minus one. And let's have a listen how these have been that's limited works. I know these are a lot of information, but as I mentioned, this is really important if you want to understand later how the muscular system works. So now let's go on the mattress that 16. 15. Master Assistant: Now the time has gone. Finally, we are going to see what the master our system is. So right now we've got it here and how this works. You let your truck Play and it will use its artificial intelligence and it will decide what your truck needs. So right now, I've got this truck. Let's choose this one here. And we're going to master, we are going to use the math assistant to master this truck. Now this is what isotope? Awesome ten, such as this is the the muscular system view. It recognizes that this truck is a heap of track and you can also choose e.g. an EDM track. And you can see that this wave is changing. And let's put it back on hip hop. And let's talk about what these things are here. We've got the EQ and if I put it e.g. on 100 or on zero. Here, let's go into detail view and you can see that the equalizer mode right now is on 100. But if I go and put it on zero, then we got it on zero. So this means right now to your site, you can see that awesome tends to adjust this curve. Let's make it a bit quiet again much. Okay. Now we've got also the bypass here on one target. Now we've got also the same thing for the stabilizer. If we go here, you see the stabilizer. Right now, it works on 50, but if I put it on 100, it will go 100%. Same things also happens with an imager. Here. If I put it like really wide and go on the imager, you can see that the amount here is on 100%. Let's go and put in e.g. on 34. And then you see that it is a little bit down here. We've got now the dynamic model. Here we get the impact and the maximizer. If I go here right now on the impact is on 100%. And you can see here that the impact also on what are the present. And now we made it a bit lower. Let's leave it back where it was. Again, the bypass pattern here. It's also the maximizer here we got also the graph, which it says it is optimized for streaming or it is optimized for the digit player. If you want to optimize for a digit player, then it means it will get louder in comparison with the streaming because the streaming muscle times they have a goal or -14 -13 ADFS in comparison with a DJ player, which is most of the times at minus nine is UFS. In addition, we got also for different bands here, you can solo them. If you click and you press. This is not what happens on the lows. Same thing. Hi, hi, lead. Here on the highest. Also, what you've got here is like a really big jump. If you go here on this graph and you click, you can add your own truck that you will get as a reference and you want to emulate the sound e.g. let's go and click here. It is important to be a wildfire because you will have more information from your reference track. Now we'll leave it and play again. Now we've got this suggestion. This is what I suggest is gone. You what to suggest? Let's start with the equalizer and bypass everything else. Right now it suggests that we should have a small dip here, a small boost here. Like on three dBs. This one is minus three dB. Again, here, we got deep at 2.2 khz. And then we got some boasting. Hear the high frequencies. This is right now on 50% width and you can hear right away that the track right now is more present on the highs. Let's go and have a look also at what the stabilizer here does. Here we got almost the default settings. We've got a 50% here and one passage. And you can see here that the nebulizer suggest. Okay, this frequency, deliberate taming thing is taming. This is in comparison with our reference tracks. So we use this one if we want our chart to sound as close as possible to the reference track. Let's have a listen how it is with and without the assistant. Now, I realize there is owned by buses. Again. I think it makes like a small difference, but in my year, as you can see right away that now the truck sounds much cleaner. Let's go and see now what the impact does. Here we've got four different bands. First one is from zero until 120. The second one is from 120 until two K. And the third one is from today until ten K. And the other one is from ten K and above. So right now we see that we are compressing a lot these frequencies here from the third band. We see here that we are almost like -70 and -72. And it suggests that the envelopes should be on 100 MS. We got also other again here. Let's have a listen how it is with and without the impact and then I will swallow everything here. Let's think a bit more about. Now let's go and solo the bands and bypass. There we go. We've got much more control here. Let's go now on this frequencies. Again, it's more controlled here on these frequencies also. It's going to check the highest. We've done here. So much, so many things with it's not happening also so many things. Let's put bypass and hear everything together again. I can see right away that pathway. Now it sounds 100 times better right now, in my opinion would impact. Now let's go and check out the image. He has not having so many things. We got again four bonds. That's awesome. Suggests here we got, we leave it on zero per cent because already we have mixed a trackless want this drug is mixed. And it had, most of the time, most of the frequencies were below 120 hz on mono. And here we've got just a small boosting on the whites on these frequencies from 120 until two came, and it will get also some mono. Here. We are making it just a little bit to the mono from this high frequencies because this type of bit requires a lot of more information. It's not so wide because a lot of chatbots or not e.g. like an Indian tribe that are really wide. And here we've got also the recover sizes that we already mentioned earlier. The steroids, you will not find it a lot of times activated. Let's have a listen how this within or without. But I am 100% sure yet, but you will not hear such a big difference right now. As I already mentioned, that difference is not so big right now, let's go into dynamic EQ. Some tipping much again. We've got some zip them here and some threshold settings here. Right now, we are typically four degrees on the other 70 hz. And we see that the deepened is not so much like minus one. And let's call secure. We are on page 42, okay? And there's probably just a bit more dynamic. And here also it suggests that this frequency should be suppressed just to look good. But you still got minus one. And we are pressing all the degrees and we are getting only became texture. I opened this one here. You will see also be attacked when CMS 100, unless they're released. Check this one out. 1.16 s. This one is a little bit quicker with that dynamism. And this is what the alternative services right now. And let's call it from now, the maximizer. Without begin much. Right now, the maximizers suggests that we have a ceiling on 0.1. If I go and choose this one on the streaming, you will see that this becomes a minus one. This is really polished because the Spotify also needs always a minus one dB Shilling. If I go and put it again on DJ player, you'll see that it gets on 0.1. Here it suggests that we have a threshold on 11 -11 UFS. And they chose the IOC for right now. It's got to be out there. Right now we are in, we are getting minus eight, minus nine. Really loud right now. We are getting. This also suggests that we haven't really fast character and the soft clip is also enabled here. We got a medium soft palate on ten per cent. It also suggests that the transient should be on 40, sustain on zero. So everything together, Let's put this button back. I will enable it again and gain much so that you can hear clear what is really going on without thinking that, okay, Now the truck sounds louder so it is better. Let's have a listen. Like daylight. I really love how right now my truck sounds. And without doing a lot of things, without changing little things, of course you can go and dive in. And you can also try some other trucks here. And at the end of the day, in my opinion, mixing and mastering is kind of a tasting. E.g. there are some artists that they don't like so much low and the vocals. Or there are some mixing engineers that they try to boost a little bit more than meets, in my opinion, or something right now is one of the best plugins that you can use if you want to have a quick Master. Of course though, you can also dive in and change some settings in your liking.