Every producer has their preferred workflow, but certain techniques can elevate your mixing in subtle yet crucial ways. For me, one of these techniques is setting my DAW to pre-fader metering  and sometimes using pre-fader sends  when mixing. Here are the two main reasons I rely on pre-fader settings, and why you might find them useful too. 1. Accurate Input Level Monitoring with Pre-Fader Metering My DAW is always set to pre-fader metering (Mix Menu in Logic Pro) , which means the channel meter shows me the exact level of audio coming into the channel, before  any adjustments I make with the fader. This setup provides a critical advantage: • Clear visual feedback on my gain structure. With pre-fader metering, I instantly know if my input levels are healthy or clipping, independent of my mixing adjustments. I don’t have to guess if lowering or raising my fader is masking an input issue. This ensures that I maintain optimal gain structure from start to finish, resulting in cleaner mixes. Tip:  If you find yourself constantly chasing volume adjustments, consider switching to pre-fader metering. You’ll see exactly what’s hitting your plugins, EQ, compressors, and effects, keeping your gain staging precise and consistent. 2. Placing Sounds Precisely in Space Using Pre-Fader Sends When mixing, spatial placement is everything. To place certain sounds further back in the mix, I rely on pre-fader sends  for my Shimmer reverbs and other spatial effects. Here’s how I approach it: • I’ll send audio from a channel pre-fader  directly into my reverb. • Initially, I can fully immerse the sound in the reverb, placing it at the very back of the mix. • Then, I gradually bring up the channel’s main fader. This brings the sound forward step-by-step until it sits perfectly in the desired spatial position - not too distant, not too upfront, just right . This method gives me pinpoint control  over depth placement: • Using a post-fader send , adjusting your fader changes both the dry and wet signals simultaneously, often muddying precise spatial adjustments. • With pre-fader sends , I have absolute control: the depth (wet effect) stays fixed, and the main fader simply brings the original sound forward or pushes it back. Conclusion: Why You Should Consider Pre-Fader Settings While workflows differ, incorporating pre-fader metering and sends into your mix process provides clarity and precision that’s difficult to achieve otherwise. Whether you’re focused on perfecting your gain structure or achieving a clear and nuanced spatial balance, pre-fader techniques can greatly enhance your control and confidence. Give pre-fader a try in your next session. It might just become your go-to mixing technique as well.

Compression is one of those tools that most mixes lean on. It controls dynamics, glues things together, and holds sounds in place. But here’s the thing– too much compression can kill the vibe . It flattens everything, takes away the air, and suddenly your track feels sterile. The fix? The mix knob. It’s become an essential control for me over the years. It lets you pull back some of that original signal and bring the life back into your sound–whether it’s a vocal, a drum bus, or the whole mix. Why Compression Can Suck the Life Out When you hit something hard with a compressor: The peaks get squashed. Micro-dynamics disappear. The tone changes, and not always in a good way. What you’re left with is control, sure–but at the cost of character. That raw energy and movement you loved? Gone. This is where blending in the dry signal changes everything. It doesn’t take much–sometimes just the smallest amount brings the life back and puts your sound right where it belongs. It’s that perfect balance: full control with just the right feel. Why the Mix Knob on a Compressor Is Essential for Modern Mixing  The mix knob on a compressor (or wet/dry blend) is basically parallel compression without the extra routing . Here’s why it matters: You keep the control and glue  from compression. You bring back the punch and vibe  from the original. The result? A sound that sits right and still feels alive . On Individual Tracks Crushing a vocal for control? Or smashing drums for punch? Cool–but don’t leave it 100% wet. Blend some dry signal back in and listen to the difference. The sound suddenly has space to breathe. On the Mix Bus This is huge on the mix bus. A little compression glues things together, but slam it too hard and you flatten the entire track. Pull back with the mix knob and everything opens up again–depth, movement, life. Why This Matters Compression isn’t just a technical thing–it shapes the emotion  of a track. Overdo it and it sounds robotic. Get the balance right and it feels human. That’s why the mix knob has become such a big deal for me. It’s the difference between something that just sits there and something that moves, breathes, and connects. Final Thought Next time you compress, don’t just set it and forget it. Twist that mix knob. Find the sweet spot where control meets character. That’s where the magic happens. FAQs About the Mix Knob on a Compressor 1. What does the mix knob on a compressor do? The mix knob controls how much of the compressed signal is blended with the original dry signal. This feature lets you keep the benefits of compression while restoring natural dynamics and tone. 2. Why not just lower the compression instead of using the mix knob? Reducing compression lowers control and punch. The mix knob allows you to apply strong compression for impact and glue while blending back the original signal for life and character. 3. Is using the mix knob the same as parallel compression? Yes. The mix knob is essentially built-in parallel compression. It removes the need for extra buses and routing, giving you a simple wet/dry blend option. 4. Should I use the mix knob on the mix bus? Yes, and it’s often a lifesaver. Heavy compression on the mix bus can make a track feel flat. Blending the dry signal restores openness and depth while keeping everything glued together. 5. How much dry signal should I blend back in? There’s no exact rule. Start with 70% compressed / 30% dry  and adjust by ear. Sometimes, even a small amount of dry signal can bring back energy and vibe. As always, drop a comment if you have questions or want to know more about this topic.

