I’ve been using Waves Renaissance Bass (R Bass)  for nearly 20 years , and it’s one of those plugins that just works . When a sound is lacking warmth or low-end energy , this is my go-to solution. It’s simple, effective, and gets the job done every time. Why R Bass? Unlike standard EQ boosts, R Bass enhances the perceived bass presence  by adding harmonics that make low frequencies more audible across different playback systems -especially on smaller speakers or phone speakers where sub-bass is often lost. I’ve also used other bass enhancement plugins  like Maxx Bass, BX Subsynth, Logic’s Sub Bass, Unfiltered Bass Mint, and Black Salt’s Low Control . While they all have their own unique characteristics , when the job needs doing fast , R Bass is quick and hits the spot . 🎚️ How I Use Waves R Bass Select the Key Frequency  – The first step is dialing in the right frequency. R Bass makes this simple-just pick the fundamental frequency that needs emphasis. Adjust the Intensity  – Increase the amount as needed to bring out warmth and depth without overpowering the mix. Shape the Sound After  – I often follow up with EQ or dynamic EQ  to refine the tone, ensuring it sits perfectly in the mix. R Bass gives me enough foundation  to start carving the final sound. 🔊 Where R Bass Works Best 🎵 Basslines & 808s  – Gives weight and presence without muddying the mix. 🎸 Kicks & Percussion  – Adds punch and makes drums hit harder. 🎹 Synths & Leads  – If a lead lacks body, R Bass can thicken the sound  effortlessly. 🎚 Any Sound That Needs Low-End Presence  – Works on vocals, pads, effects, and more  to add warmth and depth. 🛠️ Pro Tips for Using R Bass 🎚 Avoid Overuse  – It’s easy to overdo it  and introduce unwanted rumble. A little goes a long way. 🎧 Monitor on Different Systems  – Since R Bass generates harmonics, check your mix on small speakers, headphones, and monitors  to ensure clarity. 🔄 Use in Parallel  – Sometimes, blending in R Bass on an auxiliary track  can help maintain control and prevent over-processing. 🔊 Final Thoughts After two decades, Waves Renaissance Bass (R Bass) remains an essential tool in my mixing workflow . Whether it’s a bassline, kick, synth, vocal, or even a sound effect , this plugin consistently adds warmth, weight, and clarity  in a way that’s hard to achieve with standard EQ alone. It’s a simple yet powerful tool that I reach for time and time again. Waves Renaissance Bass

Mixing in headphones is often debated, but for me, one of the biggest advantages is the clarity of the stereo picture . With headphones, I can hear every detail , every subtle movement, and experience the full stereo field in immersive aural vision . But can you mix exclusively on headphones  and get professional results? Absolutely.  With the right techniques, you can ensure your mix translates well across speakers, car systems, club PAs, and mobile devices . 🎧 Advantages of Mixing in Headphones ✅ Detailed Stereo Imaging  – Hear panning, reverb tails, and subtle width shifts with precision. ✅ Consistent Listening Environment  – No room acoustics interfering with the mix. ✅ Low-End Clarity  – Avoids room resonances that can cloud bass decisions. ✅ Fine-Tuned EQ & Effects Adjustments  – Pick up on reverb tails, delays, and transient details better. ✅ Portability  – Mix anywhere, without needing a treated studio. 🎛️ My Headphone Mixing Setup I use three different sets of headphones  when mixing, each serving a specific purpose. 🎧 AKG K 240 DF My initial pair , which I’ve had for over 25 years, are the AKG K 240 DF —an open-back, lightweight  set that provides a NS10-like reference . You can wear them all day without ear fatigue , and while their frequency response might not look ideal on paper, I know them inside out. They are great for checking how a mix will translate  to other systems. 🎧 Phonon SMB 02 Subtonic Monitor Headphones Recommended to us by electronic artist Shiffer , these are a solid, full-range pair  that handle bass exceptionally well . After working with the AKGs or VSX , I switch to these to get a fresh perspective . They reveal mix issues that may not have been obvious on the previous pair or confirm that everything is working well. 