My first real introduction to FM synthesis came through the Yamaha DX21  - a bottom-of-the-range keyboard that’s still a gem for anyone wanting to dip their toes into the FM world. You can pick one up for a pretty low price these days and despite its limitations, it offers a great crash course in the rawness and unpredictability of FM sound design. The DX21 runs on a 4-operator FM engine , a stripped-back version of the 6-operator you’d find in its more famous sibling, the DX7. While I did use it for certain sounds, I always had one eye on the DX7 , knowing it could do more - and sound better. But here’s the thing: the DX21 had charm . There’s a gritty, lo-fi quality  to its sound that gives it a unique voice in the mix. It doesn’t try to sound smooth or polished - instead, it delivers abrasive textures, metallic edges, and digital tones  that somehow just work  in the right context. For electronic music , especially when you’re looking for something with a bit more bite or character , that rawness becomes a strength. It’s a synth that feels unrefined in the best possible way  - a little wild, a little unpredictable and very capable of surprising you. Whether you’re sculpting basslines, strange percussive hits or alien pads, the DX21 can spit out weird and wonderful results that often feel more exciting because of their imperfections. A few years later, I finally got hold of a DX7 II  - the full stereo version , with deeper tone and frankly, more balls . This synth is a beast. The bass tones  in particular are where it shines - they cut through the mix  with ease and always sit perfectly without much fuss. That’s the magic of a well-designed FM engine. Owning both the DX21 and the DX7 II made the differences clear. The DX7 II had that polished edge, a clarity and depth the DX21 couldn’t match. But still - the DX21 had character . Its grit , its rough-around-the-edges textures  - there was something charming about it. When I eventually sold it, I genuinely missed what it brought to the studio. Fast-forward to today and FM synthesis is still alive and kicking in hardware form. Korg’s Volca FM  and especially the FM2  are carrying the torch  in a big way. The FM2, in particular, puts me right back in that DX7 space . And considering you can load the original Yamaha DX7 library  into it, there’s clearly some shared DNA in the architecture. It sounds solid - raw where it needs to be, but capable of pristine tones too. Plugin Versions If you’re more into working in-the-box , software has more than stepped up. Arturia’s DX7 V  brings a beautifully enhanced take on the classic DX7, with extra features, effects and a much more visual approach to editing. Then there’s Dexed , the open-source DX7 emulator that nails the architecture and lets you load original DX7 patches - totally free and surprisingly authentic. These plugins have made FM synthesis more accessible and tweakable  than ever, especially for those who might be intimidated by the often non-intuitive interface of the originals. Whether you’re hunting for that classic 80s bell tone, glassy pads, or biting basslines, there’s now a full spectrum of FM available - from battered vintage hardware with character to clean digital emulations . So whether you’re picking up a cheap vintage unit , a classic synth icon , a modern reinterpretation or diving into the plugin realm , hardware and software FM synthesis still offers something unique and inspiring . It’s not the easiest world to dive into - but if you’re feeling stuck or looking for new sonic directions , it’s absolutely worth your time.

We’ve all been there: stuck on a loop, tweaking the same section for hours, wondering if we’re even making progress. But if you’re still feeling the pull to keep working - follow it . That instinct matters. I’ve learned this through years of experience, spending weeks or even months working on a single production. It’s tough, no doubt about it. But let me tell you - the reward is absolutely worth it.  Not every track ends up in a live set, and that’s okay. But the ones that do? They live well.  One of my productions spent 10 weeks at number 1 on Galaxy FM  back in the mid-2000s. That track took me months. Long nights, endless revisions. But it connected - and that’s what we’re aiming for. If you’re in that zone where nothing’s quite clicking, here are a few things I do to stay in it and keep momentum: • If you’re not hearing it, change something. Switch from monitors to headphones. Take all the drums out. Solo one element and rebuild from there. Sometimes the smallest shift in perspective opens it all up. • Recognise the good days and the bad. There are days where ideas flow like water - and others where it feels like you’re forcing every move. That’s part of it. Don’t let a slow day define the track. • Zoom out. Bounce the section and listen away from the screen. Go for a walk. Put it on in the car. Often, detaching from the project view lets you hear what’s really  going on. • Leave markers and move on. If you’re stuck, drop a placeholder and move to another part of the track. You can always circle back with fresher ears. • Let the track play while you do something else. Sometimes I’ll leave it looping in the background and open up other projects - artwork, social posts, even emails. Not staring at the DAW makes a huge difference. You hear the track differently when it’s not front and centre. • Change your physical space. Stand outside the room. Lay on the floor. Sit somewhere else entirely. A shift in space can shift your perception. New angle, new ears. Ultimately, perseverance in music production  is what separates the half-finished ideas from the tracks that live on. If you’ve been working on that section for 10 hours, it’s okay. That’s what the process can look like sometimes. Stay with it. Keep shaping it until it feels right. Because when it finally does  feel right - that’s when the magic happens.