The Often-Overlooked Final Stage of Music Production You get the email. A sync supervisor wants to license your track for a new series. Perfect fit, they say – but they only need the main instruments  and a stripped-back version for the scene. You open the project… and suddenly it’s 10 years ago. Plugins are missing. Tracks won’t load. Things sound different . What was once ready for release now feels like an archaeological dig. This is why the final stage of production – bouncing your stems  – is more than admin. It’s the one step that future-proofs your music for any opportunity that might come your way. Why Bouncing Stems Matters When your track is mixed and mastered, it feels finished. And I know it can be tough when that final call is done – when you’ve spent hours getting it right, pushing it over the line. Sometimes getting a track to that stage is real graft . The last thing you want to do is start assembling stems. But this is the moment that matters most. Because if you ever want your music licensed for film, TV, or advertising, being prepared is everything. Think of it like insurance for your mix. You only need to do it once – but when the call comes, you’ll be ready. What Are Stems? Stems are grouped mixdowns of your track’s elements – like drums, vocals, or synths – exported with all the effects, EQ, and automation from your final mix. They allow you (or someone else) to reconstruct or rework your song without needing the full original project. The Risks of Skipping It Reopening old sessions can be a minefield: Plugins change or disappear. Audio paths break. Automation behaves differently. System updates alter timing and tone. Even with backups, opening a decade-old project on a new system is risky. You can usually rebuild most of it, but it’s rarely identical – and under sync-deadline pressure, that’s not where you want to be. The Ideal Stem Delivery Setup Once your final master is approved, take the time to bounce everything  in a clean, consistent structure. It might feel tedious in the moment, but it will save you days of stress later. Always include your full mastered mix as a reference file  alongside your stems – it’s invaluable for checking balance, alignment, and intent when your track is used or remixed later on. 1. Core Files Full Mix  (WAV, 24-bit, 48kHz) Instrumental Mix  (no vocals) TV Mix  (backing vocals only) 15s / 30s / 60s Cutdowns  (for ads or trailers) Looped Sections  (chorus, build, breakdown) 2. Stems Drums / Percussion Bass Main Instruments  (synths, guitars, leads) Vocals  (lead and backing) FX / Atmospheres Signature Elements  (hooks, motifs, textures) Processed vs. Dry Stems: Processed stems include all the effects, EQ, and automation from your final mix; dry stems are exported with minimal or no processing. Keeping both gives engineers, mixers, or supervisors maximum flexibility. If you can bounce these with all effects, automation, and transitions intact , you’ll be ready for any sync edit or remix request – without reopening a single project. Keep It Simple, Keep It Safe Once your stems are bounced, test them . Drop them into a new DAW session and rebuild your mix to confirm it matches the original. This ensures timing, tails, and transitions all align perfectly. Then back everything up – both locally and in the cloud. Label your folders clearly, noting the key, BPM, and project version. Pro Tip: Save both processed and dry versions of your stems. It gives supervisors flexibility while preserving your original sound. Final Thoughts I’ve been through it – reopening decade-old projects, chasing missing plugins, rebuilding mixes under pressure. Most of the time, I can recover what’s needed. But it’s never easy. The truth is, sync opportunities can arrive long after a release . When they do, having properly bounced stems can mean the difference between landing the deal or missing out. Do it once. Do it right. Future you will thank you.