🎧 Slate VSX I’ve already written a full blog post on these, but in short-I love them. The VSX system provides multiple listening environments , which is an amazing tool for checking mixes. However, after a while, they can feel a bit sterile and artificial , so I switch to another pair when I start noticing this effect. I also use studio monitors  to vary listening sources, but since this post is about mixing in headphones , I’ll stick to just the phones. 🎛️ Key Techniques to Make Headphone Mixes Translate 🔹 Cross-Check on Multiple Sources  – Always reference on speakers, earbuds, and mono playback  before finalising. 🔹 Use a Crossfeed Plugin  – Tools like CanOpener, Waves NX, VSX or Sonarworks Reference  simulate speaker behaviour, preventing an unnatural stereo spread . 🔹 Check the Mono Mix  – A good mix should still sound balanced in mono playback  (e.g., club sound systems, phone speakers). 🔹 Balance Depth & Width Carefully  – Avoid making everything too wide —headphones can exaggerate stereo width compared to speakers. 🔹 Low-End Control  – Headphones lack physical bass energy -use a spectrum analyser  or reference tracks to ensure balanced bass. Final Thoughts Yes, you can mix in headphones  and get incredible results. The key is compensating for the way headphones present sound  compared to speakers. With proper referencing, crossfeed, and balance checks , headphone mixes can be just as precise, impactful, and club-ready  as studio monitor mixes.

Saturation is one of the most powerful tools  in a producer’s arsenal. For me, saturation is colour -it’s the density of a sound , shaping the harmonic character and adding warmth. It works similarly to compression but recreates the sound of analogue desks, transformers and electronics  rather than just controlling dynamics. When a sound comes straight from a VST plugin synth, it often lacks the depth and richness  found in analogue recordings. This is where saturation steps in. It’s that extra bit of sauce  that helps bring a sound into the mix , making it feel more natural and glued in place. Choosing the Right Saturator With so many saturators available, it comes down to finding the right colours and textures  that work for you. Here are a few of my go-to choices: Soundtoys Decapitator A staple in the dance music scene, Decapitator  is an incredibly versatile  saturator. I’ve used it many times in production and mixing, and it’s capable of handling nearly all tasks. Favourite Modes: • A (Ampex-style saturation) & E (EMI-inspired drive)  – My go-to choices. • N, T, and P  – Occasionally used for different textures. Key Features: • Tone Control  – Tilt the sound higher or lower in the frequency range. • High & Low Cut Filters  – Clean up frequency bands. • Drive & Mix Knobs  – Control saturation intensity and blend with the dry signal. You could probably mix an entire track using just Decapitator—it’s that versatile… SSL Saturator SSL’s take on saturation has a different colour  than Decapitator but is just as useful. It provides a smooth, analogue warmth  that blends effortlessly into a mix. The quality is exactly what you’d expect from SSL-clean, defined, and rich in character. It holds the tone beautifully, adding depth and cohesion without overpowering the sound. Looptrotter SA2RATE 2 – My Current Favourite Lately, my go-to saturator  has been Looptrotter’s SA2RATE 2 . The tone it creates is fantastic , and the magic dial  does something special-it holds the sound in place , almost like compression, keeping it solid and clear in the mix. The Role of Saturation in Mixing When used correctly, saturation can: Glue a track together Make sounds feel familiar and polished Add harmonic richness and warmth Help sounds sit better in a mix For me, saturation, EQ, and compression  do 80% of the mixing work . These three tools, when used thoughtfully, can bring clarity, warmth, and cohesion  to a track. Saturation is more than just distortion-it’s an essential part of modern production and mixing . Experiment with different saturators, find the colours that suit your style, and let your sounds come to life !