I’ve used plenty of limiters over the years, but lately, one plugin consistently makes its way onto my master bus - the Brainworx BX Limiter . It might look like just another mastering limiter, but hidden within is a dial labeled “ XL ,” and it has quietly become one of the most powerful tools in my mixing toolkit. Here’s why. Beyond Limiting: Meet the XL Dial Most mastering limiters are straightforward: they control peaks, boost loudness, and protect against clipping. The BX Limiter checks all those boxes effortlessly, but the real magic lies in its XL Saturation dial - an unobtrusive control that subtly enhances your entire mix. I think of the XL dial as something more than simple saturation. It’s a binding agent  that fills the gaps between individual elements, creating a cohesive, unified soundscape. It adds gentle harmonic content, effectively acting like sonic glue without overly colouring or compressing the mix. How the XL Dial Transforms Your Mix When gently dialed in, the XL control doesn’t scream “saturation”; rather, it quietly enhances the depth, body, and cohesiveness of your track. Here’s what you can expect: • Fuller Sound:  Subtly fills the spaces in your mix, creating a richer, more unified sonic experience. • Harmonic Depth:  Adds just enough harmonic content to make elements feel naturally connected and organically vibrant. • Polished Finish:  Provides that elusive, “finished record” sound without compromising dynamics or clarity. If you’ve used plugins like Machine Head or ToTape7, you’ll recognise a similarity: turning up the Drive parameter on those plugins enhances warmth and cohesion. The BX Limiter achieves a comparable effect, but with master bus-level subtlety - perfect for the final stage of your mixing process. My Approach to Using the BX Limiter’s XL Dial Here’s how I typically dial in that subtle enhancement: • Start at Zero:  Begin with your mix sounding good already, without the XL dial engaged. • Ease It In:  Slowly turn up the XL dial, listening carefully as elements within your mix start binding together. • Aim for Cohesion:  Adjust until the sound subtly gels, without sounding obviously processed or flattened. • Final A/B Check:  Regularly bypass and re-engage to ensure you’re enhancing your mix, not overpowering it. This approach consistently gives me mixes that feel finished and connected - without ever sounding artificial. More than a Limiter: Why BX Limiter Stays on My Master Bus The Brainworx BX Limiter may be marketed as a limiter, but for me, it’s become much more. Its XL dial provides a unique, subtle form of harmonic enhancement , giving my tracks professional polish and depth. This often-overlooked feature is the reason BX Limiter has earned permanent residence on my master bus. If you’ve not tried this hidden gem yet, it’s worth exploring - you might just find your own secret sauce.

Being a music producer today is about more than just making great tracks - it’s about building a creative life that sustains itself. That means tapping into multiple income streams. Whether you’re just starting out or looking to expand, here are 11 proven ways producers are earning today - with practical tips to help you find what fits your path. 1. Selling Beats & Instrumentals Platforms like BeatStars , Airbit , and others have made it easier than ever to sell beats and instrumentals online. This model works especially well if you’re focused on hip-hop, trap, R&B, or pop instrumentals - and you’re comfortable building an online presence. Note:  This isn’t something I’ve personally explored in depth, but many producers have built real momentum through beat licensing. 2. Mixing and Mastering Services Offering mixing and mastering services is one of the most direct ways to earn from your technical skills. Many producers start by helping friends or local artists, and over time, grow a client base through reputation and results. In my case,  this has been a key part of my income for years. Most of my clients come through referrals and it’s a steady foundation that keeps things flowing between creative projects. ✅ Tip: Build trust. Clear communication, consistent quality and a few great testimonials can lead to steady word-of-mouth work. 3. Royalties (Streaming & Sales) Royalties from streaming platforms (Spotify, Apple Music), download sales (like Bandcamp) and rights organisations (PRS, MCPS, PPL, ASCAP, BMI) can become a reliable long-term source of income - especially once your catalogue grows. For me,  royalties have varied over the years depending on what’s out and how it’s being received. But when managed well, they create a nice flow of income that grows with your body of work. ✅ Tip: Register your tracks properly. Accurate metadata and publishing info make sure you get paid from every territory your music plays in. 4. Sync Licensing Sync licensing - placing your music in visual media - is one of the most exciting and potentially lucrative income streams for producers. Music used in film, TV, commercials, video games, or online content often pays well and can lead to long-term residuals. I’ve landed a few sync placements over the years,  but I haven’t fully leaned into this space yet. It’s something I need to explore more. ✅ Tip: Write the track first. Make something that feels right - then find a home for it. Sync thrives on music with real vibe and emotion. It doesn’t always have to be written to brief. 5. Sample Packs & Sound Design Creating and selling sample packs, loops, or synth presets can generate passive income once the work is done. If you’ve built your own libraries or developed a sound that others look for, this is worth considering. I’ve created a sample pack and some presets and they still bring in a small flow of income today. The upfront work pays off if the content is solid and relevant. ✅ Tip: Quality packs can sell for years. Sites like Splice, Loopmasters, and ADSR are good starting points, but personal websites like Samples from Mars and Goldbaby work well too - especially if you’ve got an audience. 