When it comes to music production, small changes can make a huge difference. These 10 essential tips will help you refine your workflow, enhance your mixes, and help take your productions to the next level. 🎛 1️⃣ Compression: Keeping the Mix Tight & Balanced Compression controls dynamics , keeping loud and quiet elements  in check. • Slow attack, fast release  = keeps transients  intact. • Fast attack, slow release  = smooth, controlled levelling . • Up to 10dB gain reduction can work in electronic music  to keep things tight & powerful -you want the compressor in control, not crushing the sound . 💡 Tip:   Don’t overdo it.  Let the compressor breathe -adjust the threshold & ratio  instead of slamming the mix. 🎚 2️⃣ Get Analog Warmth with Tape • Tape saturation  adds natural warmth, glue, and harmonic richness  to a mix. • It smooths transients  and helps elements sit together  without over-compressing. 💡 Tip:  Apply gentle tape drive  on buses  for subtle warmth  without muddying the mix. 📢 3️⃣ Use Clipping for Transparent Loudness • Clipping instead of limiting can retain transients and avoid pumping. • SIR StandardClip is a powerful tool for clean loudness at a good price. • Tip:  Use it before your limiter for a louder, punchier mix. 🎶 4️⃣ Use Parallel Processing to Add Depth & Character • Instead of applying effects directly to a track, send a copy to an auxiliary channel  and process it separately. • Parallel compression  helps retain dynamics while adding power and presence. • Parallel saturation  can enhance warmth without overwhelming the original signal. 💡 Tip:  Blend the processed signal carefully with the dry signal to maintain clarity and avoid muddiness. 👂 5️⃣ Trust Your Ears Over Visuals in Mixing • It’s easy to overanalyse waveforms, meters, and spectrograms , but your ears should always come first . • Reference tracks can guide you , but a “perfect” spectrum  doesn’t always mean a great-sounding mix . • Some of the best mixes aren’t textbook perfect-they just feel right . 💡 Tip:  Try listening in the dark  to reset your ears, or step out of the room  and hear your mix from a distance for a fresh perspective. 🔊 6️⃣ Automate Volume Instead of Over Compressing • Don’t compress everything- ride the levels instead. • Works on vocals, synths, basslines-anything that needs movement. 💡 Tip:  Automate vocals up during quiet sections for clarity instead of adding more compression. Sonalksis’s Free G is a great plugin for this job. 🎵 7️⃣ Experiment with Timbral Layers in Sound Design • Don’t just rely on one synth patch - layer different sounds  for depth and character . • Blend digital and analog synths  for richer, more complex textures . 💡 Tip:  Listen for the spark -that one detail  that makes a sound exciting. That’s the magic. 🥁 8️⃣ Create Groove with Swing & Humanisation • If your drums feel too robotic, add subtle timing shifts. • Use swing, velocity changes, and manual nudging to add feel. 💡 Tip:  Slightly delay hats and percussion behind the beat for a natural groove. 📊 9️⃣ Use Spectral Shaping for Clarity in Mixing • Instead of static EQ cuts, use dynamic EQ or multi-band compression  for precise frequency control . • Prevents buildup in key frequency areas without removing energy, keeping the mix clear and balanced. • Soothe 2  is a great tool for this-it automatically tames harsh frequencies in vocals, synths, and high-end transients without over-EQing. 💡 Tip:  Use Soothe 2  or a dynamic EQ  on mids & highs to preserve clarity while smoothing out harshness . 🔉 🔟 Mix at Low Volumes for Better Balance • If a mix sounds good quiet, it will sound great loud. • Loud mixing causes ear fatigue & bad decisions. 💡 Tip:  Mix at conversational volume levels and take breaks. Final Thoughts Mastering these techniques will help you achieve cleaner, more professional mixes. Implement these tips in your workflow and notice the difference in your sound. Have a favourite production tip? Drop it in the comments and share your insights!