I remember being in a studio in London 25 years ago , working on a session when the engineer turned to me and said, “Always work with the metronome on.”  At the time, I nodded, but it took me years  to truly understand what he meant. Now, after decades in music production, I realise that the metronome isn’t just a click in your DAW -it’s the pulse of your track . Everything in your production should sing with it, dance around it, and work with it . It’s what brings tightness, groove, and cohesion  to your music. Think of the metronome as the heartbeat of your track. It’s not just there to keep time; it’s there to ensure that every element in your mix is locked in  rhythmically. If something in your track isn’t quite sitting right, chances are it’s not fully in sync  with the pulse of your track. This is why classical musicians  have been practicing with a metronome for centuries . It trains their sense of timing and precision, ensuring that every note they play is in perfect rhythm. Whether it’s a pianist refining their technique or an orchestral musician maintaining tempo, the metronome is an essential tool  for musicians across all genres. Many DAWs allow you to customise the tone and key  of your metronome. In Logic Pro , for example, you can set the metronome to match the key of your track  and adjust its tone precisely. This means it can sit within the mix almost unnoticed , subtly reinforcing the rhythm without being distracting while you work. Classic Metronome Fine-Tuning Groove with Nudge & Track Delay Most DAWs come with a nudge feature , allowing you to shift elements by milliseconds or samples  using track delay settings. This is crucial  for getting everything to sit just right  in the groove. If something isn’t gelling, try nudging it forward or backward in time while listening to the metronome . It’s these micro-adjustments that take a track from feeling loose to feeling professionally tight . The Secret to Better Productions At first, hearing and feeling exact rhythmic placement  takes time and practice. But once you get it, you’ll never  produce without checking your elements against the metronome again. It becomes an essential part of your workflow -one that brings depth, movement, and precision  to your productions. So next time you’re working on a track, don’t just turn the metronome on- listen to it, feel it, and work with it.  If classical musicians rely on it to achieve technical perfection , why shouldn’t electronic music producers do the same? The tighter your elements lock in with the pulse, the stronger and more professional  your track will sound.

For years, crafting the perfect kick drum has been a mix of sound design, layering, EQing, and resampling -a process that, while rewarding, can also be time-consuming and frustrating. But Kick 3  has changed the game  in a way I never thought possible. Instant Kick Drum Regeneration What makes Kick 3 stand out isn’t just its high-quality sound or flexible controls-it’s the ability to drop any kick sample into it, and have the plugin regenerate that sample into a fully workable, oscillator-based kick . Let that sink in. You take any kick sample-whether it’s one you love but wish had more punch, a kick from a vinyl rip, or something recorded in a less-than-ideal environment - and Kick 3 rebuilds it as a synthesised kick drum, with a separate top-end layer for complete control . This isn’t just an EQ tweak or a transient shaping trick. It’s full-on kick drum resynthesis , and the results are mind-blowing. We’re entering an era where sound design is evolving-AI-driven synthesis tools are regenerating and reshaping sounds in entirely new ways.  And Kick 3 is leading the charge for drum design. Why This Matters If you’ve ever spent hours: ✅ Layering multiple kick samples  to get the right balance. ✅ Tuning low-end transients  so they don’t clash with your bassline. ✅ Fighting muddy or weak kicks  in a mix. Then Kick 3 will completely change how you approach kick drum creation . It removes the guesswork and gives you full control over the fundamental and transient layers , making sure every kick you design sits perfectly in the mix. Final Thoughts Kick 3 isn’t just another kick drum plugin-it’s a step forward in regenerative sound design . If you’re a producer who values efficiency, flexibility, and innovation , this is a must-have in your arsenal. For me, this plugin has already become an essential tool - and if this is where we’re headed, the possibilities are endless. Kick 3 🔗 Sonic Academy Kick 3 – Custom Kick Drum Designer NEWS ALERT Rare DSP just dropped a free plugin that extracts kick drums directly from full tracks. It’s called DrumClone , and the examples are seriously impressive: https://raredsp.com/drumclone#download Even better-it claims to isolate other percussion elements  too. Definitely worth trying. I’m checking it out myself.