6. Educational Content Offering courses, tutorials, and mentoring can become a really fulfilling stream… This is something I’m really enjoying. After years in the studio, I’ve started sharing what I’ve learned through this blog. I’ve always passed things on to other producers - this is just a way to get it all down in one place. Tip:  Platforms like Skillshare, Udemy or Patreon are perfect for building community and monetising your expertise. 7. Ghost Production Ghost production - creating tracks anonymously for other artists - can be controversial but also very lucrative. This has been a good income source over the past decade. I see ghost production similar to the traditional studio producer’s role - guiding the vision of a track. Tip:  Maintain professionalism and discretion. Trust leads to repeat clients. 8. YouTube Monetisation & Content Creation Monetising content via YouTube or Twitch through ad revenue, brand sponsorships and affiliate marketing can be highly rewarding but tough to crack. I’ve been working at this for years through Deli Records and it’s still evolving. It’s a long game, but the potential for sustained income is there. Tip:  Stay consistent and build quality content to grow loyal subscribers. 9. Merchandising & Physical Products Creating merchandise - clothing, vinyl, or gear - strengthens your brand identity and provides additional income. Personally, I love merch. I’ve made tees and caps several times and really enjoy being able to create my own clothes. So far, it’s just been for personal wear - but I’d love to develop some full lines in the future. Tip:  Limited-edition or seasonal releases help drive demand and value. 10. Live Performances & DJing Performing live or DJing is one of the most direct ways producers earn - especially if your music is built for dance floors or festivals. It also builds your profile and connects you directly with an audience. For the first two decades of my career,  I was always behind the decks. More recently, I’ve focused on the studio - but the energy of playing live still shapes how I write and mix today. Tip:   Play often - and make it count. All the local gigs, all the warm-ups - they’re building you up. Each one’s a bit more experience, a bit more ready. 11. Remixing Creating remixes for other artists can be a lucrative and creatively rewarding income stream. Labels often commission producers to reinterpret tracks, which helps expand your audience while bringing in upfront payments and royalty shares. Remixing was a big part of my income at one point. Some brought in solid returns, others led to future collaborations. They keep things creatively fresh and are great to do. Tip:   Approach labels and artists whose sound fits your own. A significant remix portfolio opens doors, especially if it shows range. Final Thoughts There’s no single formula for making money as a producer - but the truth is, diversity matters . Most working producers rely on a mix of income streams, built gradually over time. You don’t have to master all of them, just the ones that work for you. Try, test, refine. And remember: even small streams add up. 🎛️ Just getting into production? I’ve put together a guide to the gear that actually matters when you’re starting out. electronic music production gear

Here I am, 26 years  after first opening Logic Pro on my trusty G4 back in 1999, now running it on a blazing-fast M2 Max chip, yet still freezing tracks to finish projects. Thinking back to around 2003, I clearly remember running massive projects -125 audio tracks with plugins like Pro-53 and Absynth - on my humble G4. Sure, freezing tracks was necessary then, but it felt reasonable given the hardware limitations. Fast-forward to today, my computer is easily 40 times faster in single-core performance and thousands of times faster in multicore processing , packed with 32 GB of RAM, and Logic Pro itself has evolved tremendously. You’d think freezing tracks would be a distant memory by now. Yet, the reality is surprisingly familiar. Even now, with incredible processing power at my fingertips, I quickly hit that familiar wall - pushing the limits by using oversampling, ultra-detailed plugins, and layers upon layers of audio. Of course, if I ran things like I did back in the day - no oversampling, lighter plugins - my current setup would breeze through without breaking a sweat. But given the option to crank everything up to achieve that ultra-polished, big-studio sound, why wouldn’t I take it? It reminds me vividly of when I upgraded to a G5 loaded with 64 GB of RAM and 12 processors. The feeling was exhilarating: unlimited channels, endless plugins, no more compromises -right? Within a week, I was back to maxing it out. I guess it’s human nature - give us more power, and we’ll immediately find ways to use every last drop . And maybe that’s a good thing; it’s proof we’re constantly pushing forward, striving for the highest possible quality in our art. Don’t get me wrong: I’m thrilled with the tools we have now. Being able to achieve that “big studio sound” from literally anywhere is incredible, something I only dreamed of two decades ago. But part of me can’t help but wonder: Will the next generation of computers  finally give us that promised creative freedom, or will I have to wait for the Quantum chips  before freezing tracks becomes a relic of the past? Until then, I guess I’ll just keep pushing the boundaries - one frozen track at a time.

