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“I have a clear idea about how things should sound, so before I start, I put Ozone in on a very neutral level. Then I produce against the mastering, so that everything still sounds as crisp and cool and not crunched or punched, but is already being compressed. In the end, everything sounds the way I want it without afterwards putting compression on it.
“Why do I like it so much? It just makes amazing sounds. If you have a production where the vocals are a little low, you can really get something out of it. And if you use it not for mastering but, for example, put it on some hats or something, you get some amazing stereo imaging - wide open space.”
Paul Van Dyk’s new album Evolution is out now.