Sitting down and starting a new production can sometimes feel like the hardest part of the process. Over the years, I’ve found several ways to get the creative juices flowing, but the easiest and most effective approach for me is simply playing with a new plugin or piece of hardware. It’s not that every time I open a new plugin, I’m intentionally setting out to write a track. Instead, I approach it with curiosity- What does this plugin do?  Before I know it, I’ve stumbled upon something inspiring, and a track starts to take shape organically. That being said, I do have a structured process when it comes to actually finishing a track. Once I stumble upon an idea or something that excites me, I know exactly how to capture it and develop it into a full piece of music. My Evolution: From Sampling to Sound Design When I first started producing, my workflow was heavily centred around sampling records-both classic house records and old disco records. I’d chop up drum breaks, lift individual hits, or sample full sections of music to create something new. Over time, I transitioned from this method to building everything from scratch. This evolution has been quite a journey, and it’s one that I’m happy to share with you throughout this blog. The truth is, whether you’re working with samples, designing sounds from the ground up, or blending both approaches, it’s entirely possible to create finished, professional tracks. These days, platforms like Splice offer an overwhelming amount of high-quality material to kickstart a project, making it easier than ever to get ideas down quickly. The Power of Great Samples Some producers may feel like using pre-made samples is a shortcut, but I’d argue the opposite. High-quality samples can save time and provide an immediate foundation to build upon. For example, Drums That Knock  are some of the best-sounding drum samples out there. Similarly, Goldbaby  and Samples From Mars  offer sounds that have been meticulously processed through thousands of pounds worth of analog gear, making them ready to drop into a mix without much additional treatment. This is a huge advantage, especially when inspiration strikes and you want to keep the momentum going. Back in the day, when we sampled kicks, snares, and synth stabs from records, they were already fully processed and sat well in a mix straight away-that’s why they sounded so good! Modern plugins also come with built-in processing, but the question is: Is that processing right for the sound you want? When I receive tracks for mixing, one of the first things I do is strip away any unnecessary processing applied within VSTs before I even begin working on the mix Using Samples to Enhance Creativity At the end of the day, understanding what goes into a production gives you more creative freedom. If you’re struggling to get the sound you want, use elements from the genres you love. Sample kicks, take synth stabs, and incorporate them into your productions. It’s a proven method that has worked for countless producers. For example, Kick 3  is fantastic for recreating sampled kicks. If you love a specific synth stab from a classic house or techno track, sample it, tweak it, and make it your own. Put it into Synplant 2 or Zyklops and take it further. This approach isn’t about cutting corners-it’s about working smarter and focusing on creativity rather than getting bogged down in technical limitations. If you’re really struggling to get started, AI-powered GPT tools like Songmaker and MelodyMuse can generate fresh ideas. These models provide melodic and harmonic inspiration, helping you break through creative blocks and quickly establish a starting point for your track. Sometimes, all it takes is a simple idea to spark a full production. Conclusion Starting a new track doesn’t have to be intimidating. Whether you’re inspired by a new plugin, experimenting with chord progressions in Cthulhu , or digging into a fresh batch of high-quality samples, the key is to get something down quickly. Once you have an idea, the process of refining and structuring the track becomes much easier. There’s no right or wrong way to make music. Sampling, sound design, and hybrid approaches all have their place. The important thing is to find what works for you and enjoy the process. After all, the best tracks often come together when you’re simply having fun exploring new sounds.