When a sound in your mix feels a bit static, one of the simplest ways to bring it to life is through stereo movement . Two plugins that handle this beautifully are Soundtoys PanMan  and Logic’s built-in Tremolo . Both are easy to grasp but incredibly effective once you understand what they’re really doing: moving sound from left to right across the stereo field. It’s a subtle touch – but that’s the point. Subtle movement gives a sound character, energy, and life. And life in a sound keeps a mix interesting. There are plenty of panning plugins out there – from simple auto-panners to complex spatial tools – but these are the two I reach for most often. They both get the job done quickly and sound great doing it. PanMan vs Tremolo: The Core Difference Both plugins achieve the same essential goal, but PanMan  goes a bit deeper with control and modulation options. Let’s break it down: PanMan:  Offers Offset, Width, and Smoothing – plus a variety of movement algorithms like LFO, Rhythm Step, Rhythm Shape, Ping Pong, Random, and Step. Tremolo:  Uses Depth and Smoothing (similar to Width and Smoothing in PanMan), and a Rate control for speed (frequency) or beat division. Depth (or Width) determines how far the signal moves across the stereo image. Smoothing controls how sharply or softly it transitions – smooth for gentle sweeps, hard for choppy motion. Offset in PanMan shifts the balance toward one side overall, while Rate or timing defines the rhythm of movement. Where PanMan Shines PanMan’s extra modes make it flexible for creative stereo design: Random:  Perfect for pads or ambient sounds that need a bit of smear and unpredictability. Rhythm Step:  Ideal for locking the panning pattern into the groove of the track – and the Feel  dial adds great swing control. Ping Pong & Step:  Trigger panning when the sound hits, rather than running continuously. These are clever but situational – great for ear candy, less for mix essentials. When to Use Stereo Movement I don’t use panning automation on every mix – it’s not a default move. But when a sound feels lifeless, static, or too “centred,” that’s when PanMan (or Tremolo) comes into play. A touch of stereo movement can make the difference between a mix that sounds flat and one that breathes.

Parallel processing in electronic music production is one of the most versatile and subtle ways to shape your mix - especially in electronic music, where clarity, punch and depth are essential. Instead of applying effects directly to a sound, you create a duplicate or send it to an auxiliary channel and process that copy - then blend it back in. The result? You can add impact, grit and space without destroying the integrity of the original track. It’s a secret weapon for modern producers - used everywhere from techno and house to synthwave, drum & bass and experimental electronica. Why Parallel Processing Works The beauty of parallel processing lies in control. It lets you push effects hard  without overwhelming the mix. You can saturate, compress, distort, widen or emphasise transients to extremes - but because it’s running in parallel, you can bring it in only as much as needed. Let’s look at some creative ways to use parallel processing in electronic music. 1. Parallel Saturation on Kicks: Adding Punch and Harmonics If your kick feels a little too clean or gets lost in the mix, parallel saturation can bring it forward without making it bloated. Send/duplicate  the kick. Saturation plugin : Tape, tube, or soft clipper. EQ : High-pass around 100Hz to keep low end clean. Blend : Just enough to add bite and presence. Settings tip : Don’t hold back - drive the saturation hard, then dial in subtly. 2. Parallel Compression on Vocals: Energy Without Flattening For vocals that need consistency but still sound natural: Send to a return channel . Compressor settings : Attack: 1–5 ms Release: 20–50 ms Ratio: 8:1 or higher Threshold: Low enough to compress consistently Gain Reduction: -10 to -20 dB EQ  the return if needed to tame harshness. Blend  under the dry vocal. This gives the vocal more density and presence - great for synth-pop, electro or melodic techno. 3. Parallel Distortion on Bass: Grit With Definition Big sub-heavy bass lines can sometimes get buried. Here’s how to fix it: Duplicate the bass track . Distortion plugin : Fuzz, overdrive or amp sim. EQ : High-pass around 150Hz to cut subs. Blend  quietly under the clean bass. Settings tip : it’s about adding grit and growl in the mids. 4. Transient-Only Parallel Drum Bus Want your drums to smack without changing their tone? Send drum bus to a return . Transient shaper settings : Emphasise attack, reduce sustain. Focus on 2–5 kHz range with EQ if needed. Blend  until the drums feel sharper and more defined. Settings tip : Keep it subtle - too much and it’ll sound clicky or harsh. 5. Multi-FX Parallel Chains: Custom Texture Builder For advanced sound design: Send the same signal to multiple return channels . Example chains: A: Compression (slow attack, medium release) B: Distortion (midrange focus) C: Modulation (chorus, flanger, etc.) Treat each uniquely , then blend all three. Settings tip : Use automation or macros to bring textures in and out dynamically. Wrap-Up: Subtle Power Parallel processing isn’t about being obvious - it’s about stacking textures and detail  under the hood. Whether it’s a kick that cuts, a vocal that holds its own or a bass that bites, it gives you power without compromise. ✅ Try one today: Pick one element in your track  that feels flat. Send it to a return. Push an effect hard , then blend it back softly. Sometimes, the magic lives in what you barely  hear. FAQ: Parallel Processing in Electronic Music Production What is parallel processing in music production? Parallel processing involves duplicating an audio signal and applying effects only to the duplicate. The processed version is blended back in with the dry original, giving you more control over how effects shape your mix. When should I use parallel processing? Use it when you want to enhance a sound - add punch, grit, space or consistency - without losing the core character  of the original audio. What are common mistakes with parallel processing? Over-processing the parallel chain and making it too loud. Not EQing the return channel, leading to muddiness. Forgetting to check phase alignment when duplicating signals.