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 regularly 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 , 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. Using Pre-Fader Sends for Depth and Clarity in Mixing Pre-fader sends allow you to push sounds into the background while keeping the mix upfront clean. If I need to place sounds that are vast, or need to sound big, I’ll start by placing them deep into my reverb space using a pre-fader send . The dry signal remains low, letting the reverb establish the sense of depth first. Then, by slowly bringing up the dry fader , I can balance the sound’s presence without losing the immersive, vast feel. This technique helps maintain clarity in the foreground  while achieving a deep, spacious mix , keeping lead elements distinct and letting ambient sounds blend naturally. 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.

There’s a new Tape  in town, and it’s called Machine Head  from SPL. Last night, I got stuck into this new plugin from Plugin Alliance, and honestly - I was blown away. I’ve come to realise that to get the sound I have in my head - fully in the box - some kind of tape emulation is essential on the master bus. Over the years, I’ve tried my fair share of tape plugins, and I’ve been a supporter of Airwindows’ ToTape7 . It has the character and definition - the thing that makes a mix feel like a finished record - while still maintaining the life in the mix. But Machine Head ? It took things to a warmer level. Why Tape Matters in the Digital World Coming from the analog era , maybe I’ve just developed an ear for tape. Or maybe it’s because records pressed to vinyl and mixed down through tape machines simply have a sound that digital often lacks. Whatever the reason, tape glues a mix together , rounds out the transients, and adds a musical warmth that’s hard to beat. That’s where Machine Head  shines - it recreates the sonic benefits of tape, but without the limitations . The original Machine Head  algorithm was first developed in the mid-90s  to digitally emulate the saturation and harmonics of an analog tape machine. SPL has now revived and improved  this algorithm, refining it for modern production while preserving its original sonic character. Instant Analog Vibe with Minimal Tweaking What I like about Machine Head  is its simplicity . Tape machines have a lot of settings, and it takes time to really know them. Not this one.  Dialing in the right tone felt straightforward . The Drive control  tightened up the track on the master, making the mix sound denser and more glued together. What Stands Out? • Drive Control  – Increases saturation without overloading the mix. • 15 IPS vs. 30 IPS  – The 15 IPS  setting rounds out the transients and smooths everything beautifully. • High Frequency Adjust  – Unlike real tape, this lets you boost or cut  highs independently of saturation. • Ultimate Version Enhancements  – Features a Low Frequency Adjust  for even finer tonal shaping. The harmonics? Beautifully musical.  The Drive adds just enough warmth without becoming overbearing, and the tape compression effect  is incredibly natural. Less Tweaking, More Mixing The best thing? It doesn’t take much to get great  results. Some plugins demand a lot tweaking before they feel right. Machine Head  just works. If you’re looking for a no-fuss tape saturation plugin  that delivers pro results fast , this might be your new go-to. Highly recommended. The Evolution of Machine Head Machine Head isn’t just another tape emulation - it has real history  behind it. Back in the 1990s , Kai Lukas and Frank Hartmann - both engineers specialising in digital audio processing - wanted to bring the sound of a Lyrec TR-533 24-track 2-inch tape machine  into the digital world. They spent years measuring, modeling, and refining  an algorithm that captured the unique saturation, harmonic distortion, and glue that made tape so beloved. The original Machine Head hardware  was built using Motorola 56002 fixed-point DSPs , but computing power back then had serious limitations . Today, SPL has taken the same core algorithm and enhanced it with modern high-resolution filtering , better low-end control  and greater parameter precision . Making Machine Head Ultimate  even more accurate than the original.

