Why Track Delay Still Matters - Even in 2025 Modern DAWs are powerful— plugin delay compensation (PDC) is automatic, and everything’s supposed to line up. But if you’ve ever laid down a groove, stepped back, and felt something just wasn’t quite locking —even though the timing looks perfect—you already know: sometimes, the feel needs fixing by ear. This is where track delay comes in. Production Is Like Vinyl DJing When producing, It can be thought of like DJing with vinyl. You’re constantly nudging each sound - hats, claps, synths - by tiny amounts until the groove locks . That same instinct you use to beatmatch two records? That’s the muscle. Track delay is how you do that in a DAW. It’s not about moving whole bars or notes - it’s about milliseconds . Samples.  Just enough to shift a part forward or back until it breathes in sync with the rest. DAWs Handle Delay Compensation - But Not Always Perfectly Every plugin adds some degree of latency. EQs, compressors, saturators, and especially linear-phase processors or lookahead limiters - they all delay audio slightly. DAWs like Logic, Ableton, Pro Tools, FL Studio, and Cubase all use PDC (plugin delay compensation) to align everything again. But here’s the truth: it’s not always perfect . Sometimes, PDC rounds values weirdly . Sometimes, delay is introduced mid-chain . Sometimes, it’s just a feel thing - not  a maths thing . Even if everything is “compensated,” the groove can still feel off. That’s where your ears come in. How I Use Track Delay in My Workflow I use it on every track/song. No exceptions. If I’m building a full mixdown, I reference the metronome  and nudge parts until they feel locked to the grid. If I’m working more loosely, I nudge everything against the kick  - the heartbeat of the track. I adjust in milliseconds or samples - whatever the track needs. When you get down to sample-level nudging, you can really lock it in. And I always listen, not just look. Sometimes, though, I go too far - and that’s when I check audio against the grid, and pull it back. For example , Nudging hi-hats back by 5–10 ms can make them sit better with the groove, Pulling claps or bass slightly forward can add urgency. It’s about the feel. This is how you put the music  into it. This is how you turn separate sounds into something that moves as one . It’s a Subtle Art - But It Changes Everything You can’t just quantise your way to a groove. Sometimes the rhythm’s right, but the timing is wrong. That’s where track delay shines. When things line up just right, you’ll hear it. The groove comes alive. It feels tighter. Cleaner. More human. Less robotic. It’s one of those skills that’s invisible in the session, but unmistakable in the result. Final Thoughts Track delay isn’t just about fixing plugin latency - it’s about feel. It’s about knowing when parts are technically in time, but still not moving together . That’s why I nudge. In milliseconds. In samples. Not because the DAW got it wrong - but because it’s not just about what’s on the grid. It’s about what grooves . It’s the same ear you use when DJing with vinyl. Listening for when the pulse aligns. When everything breathes in sync. It’s not a trick - it’s a skill. And it’s one of the most powerful ways to bring your productions to life. Next time your groove feels off, try nudging by ear - not just by eye - and see how much more alive your track becomes.