Ever since I got my hands on a Korg MS-20, I’ve been hooked. There’s something about its raw, expressive sound that makes it one of the most inspiring synths I’ve ever played. Whether I’m crafting deep, growling basslines or soaring leads, the MS-20 delivers every time. A Timeless Classic Originally released in 1978, the Korg MS-20 quickly gained a reputation for its distinctive filters, aggressive character, and versatile patching capabilities. Its dual filter design-a high-pass and low-pass filter with an unmistakable squelch-became legendary, shaping the sound of countless records across genres like electronic, industrial, and experimental music. And I can confirm firsthand-these filters are magic! Why It’s One of My Favourite Synths The MS-20 is one of the most inspiring synths in my arsenal. Unlike some synthesisers that feel too rigid or too complex, this one strikes the perfect balance between structure and experimentation. The built-in patch bay is where the real fun begins-just a few cable swaps, and suddenly, I’m creating wild modulations I never expected. Perfect for Beginners and Pros Alike Even though the MS-20 can look intimidating at first, it’s actually a great starting point for anyone looking to understand analog synthesis. When I first got mine, I had a blast just playing around and seeing what different patch configurations could do. For professionals, the MS-20 remains an essential tool in the studio and on stage. Its ability to generate everything from deep, punchy basslines to screaming leads and eerie soundscapes makes it an incredibly versatile instrument. I love how seamlessly it integrates with my other gear, making it a crucial part of my setup. Affordable Analog Power: The Korg MS-20 Mini One of the best things about the MS-20 today is that it’s more accessible than ever. Korg’s MS-20 Mini offers the same legendary sound and functionality as the original but in a more compact, affordable package. If you’ve ever wanted to own one, the Mini is a great way to experience what makes this synth so special without spending a fortune. The Sound That Keeps Me Coming Back From thick bass tones to wild, evolving textures, the MS-20 is a playground for sonic exploration. The external signal processor (ESP) allows me to process other instruments or even my voice through its filters, opening up even more creative possibilities. With the right patching, the MS-20 can function as a percussive generator, a drone machine, or even a rudimentary drum synthesiser. It’s also amazing for creating noise sweeps and sound effects. The resonance and modulation possibilities make it perfect for crafting rising builds, industrial textures, and sci-fi inspired sounds. Whether I need a dramatic sweep for a breakdown or an eerie, otherworldly effect, the MS-20 never fails to deliver. Conclusion The Korg MS-20 isn’t just another synth-it’s an instrument with a soul. I’ve spent countless hours with it and I still feel like I’m discovering new sounds every time I turn it on. Whether you’re just getting started with synthesis or you’re a seasoned musician looking for an expressive analog voice, the MS-20 (or the MS-20 Mini) is a fantastic choice. If you’re on the fence about getting one, my advice? Do it. You won’t regret it. Korg MS20

Everyone talks about high-pass filtering. It’s crucial, sure–but something that’s equally important (and often overlooked) is low-pass filtering. I’ve mentioned before how classic drum machines naturally used low-pass filtering , especially on hats, which helped shape that warm, vintage character. But this approach is essential across all elements of a mix, not just drums. Why Low-Pass Filters Deserve Your Attention Think about it this way: every sound needs its own frequency “zone.” High-pass filters clear out low-end clutter, but if you ignore the highs, your mix can quickly become harsh or overly bright. Low-pass filtering fixes this by trimming those excess high frequencies, making room for other sounds to shine through. Controlling Brightness (Without Dulling the Mix) Using a low-pass filter isn’t about killing the top end–it’s