Are You Struggling to Find Space for Sounds in Your Mix? A Graphic Octave Equaliser  can simplify EQ decisions, helping you craft a clear, balanced mix  with ease. A 10-band Graphic Octave Equaliser  is an invaluable tool for mixing and sound design , providing a visual map  of where sounds sit across the frequency spectrum. Instead of guessing, it lets you see and adjust frequencies , enhancing what’s needed and removing what isn’t - for a cleaner, more defined mix. Why a Graphic Octave Equaliser Simplifies Mixing & Mastering Unlike parametric EQs , which allow for surgical adjustments , a graphic EQ  divides the frequency spectrum  into fixed bands  (e.g., 31-band, 15-band, or 10-band EQs ). This makes it easier  to identify where different instruments sit in a mix and adjust them accordingly . Logic Pro’s Vintage Graphic EQ | 10-Band Graphic EQ By applying frequency restrictions  and understanding where sounds sit, a graphic EQ  helps you quickly identify and correct problem areas  in a mix. 💡 Example:  If your mix feels muddy , you can instantly spot and reduce problem areas  around 250Hz , where excessive warmth builds up. 📌 Think of your mix as a spectrum - each sound needs its own space to breathe. Each element in a mix should occupy its own octave range , and using a 10-band EQ  makes it simple to define where each sound sits . While I don’t use it on every track - or even every week - whenever I’m struggling to place a sound with parametric EQs , switching to a graphic EQ  often solves the problem quickly . EQ Frequency Chart: Understanding Where Sounds Sit in a Mix Below is a frequency map  showing how different sounds fit into the full mix spectrum . Understanding these ranges helps with instrument placement, avoiding frequency clashes, and achieving a balanced mix . 🗺️ Frequency Map: These frequency charts  are readily available  and provide varied insights  into which elements typically occupy different frequency bands. This visual reference  is useful for: ✅ Identifying problem areas  in a mix (e.g., too much bass or harsh highs ). ✅ Fine-tuning individual instruments  by boosting or cutting  specific bands. ✅ Balancing a track’s tonal spectrum  for clarity, warmth, and definition . This table shows how each frequency band  on a 10-band Graphic Octave EQ  relates to different tonal regions  in a mix, from sub-bass  to highs & air . ✅ Green checkmarks indicate where a frequency range is most active , while ❌ red crosses  highlight areas with little to no energy . Graphic EQ Plugins If you’re looking for the software graphic EQs , here are some top choices : 🎚️ Waves API 560 EQ  – A classic analog-modeled 10-band graphic EQ  with musical curves  and punchy character . 🎚️ Logic Pro Vintage Graphic EQ  – A built-in 10-band EQ  in Logic Pro, perfect for quick, broad tonal shaping . 🎚️ SPL Full Ranger EQ  – A true analog-modeled graphic EQ , great for fast mix balancing  without complex adjustments. 🎚️ T-RackS 10-Band Graphic EQ PG  – A precise analog-style graphic EQ , ideal for broad shaping  and quick frequency tweaks . Best Hardware Graphic EQs for Studio & Mastering If you prefer hardware over plugins , here are some top picks : 🎚️ API 560  – A classic 10-band EQ  with discrete op-amps , delivering smooth curves  and punchy analog character . 🎚️ Boss GE-10 Graphic Equaliser (Vintage Hardware)  – A 10-band analog EQ  used heavily in guitar processing  and early electronic music . 🎚️ Moog MKG Ten-Band Graphic Equaliser  – A vintage analog EQ  known for smooth frequency response  and Moog warmth . Why Use a Hardware Graphic EQ? ✅ Analog warmth & character  – Many hardware EQs  use transformers or tubes , adding a natural, musical tone . ✅ Hands-on workflow  – Knobs & faders  allow for real-time, tactile control . ✅ Great for mastering & mix bus  – Often used for subtle tonal balance adjustments . Using a Graphic Octave Equaliser on the Master Bus A graphic EQ  is a powerful tool  for shaping the tonal balance  of a full mix . While parametric EQs  allow for surgical frequency adjustments , a graphic EQ  is better for broad, musical shaping , ensuring a cohesive and polished sound  before finalising a track. Shaping the Mix with Subtractive EQ First Always start by cutting problem frequencies  before boosting. This prevents buildup  and keeps the mix clean and dynamic . 🎵 Example:  If the mix feels dull , try a small cut around 300Hz-500Hz  before boosting 8kHz-12kHz  for clarity. 🎵 Example:  If the vocals feel lost , check 2kHz-4kHz  and make a subtle boost  to bring them forward. A Graphic EQ  on the master bus  isn’t about drastic changes —it’s about subtle enhancements  that ensure the mix feels complete and balanced  before final processing. Classic(hardware) 31-Band Graphic EQs for the Master Bus 🎚️ Klark Teknik DN370  – A high-precision 31-band graphic EQ  for mixing & mastering . 🎚️ DBX 231s  – A dual-channel 31-band EQ , great for live sound & studio use . 🎚️ Rane ME 60S  – A 30-band EQ  with low noise circuitry & detailed frequency control . 🎚️ BSS Audio FCS-966  – A 31-band graphic EQ  with smooth, detailed control  for mastering & live sound . 🎛️ Software Alternative: Waves GEQ 🎚️ Waves GEQ Graphic Equaliser  – A versatile digital graphic EQ  offering 10-band & 30-band modes , making it a great alternative  to hardware EQs. Final Thoughts Using a graphic octave equaliser  is about working with fixed frequencies , making shaping the overall sound more intuitive . Instead of endlessly sweeping  to find the right spots, the EQ bands are already placed where they matter . This forces you to make broader, more musical adjustments  rather than getting lost in fine-tuning . Whether you’re refining a mix  or sculpting a master , a graphic EQ  helps you make confident, intentional EQ moves - so push those faders, trust your instincts , and shape the sound you want!  🎚️ 🧠 Explore the Mix Beyond Frequencies If you’re into the balance between instinct and technique, you might like these: • Visualising the Mixing Field  – Turning your ears into eyes: a look at how I map out space in a mix. • SSL Saturator  – The subtle crunch that makes everything feel glued together. • StandardCLIP  – My go-to for pushing levels without wrecking the sound. • Reverb as Depth  – How placing sounds in space changes the entire mix feel. • Kick 3 and Low-End Balance  – Why the right kick changes everything - and how I found mine.