Every mix I do, there comes a point where it’s time to check Mid/Side processing . No matter the style or genre, what’s happening in the sides  of the mix is often very different from what’s in the mid -and understanding this can completely transform your mix. I use ADPTR Metric A/B  on my 2-bus  to easily switch between Mid/Side and analyse the balance. If I’m working on genre-specific mixing , I’ll always have a few reference tracks  loaded up, giving me a clear picture of where certain elements should sit. The Mid – Where the Weight Lives For club tracks , the mid-channel  is where all the weight sits-Kick, Snare and Bass. This is pretty much standard for any track that relies on powerful low-end energy . But beyond this, where everything else sits is often dictated by genre expectations . Some tracks feature all the drums in the centre, going through a mono reverb , with nothing happening in the sides. A great example of this is “ Am I Dreaming ” by Metro Boomin, A$AP Rocky & Roisee . While watching the end credits of Spiderman – Across the Spiderverse  on my LG TV speakers , I was hit with full mono drums -something I hadn’t noticed in a while. It punched through in a way that was unexpectedly powerful. For club mixes , this approach makes sense. Many club sound systems are still mono , so having all your drum weight in the mid ensures the track hits consistently on any system . The Sides – Crafting Width & Depth While mono drums work well in some cases, in most modern mixes , the hats, claps, percussion, snares, and even kick tops  contribute to the stereo field. The key is making sure the mix is working in the sides as much as it does in the centre . When pushing elements out to the sides, you need to ensure: • The hats interact with the snare/clap & kick tops. • The stereo image remains cohesive. • The elements don’t feel detached from the main groove. It’s almost like another mix happening out there , and the goal is to make it as balanced and intentional  as the centre. Leads, Vocals & Pads – Finding Their Place When it comes to leads, vocals, and pads , it’s all down to personal choice and genre . • Check the references of tracks you like. • Understand why you like them. • Try placing elements in similar positions in your mix. This approach helps with separation and space , making sure each element sits where it best serves the track . Experiment, A/B, and adjust until it feels right for your mix . Mid/Side Tools & Techniques There are plenty of ways to place elements into the stereo field . Here are some of my go-to tools for shaping width and depth in a mix: 1. Wider (Polyverse Music) A simple but effective free plugin that adds stereo width without causing phase issues . Great for subtle widening. 2. Goodhertz Mid/Side Matrix I love Goodhertz Midside  for its Mid/Side control , which helps position sounds naturally  across the stereo field. I don’t have the full version at the moment, so I use the free version (Goodhertz Mid/Side Matrix)  to shape the stereo balance. 3. Sample Delay (Logic Pro X) + Stereo Pan Mode A classic stereo widening trick—using sample delay  to push a sound slightly out of phase  between the left and right channels, creating width.(Haas Effect) When using Sample Delay, I switch the pan mode to Stereo Pan  instead of Balance Pan (Split Stereo Pan Mode in Ableton). This allows me to control how much of the delayed signal is actually going into the sides , keeping it tight and balanced. 4. SPL Big A great tool for broadening sounds  in a mix while keeping them under control. Final Thoughts – A/B and Keep It Cohesive The beauty of Mid/Side processing  is that it gives you complete control over how your mix translates across different playback systems . • Use reference tracks  to compare and see how other producers distribute elements. • A/B your mix  often to ensure the stereo field is balanced. • Remember that there are no fixed rules -as long as the mix feels cohesive and intentional , you can place elements wherever they best serve the track. Whether you’re tightening up a club mix  or sculpting wide cinematic textures , Mid/Side processing is a powerful tool  that can take your mixes to the next level . Polyverses' Wider 🔗 Polyverse Wider – Free Stereo Expansion Plugin 🔗 Goodhertz MidSide Matrix – Advanced Stereo Processing 🔗 Goodhertz MidSide – Creative Mid/Side Processing 🔗 SPL BiG – Stereo Image Enhancer

When crafting a track, the sounds you choose define its energy, emotion, and character. It’s easy to focus on technical aspects-EQ, compression, levels-but what about life ? That intangible quality that makes a production feel vibrant, dynamic, and human? Why Sound Choice Matters Every sound in your track plays a role, whether it’s driving the rhythm, creating atmosphere, or delivering melody. But beyond fitting the mix, sounds should feel  right. The best productions don’t just sound clean-they breathe, move, and engage the listener on a deeper level. Texture & Authenticity Some sounds naturally carry more depth. Analog synths, live recordings, sampled textures, and even subtle background noise can add character. Compare a raw 808 kick to a sampled kick with room ambiance-you’ll notice an immediate difference in depth. Dynamic Contrast Too many perfectly clean, static sounds can leave a mix feeling lifeless. Adding dynamics-variations in volume, movement in effects, and subtle imperfections-creates an organic flow. For example, slightly detuning a synth line or using velocity changes on a hi-hat pattern makes the track breathe. Human Feel & Groove Electronic music thrives on precision, but that doesn’t mean everything has to be locked perfectly to the grid. Introducing slight timing variations, swing, or live-played elements can make a track feel less robotic. Think of the way a classic house groove swings or how a sampled drum break carries natural fluctuation-it’s