about subtle adjustments to manage brightness or harshness. Cymbals, hi-hats, and sharp synths can often benefit from a gentle roll-off, helping them sit comfortably in the mix without poking your ears. Vintage Warmth, Modern Clarity Vintage gear naturally had limited high-frequency range, which created a smooth and cohesive sound. Low-pass filters let you recreate this classic warmth digitally. Small adjustments can soften digital edges, bringing an authentic, organic feel to even the most modern mixes. Creating Depth in Your Mix There’s a natural psychoacoustic effect where sounds with fewer high frequencies feel further away. By applying subtle low-pass filtering, you can push certain instruments back, adding a clear sense of depth and dimension to your tracks. Bringing Dynamics to Your Arrangement Low-pass filters can also be used creatively through automation. Gradually opening up or closing down the filter over time can create a sense of movement, anticipation, or release. It’s an easy way to maintain listener interest and highlight key transitions. Don’t Lose the Character One key caution: filtering––whether high or low-pass––can easily strip away the essential character of your sounds. The goal isn’t to aggressively reshape, but rather to carefully refine. Make incremental changes, regularly toggling the filter on and off to confirm you’re enhancing the sound without stealing its integrity. Wrapping Up Low-pass filtering is as essential to your mixing toolkit as its high-pass counterpart. Used thoughtfully, it helps carve out clarity, warmth, and depth–making sure every sound finds its perfect place in the mix. Give it the attention it deserves, and your mixes will thank you.

I compress reverbs for one simple reason – to hold them in place. When a reverb isn’t controlled, it can jump around the mix, with random peaks and reflections popping out when you least expect them. Those moments blur clarity and make the space feel disconnected from the track. Compression keeps it steady. It stops the rogue peaks, evens out the reflections, and keeps the reverb sitting where it should – behind and around the sound, not on top of it. I’m not chasing loudness here; I’m chasing consistency. When the reverb feels stable, the whole mix feels more glued together. I know engineers who sidechain the reverb to the dry signal so it ducks slightly when the sound plays and then blooms after. It’s subtle, but it helps the reverb breathe in rhythm with the track – almost like it’s reacting rather than just sitting there. Compressing the Main Reverb Even the main reverb benefits from gentle compression. The aim isn’t to squash it flat – it’s to stop it from surging forward when the mix gets busy. A snare hit, a vocal lift, or a synth stab can easily push the reverb up in volume, making the space feel like it’s expanding and contracting too much. A light ratio –– around 2:1 or 3:1 –– with a slower attack and release works well. Start with 2–4 dB of gain reduction  on the reverb return and adjust by ear. That’s usually enough to smooth things out without choking the space. You’ll hear the reverb start to sit  instead of float. The result is a reverb that feels stable and intentional – always present, never intrusive. It glues the mix instead of washing over it. When Not to Compress Reverb Of course, there are times to leave the reverb alone. In ambient, cinematic, or more experimental work, the reverb’s movement is  the point. You want it to breathe, swell, and drift. That dynamic motion adds character – it’s part of what makes the space feel alive. If you compress too much, you lose that sense of depth and unpredictability. So, in those moments, I let it move freely. Summary Compression isn’t just for drums or vocals – it’s also a subtle way to shape the sense of space in a mix. Used well, it holds your reverbs in place and keeps the soundstage clear and balanced. But it’s not a rule. Sometimes you want control; other times you want chaos. Knowing when to keep your reverb still – and when to let it wander – is what separates a tidy mix from one that feels truly alive.