For the past seven weeks , I’ve been posting blogs on electronic music production -breaking down mixing, music theory, gear, and creative techniques. Now, I’m bringing those topics to YouTube  with AI-narrated podcast episodes . Why a YouTube Channel? I know that everyone learns differently. Some prefer reading, others need to hear concepts explained, and for many, audio-visual content is the most effective way to absorb new ideas . The blog is about real-world, experience-driven knowledge , and now, the YouTube channel expands on that by: ✔️ Bringing blog topics to life  with AI-narrated podcast episodes. ✔️ Offering deep dives into production techniques, gear, and mixing strategies. ✔️ Creating a space for producers to engage, comment, and learn together. I wanted to make these insights available in a format you can listen to anywhere - whether you’re in the studio, driving, or just looking for inspiration. 🎚 What’s on the channel? • The Gear That Shaped Our Sound  – A deep dive into the hardware behind electronic music. • Understanding Musical Keys for the Electronic Music Producer  – A simple breakdown of scales, modes, and harmonies. • More episodes coming soon! 📺 YouTube : Electronic Production Podcast 📖 Read the blog : Electronic Production If you’re into electronic music production, mixing, or studio techniques , check it out and subscribe for more . 🚀🎶

When it comes to mixing audio , having a clear mental image of your mixing field  can transform your workflow. The “mixing field” is the imaginary space stretching out before you-extending as far back and wide as your speakers (and imagination) allow. Think of it like a visual landscape: rolling hills stretching to the horizon, birds singing close by, a distant factory humming gently far away. Just as a painter places visual elements precisely within a landscape, your job as a mix engineer is to place sonic elements within this imaginary sonic landscape , clearly defining where each sound lives. Understanding the Sonic Landscape 🌄 Every sound has its place within the three-dimensional mixing field: • Left and right : How wide your elements are placed. • Near and far (depth) : How close or distant sounds feel. The more intentional you are about placing your sounds, the clearer and more compelling your mix becomes. Dividing the Mixing Field When starting out, it helps to keep your mixing space clearly defined and easy to understand. Here’s a straightforward method to organise your mix, ensuring clarity, depth, and width without overwhelming yourself. Left-to-Right Panning 🎚️ • Full Left/Right  – Extreme width for expansive sounds. • 50% Left/Right (“10 & 2”)  – Slightly off-centre, ideal for secondary instruments. • Centre  – Reserved for main elements such as kick, bass, lead vocals, or solo instruments. 🎛️ Front-to-Back (Depth with Reverb) To create depth easily, use three basic reverb stages : 1. Near Reverb • A subtle, short reverb that gently moves sounds just away from the listener. • Perfect for vocals, drums, and instruments you want to feel upfront and present. 2. Main Reverb (Primary Space) • The main acoustic space of your track. • Instruments here will feel naturally blended and cohesive. 3. Shimmer Verb (Distance) • A longer, brighter reverb placing sounds further back in the mix. • Great for pads, distant textures, atmospheric elements, or subtle effects. 🎧 Putting Sounds into Defined “Pockets” Once your basic sections are clear, placing your sounds becomes straightforward: • Lead Vocal  – Centre position, near reverb (close and clear). • Backing Vocals or Synth Pads  – 50% left/right with main reverb (supportive, cohesive). • Effects and Percussion  – Wider edges or shimmer verb (adding dimension, width, and interest). By keeping your mix organised into these clear pockets, you’ll quickly achieve clarity and depth without complexity-especially helpful if you’re new to mixing or want a simpler workflow. Adjusting for Complexity ⚙️ Sometimes your track will have more layers, requiring additional pockets. The same principles still apply-simply add more intermediate positions in your stereo field or depth zones. For example, if you have a busy arrangement, you might: • Introduce a 75% left/right position  for additional rhythmic or harmonic elements. • Add a medium-distance reverb  between the Near and Main reverbs to accommodate more sounds comfortably. Why This Approach Works 🎯 By visually and sonically mapping your mixing field, you naturally avoid clutter. Each sound finds its place effortlessly, resulting in a balanced mix that’s easy on the ears. You’ll achieve: • Greater clarity and definition • Effortless separation of elements • More immersive listening experience Final Thoughts: Keep It Simple & Clear ✨ The goal of visualising your mixing field isn’t to complicate your workflow-it’s to simplify decision-making. When each sound has its defined pocket, your mixes become stronger, clearer, and more intentional. Try this method in your next session and experience the difference it can make.