Whether you’re making techno, house, ambient, or leftfield bass , understanding headroom in audio  is essential. It’s one of those foundational concepts that separates clean, powerful mixes from harsh, distorted ones - especially when your track hits club systems or streaming platforms. In audio, headroom  refers to the space between your loudest peak  and 0 dBFS - the maximum level before digital distortion (clipping) occurs. Think of headroom like your safety buffer. It’s the breathing room that keeps your mix clean, punchy, and ready for mastering. Why Headroom In Audio Matters Leaving headroom in your mix gives you: Clean peaks  without distortion or unwanted saturation Better plugin behaviour , especially with dynamics processors and analog emulations Room for mastering  to bring out the energy without hitting a digital ceiling How Much Headroom Should You Leave? The sweet spot for most modern electronic mixes before mastering: ➡️ -6 dBFS peak level  on your master output. This isn’t about making your track quiet - it’s about leaving room for mastering. You want your mix to hit hard and stay clean , without pushing into digital distortion. Headroom Targets Vary While -6 dBFS is a safe go-to, some producers leave anywhere from -3 to -9 dBFS, depending on their genre, mix style, or plugin headroom. The key is: don’t let your peaks kiss 0 dBFS. 🔄 Headroom vs. Dynamic Range Two important but different concepts: Headroom : The space between your highest peak and 0 dBFS. Dynamic Range : The distance between your quietest and loudest parts. You can have headroom and still  squash your dynamic range (which happens when over-compressing or over-limiting). That’s why this balance matters in electronic music where impact is everything. Headroom and the Loudness War: Should You Still Leave Space? During the Loudness War era, tracks were mastered as loud as possible - often at -6 LUFS and louder , with no headroom left. Everything was maximised and dynamics got lost. This used to “work” on CD and radio, but today’s landscape is different. Streaming Normalises Everything Platforms like Spotify, Apple Music, and YouTube normalise loudness  to around -14 LUFS . That means: Loud tracks mastered at -6 LUFS are turned down Dynamic tracks with lower LUFS are turned up No one “wins” by being louder - unless it also sounds better Master Type Typical LUFS Description 🟩 Streaming (Normalised) -14 LUFS What platforms like Spotify normalise everything to 🟦 Dynamic Master -10 LUFS Open, detailed sound - ideal for ambient, downtempo, cinematic 🟧 Club Master -7 to -8 LUFS Loud but punchy - for techno, house, bass music 🟥 Crushed Master -5 LUFS or louder Over-limited, distorted, typical of Loudness War era ✅ So What Should You Do? A lot of producers mix into a light mastering chain - a limiter, maybe some EQ or bus compression - to get a sense of how the track will feel when finished. That’s totally valid. The key is understanding that your mix and your master are two different stages , even if you preview them together. Try to aim for this: Leave 3–6 dB of peak headroom  if you’re exporting for mastering Aim for loudness based on context  – club tracks often need more level, but streaming rewards dynamics Use that mastering chain while mixing if it helps - just make sure you can disable it when exporting your final pre-master Check your peaks  using Youlean, SPAN, Insight, or your DAW’s true peak meter But What About Loud Mixes That Sound Mastered? You might’ve seen producers on social media pushing their master bus with nothing on it , and somehow their mix sounds as loud as a finished master. It’s real - but here’s what’s usually going on: They’ve built the mix with tight gain staging and transient control They’re using bus processing, saturation, and clipping creatively It’s often a loop section , where dynamics aren’t moving much Sometimes the output is  clipping - but it works in the context of certain genres You can get your mix loud. But it needs to be intentional. If you’re going to push volume at the mix stage, make sure you’re not sacrificing clarity, headroom, or flexibility. Quick Tips for Maintaining Headroom Don’t max out channel faders  – gain stage as you go Use a clean gain plugin  at the end of your mix chain if your levels need adjusting Control loudness in the mix – get the energy, space, and feel right Export your pre-master as a 24-bit or 32-bit float WAV , no dither, peaks around -6 dBFS 📝 32-bit float offers even more headroom and avoids clipping entirely during export - great if you’re handing off to a mastering engineer or doing additional processing later. Final Thoughts Headroom isn’t just a technical detail - it’s part of what gives your music space to breathe. In electronic production, it’s easy to get caught up chasing loudness, especially when you’re mixing for clubs or trying to stand out online. But more often than not, the tracks that really land aren’t the loudest - they’re the ones that feel right . Ones that hit hard without sounding crushed. That move with intention, not noise. Leaving headroom doesn’t hold your mix back - it sets it up to go further.