When I started Electronic Production , I wasn’t sure if anyone would read it. I just knew there were things I’d learned in the studio over the years that I wished someone had explained to me clearly – without jargon or gatekeeping. I started out producing in my bedroom, working on a Roland W-30 and building tracks from samples. At the time, I was already DJing at some of the bigger clubs in my hometown and spending weekends at places like Hacketts in Blackpool, The Hacienda, and Leeds Warehouse. That experience gave me a strong sense of what works on a dancefloor – how energy moves through a night, how a track feels when it connects. Each time I made something new, I got a little better. I did sit in with people from time to time as they mixed my tracks, but most of what I learned came from intuition – from feeling my way through the process and letting instinct lead the way. Why The Blog Began Truthfully, I started writing this blog because I needed an outlet – a place to express the knowledge I’d gathered over decades in the studio. I’d mentored many producers over the years, and one of them had just finished mixing his own track. He told me how it felt to listen to it – that moment when everything worked, everything sat right, and he realised he’d done it himself. That reaction reminded me why sharing knowledge matters – because it gets results. It was actually after coming off the phone with that producer that I began writing. For a long time, I’d been trying to start something like this, but it never quite clicked. Then that afternoon, I just built a site and began. Not to anyone in particular – just getting down what came to mind. Thoughts, techniques, moments from the studio. That approach has stayed the same ever since. Even now, when an idea surfaces mid-session, I jot down a quick title and a few lines, ready to turn into a full post later. Lessons From 100 Posts Reaching this milestone has taught me a lot – not just about production, but about the process of sharing knowledge too. Here are a few lessons that have shaped this journey: Consistency beats perfection. Showing up 100 times matters more than writing the “perfect” post. Each article is a brick in the bigger structure. Clarity always wins. The best technical concepts are explained simply. No fluff, no ego – just what you need to make better music. Teaching sharpens the craft. Writing forces me to break down processes I’ve used for decades. In doing so, I’ve become a sharper producer myself. Where We’re Headed Next The first 100 posts have been about building the base – sharing what I’ve learned over years of making and mixing music. From here, I’ll just keep adding to it . Some posts will be deep dives, others just thoughts from the studio as they come up. That’s how this started, and it’s how it’ll carry on. I’m also working on a few tools that I think will be useful to have on the blog in time. Beyond that, I’m just seeing where it goes – building it bit by bit, the same way a track takes shape. A Thank You If you’ve read even one post and taken something useful from it – that's what it's about. Electronic Production  began as a place for me to share what I’ve learned along the way, but over time it’s started to grow into something more – a small community of people who care about sound, process, and creativity. I never set out with a plan for that to happen, but I’m glad it has. Here’s to whatever comes next – and to keeping the focus on the music, the craft, and the connection it creates. ...oh, and if there’s ever a question that’s been on your mind, reach out.

Master bus compression can tighten your mix, glue everything together and add polish - but it can also drag things down if you’re not careful. One of the most useful but under-used controls is the sidechain filter and understanding what it really does can unlock a cleaner, more balanced mix without over-compression. Let’s break it down - technically and practically - so you can use it with intention. Why Use a Sidechain Filter on the Master Bus Compressor? On most compressors, including the SSL Native Bus Compressor 2 , the S/C HPF (Sidechain High-Pass Filter)  doesn’t change what gets compressed - it changes what the compressor listens to  when making decisions. The compressor duplicates your audio signal internally. That duplicate is filtered (high-passed) before hitting the detection circuit. The actual compression is still applied to the unfiltered  full-range signal. So when you roll off the lows in the sidechain, you’re telling the compressor: "Don't react to the subs and kicks - make your decisions based on everything else" This avoids overreacting to loud low-end hits that often dominate the energy of a mix. Why the Low-End Dominates Compression Most of the raw power in a mix lives below 250 Hz . Kicks, subs and low bass lines push the overall level more than mids or highs. That means: The compressor starts working early - often before the mids and highs would trigger it. The result? Over compression, pumping and energy loss. A sidechain filter changes this behaviour . By filtering out that low-end from the detection circuit, the compressor becomes more responsive to the mids and highs , giving you more frequency-consistent  and musically useful  gain reduction. Using the S/C HPF on the SSL Native Bus Compressor 2 If you’re using the SSL Bus Comp 2, that bottom-left knob  is your S/C HPF. It runs from OFF to 185 Hz . Here’s how I approach it: Start with it OFF. Play your full mix and listen for excessive ducking or “pumping” when the kick hits. Bring it up to 60–100 Hz  - this is the sweet spot for most mixes. If the low-end still feels heavy-handed, try 120–150 Hz , especially in bass-heavy genres. Always A/B with and without the filter - sometimes the difference is subtle but