Saturation is one of those tools that can take a mix from flat to full of life-adding warmth, depth, and character.  The SSL Saturator  isn’t just another distortion plugin-it gives you control over how and where harmonics are added , letting you shape the tone with clean, musical saturation  that works across a mix. I’ve worked with countless saturation plugins, but SSL Saturator stands out  because of its ability to shape harmonics rather than just add distortion . It offers clean, musical saturation  while letting you choose how and where harmonics are introduced -giving you precise control  over tonal shaping. Here’s what makes it special: 🎛 Drive Control  – Adjusts the input level, increasing harmonic saturation as the signal is pushed harder. 🎚 Harmonics Selection  – Shape the saturation by focusing on 2nd-order harmonics  (smooth, tube-like warmth) or 3rd-order harmonics  (edgy, transistor-style grit). This means you can dial in a vintage valve tone or a modern, punchy character  depending on the sound you’re after. 🎛 Depth & Shape  – These controls determine how harmonics are injected back into the signal , letting you fine-tune the intensity and response  of the saturation. 🎚 Boost Mode  – Adds 6dB of headroom , preventing unwanted clipping when driving the signal harder. 🎛 Dry/Wet Mix  – Allows for parallel processing , blending the saturated and clean signals for subtle enhancement or full harmonic distortion . How I Use SSL Saturator in My Mixes Because SSL Saturator  delivers clean, high-quality saturation , it works well across a range of mixing applications . Here are some of the best ways I use it: 1. Adding Weight & Warmth to Vocals 🎙 Applying 2nd-order harmonics  at a low Drive setting adds richness and body  without introducing harshness. The Mix control  around 30-40%  works well for subtle enhancement. • Why?  2nd-order harmonics are smoother and tube-like, adding body  and warmth  without harshness. • Drive Low?  Because too much drive can make vocals sound distorted rather than enhanced. • Mix at 30-40%?  This allows the original vocal to retain its clarity while blending in harmonic richness. 2. Punchier Drums Without Overloading the Mix 🥁 For kicks and snares , 3rd-order harmonics  add punch and bite  while keeping transients intact. A small boost in the Depth control  brings out attack without muddying the low end . • Why?  3rd-order harmonics create a more aggressive, punchy tone , which enhances drum transients. • Depth Boost?  Because increasing the harmonic injection emphasises attack , giving the drums more bite  without muddying the mix. • Low-End Clarity?  If saturation is applied too heavily, kicks and snares can lose their definition-keeping it subtle ensures transients remain sharp. 3. Giving Synths & Pads More Depth 🎛 Soft-sounding pads or synths  can benefit from light harmonic shaping -especially 2nd-order harmonics  for added warmth. The Depth & Shape  controls allow me to sculpt  just the right amount of harmonic presence. 4. Enhancing the Master Bus Subtly 🎚 For a final touch , SSL Saturator on the master bus  at a low Drive setting  can gently enhance harmonic content -bringing a cohesive, professional feel  to the mix. Using Boost Mode  helps prevent clipping while preserving clarity. Final Thoughts: Why SSL Saturator Stands Out There are many saturation plugins , but SSL Saturator  delivers more than just distortion -it provides harmonic control , depth shaping , and clean analog-style warmth . Whether you’re thickening drums, adding vocal presence, or subtly enhancing a mix , this plugin adds tone without losing clarity .