those imperfections that bring life to your production and make it feel alive. Techniques to Add Life to Your Mix ✅ Flanger on Hi-Hats  – If a hi-hat pattern feels too static in the mix, adding a timed flanger can introduce subtle variations that bring it to life. Set the flanger length to work rhythmically with your production-it adds movement and breathes energy into the groove without overpowering the mix. ✅ Subtle Filtering for Movement  – A small amount of automation on a filter can do wonders. Slightly pulsing the frequency or moving the resonance up and down on a lead sound can introduce natural variations that add depth. Blending this into the original sound not only gives it a more organic feel but also helps it find its place in the mix. ✅ Pitch & Timing Modulation on Percussion  – Percussion sounds, like claps or snares, can sometimes feel repetitive when every hit is identical. Applying subtle pitch modulation -either manually or through an LFO-can make them feel more dynamic. Even a slight variation of a few cents can add realism, making the sound less robotic and more human. For timing variations , one technique I use is applying an LFO to the start point of a hi-hat sample . When set to random movement with really small variations , this introduces subtle, unpredictable shifts in the transient, creating natural  variations in each hit. The result is a hi-hat pattern that feels more alive and less rigid , helping it blend into the mix with gentle movement. Combined with velocity adjustments , this technique adds a layer of organic realism  to programmed percussion. This is just the start-there are countless ways to inject life into your productions . Experiment with movement, subtle imperfections, and textural layering  to craft a mix that feels dynamic and engaging.

As an electronic music producer, workflow efficiency is key, and certain tools can make a significant difference in achieving a well-balanced mix. Over time, I’ve found myself relying on two essential apps that have become weekly staples in my process: Producer Tools  by Quadrophone and N Track Tuner Pro . These apps help me quickly pinpoint key frequencies, troubleshoot tuning issues, and refine the mix when working with headphones. Using N Track Tuner Pro for Identifying Key Notes When working with a mix, especially on headphones, I often need to determine the key of a note on the fly. This is where N Track Tuner Pro  comes in handy. Instead of playing notes on a keyboard, I whistle them or hold the tone with my voice and use the app to check which note I’m producing. This helps immensely when tuning my kick drum  and dealing with low-end issues—ensuring that the bass elements are in harmony with the track rather than clashing. For example, if I notice some muddiness in the low end while tuning my kick , I’ll whistle or hum the note and reference N Track Tuner Pro  to confirm exactly which note I’m dealing with. Once I have that, I move over to Producer Tools  to match it with its corresponding frequency range. Leveraging Producer Tools for Frequency and EQ Reference Producer Tools  is invaluable when it comes to understanding frequency relationships in a mix. After identifying the note using N Track Tuner Pro , I use Producer Tools  to find out where that note sits in the frequency spectrum. This allows me to fine-tune my EQ decisions. The EQ guide  within Producer Tools  is another feature that proves useful when a particular element isn’t cutting through the mix as expected. If my kick drum  isn’t hitting quite right or my snare  feels too weak, I’ll consult the EQ guide to see suggested frequency ranges for enhancement. This can be especially helpful when working in unfamiliar monitoring environments or when a mix just doesn’t seem to translate well. A Quick Tip for Tuning and Mixing Efficiency Here’s a step-by-step breakdown of how I use these tools in a real-world mixing scenario: 1. Identify the note  – If there’s an issue in the low-end or a specific instrument sounds off, I’ll whistle or hum the note and check it using N Track Tuner Pro . 2. Find the frequency  – Once I know the note, I’ll reference Producer Tools  to pinpoint its fundamental frequency. 3. EQ adjustments  – Using the EQ guide , I determine whether a cut or boost is needed to balance the mix. 4. Refinement  – With this data, I make precise adjustments to the kick, bass, or any other element, ensuring they sit well together. A Simple Yet Effective Technique Both Producer Tools  and N Track Tuner Pro  offer a quick and efficient way to check tuning and frequencies without extra guesswork. Instead of tweaking blindly, these apps provide clear, practical guidance, allowing for more intentional and informed decisions. Whether I’m working in the studio or on the go with headphones, they have become a useful part of my production toolkit. If you find yourself struggling with tuning issues, low-end clarity, or getting percussive elements to sit right, this quick tip can help you make adjustments more efficiently. It’s a small but effective technique that can make a difference in achieving a well-balanced mix.