meaningful. This process helps you avoid letting the kick dominate the compression , while still gluing the mix together. What Happens When You Use It Think of it as shaping the behaviour  of the compression – not the tone of the mix. Low-end elements are still compressed , but they don’t trigger the compressor. The mix retains more transient clarity and punch . The dynamics stay stable , especially when the low-end gets busy. You get a more natural-sounding glue  that doesn’t squash your groove. On the master bus, that usually means aiming for around 1–3 dB of gain reduction   Just enough to add cohesion without flattening the energy. In electronic music - especially house and techno - letting the bottom of the mix sit free from compression  often helps the kick and bass hold the groove in place . When the low-end isn’t constantly triggering compression, it stays tight and grounded, becoming the anchor for the whole track . The rest of the mix can move and breathe around it, but that low-end pulse stays solid . Wait - So It Still Compresses the Bass? This is where it often gets a bit fuzzy - and it’s totally understandable. You might assume that by using a high-pass filter on the sidechain, you’re somehow leaving the low-end untouched  by the compressor. But that’s not quite it. The sidechain filter doesn’t change what gets compressed  - it changes what the compressor reacts to . The entire mix, including the low-end, still gets compressed when the compressor kicks in. The difference is: the compressor is no longer being triggered by the bass . So yes - when a snare or vocal peak causes compression, the kick and bass still get turned down too . But if the kick hits hard and nothing else is happening , the compressor might not react at all - because that frequency was filtered out of the sidechain. This can feel counterintuitive at first. You might think, “If I don’t want my low-end dipped, why would I allow it to be affected when something else triggers compression?”  And in some cases, you wouldn’t - but that’s where context matters . In genres like house, techno, or anything groove-driven , the low-end often acts as the anchor of the track . By removing it from the sidechain, you’re not isolating it , but you’re letting it sit more confidently , undisturbed by its own energy. The rest of the mix still compresses around it, which keeps everything cohesive, but the kick and bass no longer dominate  the dynamic decisions. So the bottom end isn’t getting a free pass - it’s just not the one driving the bus anymore . Why This Isn’t Multiband Compression This is worth pointing out: sidechain filtering doesn’t split the signal into bands and compress them independently (like multiband comp). It just filters the signal that tells the compressor when to engage . The full-frequency signal still gets processed as one. That’s why it sounds more cohesive than multiband in many cases - and also why it’s more subtle. Genre-Specific Recommendations Your setting will depend on the genre and the role of the low-end: EDM, Hip-Hop, Bass Music : try 100–120 Hz . Rock, Indie, Pop, Acoustic : try 60–80 Hz . Cinematic/Electronic Hybrid :Consider automating HPF across sections. Advanced Application: Automating the HPF This is often overlooked: automation . Say your track opens with sparse pads, then drops into a full beat. You might want more compression reactivity in the intro, but keep the low-end filtered when the drop hits. Automate the sidechain HPF to adapt to your mix. It’s a subtle detail - but if you’re already riding levels and gain-staging carefully, this just gives you finer control over dynamics. Pitfalls to Avoid Here are the big mistakes people make when using sidechain filter on the master bus: Thinking it filters the audio output  - It doesn’t. It filters the signal the compressor reacts to. Ignoring how much low-end affects compression  - Bass carries energy. A kick can trigger 6 dB of gain reduction on its own. Overcompressing anyway  - If your threshold is too low and your ratio is too high, the sidechain filter won’t save you. Keep it subtle (1.5–4:1 ratio, ≤6 dB reduction). Applying it blindly across genres  - Not every mix needs aggressive sidechain filtering. Trust your ears. Forgetting to A/B test  - Always compare with and without the filter to hear how it’s shaping your dynamic response. Not automating  - Static settings don’t always suit tracks with evolving arrangements. Adapt the filter to follow the energy. Bonus: Other Places to Use It While the SSL Bus Compressor 2 only gives you a high-pass filter  for the sidechain, that alone can be hugely effective beyond the master bus. Drum buses  - Filtering out the kick lets the compressor respond more to the snare and overheads, which often gives a tighter groove without the whole kit ducking every time the kick lands. Parallel compression  - On a drum or instrument group, a subtle high-pass in the sidechain can keep the compression focused and musical. Bass-heavy subgroups  - If a synth bass and a kick are sharing a bus, the HPF helps prevent the kick from driving all the compression. More advanced compressors (like FabFilter Pro-C 2) offer full sidechain EQs  where you can also tame high frequencies - but with the SSL, you’re working specifically with low-end filtering  to control how the compressor reacts. Final Thoughts The sidechain filter on the master bus compressor  is one of those subtle controls that separates clean, controlled mixes from squashed, energy-drained ones. It’s not just a technical trick - it’s a musical decision. Used well, it keeps your mix breathing, lets the groove shine through, and gives you that polished “glue” without killing the dynamics. It’s not about what it changes. It’s about what it protects.

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