Fades play a vital role in making your production sound polished  and professional . Whether you’re cutting vocals , editing drums , or looping samples , properly applied fades prevent clicks, pops,  and unnatural transitions  in your mix. In this post, we’ll explore why fades matter, how to use them effectively, and when to apply crossfades  for seamless edits. What Are Audio Fades? An audio fade  is a gradual increase ( fade-in ) or decrease ( fade-out ) in volume applied to the beginning or end of an audio clip. Fades smooth out transitions, remove unwanted artefacts, and make edits sound natural . Why Fades Matter 🔹 Prevents pops & clicks  – When audio is cut abruptly, it can introduce unwanted transients. A fade removes these harsh edges. 🔹 Creates natural starts & ends  – Audio that begins too suddenly or stops too abruptly can sound unnatural. Fades ensure smooth transitions. 🔹 Blends overlapping elements  – In layered sounds like pads or reverb tails, fades help avoid unnatural cutoffs. Types of Fades ✅ Fade-In  – Gradually increases volume at the start of a clip. Useful for soft entries, pads, and vocals. ✅ Fade-Out  – Gradually decreases volume at the end of a clip. Common for smooth endings or creating space in a mix. ✅ Short Fades  – Used on quick edits to prevent clicking at zero-crossing points. ✅ Long Fades  – Effective on sustained sounds, reverbs, and ambient textures for a natural decay. The Zero Crossing Rule A zero crossing  is the point where the waveform crosses zero amplitude (silence). Cutting audio at any other point can cause unwanted clicks or pops. Fading ensures the waveform starts and ends at zero amplitude , eliminating these artefacts. A cut waveform creating a click Fade value of 1 (Logic) to stop click 🎚 Pro Tip:  Even tiny fades (1ms) at the start and end of every audio edit can make a massive difference in clarity. Using Zero Crossing for Click-Free Edits You can turn Zero Crossing  on in your DAW, ensuring every audio edit happens at a natural point where the waveform hits zero dB- eliminating clicks and pops . This is especially useful when cutting loops, vocals, or samples, as it prevents harsh, abrupt transitions. However, the downside is that you can’t always cut exactly where you want , as the DAW will automatically snap to the nearest zero-crossing point. If you need precise edits that don’t align with a zero crossing, you may need to manually apply a short fade-in or fade-out  to smooth out the cut. 💡 Tip:  If Zero Crossing prevents you from cutting at the right spot, turn it off temporarily, make your edit, and apply a small fade to avoid clicks. 💡 Ableton Live Users:  Ableton has an Auto-Fade  function that automatically applies tiny fades to every audio clip, helping to eliminate clicks without needing manual adjustments. This is great for workflow speed, but if you need hard, precise cuts, you may want to disable it. 💡 Logic Users:  If no audio is selected and you apply a fade-in of 1 and a fade-out of 1, Logic will automatically apply those fades every time you cut an audio region. It’s a subtle trick that can instantly clean up edits  and prevent clicks. You can apply any fade value , but a value of 1  almost always works and is often enough to eliminate unwanted pops-without affecting the feel of the audio. Logic Pro’s Inspector: Full Fade Control Logic Pro’s Inspector  gives precise control over fades and crossfades , allowing you to fine-tune edits for seamless transitions. Accessing Fade Controls 1️⃣ Select an audio region  in the Tracks Area . 2️⃣ Open the Inspector  (I key or top-left button). 3️⃣ Adjust Fade In, Fade Out, Crossfade, and Fade Curve  under Region Parameters . Key Fade Parameters 🎚 Fade In/Out  – Smooths audio starts and endings. 🎛 Crossfade  – Blends overlapping regions automatically. 📂 Type  – Selects the crossfade mode  (Equal Power, Equal Gain, etc.). 📈 Fade Curve  – Shapes fades (Linear, Exponential, Logarithmic). 💡 Tip:  Clicking on the Fade In/Out  label changes it to Speed Up  and Slow Down , which causes the audio to do exactly that— it speeds up at the start  and slows down at the end  of the region. This can create interesting tape/deck-style effects or help shape transitions in a more musical way. Using Crossfades for Seamless Transitions A crossfade  is a type of fade that blends two audio clips together by fading one out while fading the next in. When to Use a Crossfade 🔹 Comping Vocals  – Stitching together multiple takes without audible gaps. 🔹 Drum Editing  – Tightening drum performances while keeping transients intact. 🔹 Looping Samples  – Avoiding clicks when looping sustained sounds. 🔹 Fixing Cut-Off Audio  – Ensuring smooth playback when swapping or moving sections. Quick Fade Tips ✅ Drag fade handles  (top corners of a region) for fast manual fades. ✅ Hold Control + Shift  to adjust the fade curve in real time. ✅ Enable Auto Crossfade  in the Inspector to instantly blend overlapping clips. 🔹 Bonus Tip : By selecting Fade In  or Fade Out , you can switch the mode to Slow Down  or Speed Up , applying a pitch-based effect instead of a volume fade-great for tape-stop/deck-stop or accelerating effects . With Logic’s Inspector , achieving clean, natural fades is fast and precise . 🚀 Choosing the Right Fade Shape Different fade curves  impact how natural the transition sounds: 🎚 Linear Fade  – A straight, even transition. Best for short, sharp cuts. 🎚 Exponential Fade  – More natural for organic sounds like vocals. 🎚 Equal Power Crossfade  – Prevents volume dips, ideal for overlapping elements like synths and pads. Pro Tips for Fades ✅ Vocals:  A short fade-in removes unwanted breaths or noise at the start of a phrase. ✅ Drums:  Short fades on drum edits prevent clicks  while keeping transients punchy. ✅ Loops:  Crossfade the start and end of a loop to avoid clicking when repeating . ✅ Guitars & Pads:  Use longer, exponential fades for smooth ambient tails. Final Thoughts Fades may seem like a small detail, but they’re essential for clean, professional-sounding edits . Whether you’re cutting vocals, chopping beats, or arranging loops, using fades ensures your mix is free of unwanted artefacts . 🎛 Next time you’re editing, don’t just cut - fade  for a polished, seamless sound! 🚀🎶