When you listen to vintage drum machines like the TR-808 , TR-909 , or LinnDrum , there’s a distinct quality to the hi-hats - crisp, characterful, and somehow… not overly bright. That’s no accident. It’s the result of built-in top-end roll-off , a technical limitation (and now, a beloved aesthetic) of the gear that shaped electronic music. In this post, we’re diving into: How and why classic drum machines roll off the high end A detailed comparison of their hi-hat frequency profiles What’s different in modern gear How to replicate vintage hat tone in today’s mixes Why Vintage Drum Machines Roll Off the Top End Most early drum machines relied on low sample rates , bit limitations , or simple analog filtering . These choices resulted in a natural drop-off in frequency response - especially for hi-hats and cymbals. Where modern hats often extend cleanly to 18–20 kHz, vintage hats tended to fade out around 10–12 kHz. The result? A sound that feels tight, controlled, and never harsh. This wasn’t just an EQ decision - it was baked into the circuitry . Classic Roland & Linn Drum Machines: Hi-Hat Frequency Comparison Here’s a breakdown of the most influential machines, focused on their hi-hat top-end characteristics : Drum Machine Source Type Peak Energy Roll-Off Starts Nothing Past Tonal Notes TR-606 Analog (square + noise) ~6–9 kHz ~10–11 kHz ~12 kHz Lo-fi, sizzly, grainy TR-808 Analog (6 square osc) ~5–7 kHz ~9–10 kHz ~12 kHz Metallic, warm, diffused TR-909 6-bit PCM + analog filter ~6–7 kHz ~6–8 kHz ~12 kHz Crisp, punchy, controlled TR-707 8-bit PCM ~7–9 kHz ~11–12 kHz ~13 kHz Bright, digital bite TR-727 8-bit PCM (Latin) ~7–9 kHz ~10–11 kHz ~12 kHz Thinner, noisier than 707 TR-505 8-bit PCM ~5–7 kHz ~9–10 kHz ~11 kHz Thin, gritty, narrow TR-626 8-bit PCM ~6–8 kHz ~11 kHz ~13 kHz Cleaner digital with subtle harshness LinnDrum 8-bit PCM ~7–9 kHz ~10–11 kHz ~12 kHz Crunchy, warm, mid-heavy What About Modern Drum Machines? Modern gear - whether it’s a Roland TR-8S, Elektron Rytm, Maschine+, or DAW-based sampler - does not roll off the top end  by default. Most offer full 20 kHz clarity  or higher, with no filtering unless added manually. Modern Drum Machine Top-End Roll-Off? Notes Elektron Rytm ❌ None (unless filtered) Analog flavour, but full bandwidth Roland TR-8S ❌ (emulated if desired) Models vintage kits, but playback is clean Maschine+/Battery ❌ None Full-range, depends on sample Arturia DrumBrute ⚠️ Slight analog roll-off Naturally softer top end DAW Samplers ❌ None Clean unless processed Want That Vintage Hi-Hat Feel? Use This Cheat Sheet Here’s how to dial in that vintage feel using filters and EQ: Target Sound LPF Setting Extra FX Notes TR-808 LPF @ 9.5 kHz, 12 dB/oct Light tape or tube sat Focuses energy around 6 kHz TR-909 LPF @ 7.5 kHz, 12 dB/oct Compression / transient softening Tames digital glare TR-606 LPF @ 10.5 kHz, 6 dB/oct Bitcrush or vinyl sim Gritty and noisy feel TR-707 LPF @ 11.5 kHz, 6 dB/oct 8-bit aliasing Brighter but crunchy TR-505 LPF @ 10 kHz, 12 dB/oct Bit reduction Dry and lo-fi LinnDrum LPF @ 11 kHz, 12 dB/oct Soft tape hiss Crunchy midrange tone Pro Tip : Add a small boost (1–2 dB) near the energy peak (e.g., 6.5–7 kHz) before  the filter for extra realism. Why It Matters Understanding hi-hat top-end roll-off  isn’t just vintage geekery. It’s a way to: Control harshness  in your mix Match the tone of iconic records Add depth without EQing everything to death In a world of ultra-bright samples and surgically clean plugins, recreating these natural limitations  can give your production more warmth, focus, and personality. Bonus Insight: Even the Pultec Rolls Off the Top It’s not just drum machines. Even the iconic Pultec EQP-1A , famous for its silky highs, doesn’t have a perfectly flat response up to 20 kHz. While the high-frequency boost  section lets you dial in “air” at 10, 12, or 16 kHz, the circuit itself naturally starts to roll off above ~16–18 kHz , depending on the model. This isn’t a flaw - it’s part of what makes it sound so smooth and musical . The gentle slope softens transients and keeps brightness from becoming brittle. Just like vintage drum machines, the Pultec shows that limiting the top end can sound more elegant than boosting it endlessly . Final Thoughts If your hi-hats sound harsh, plastic, or just “too new” - try rolling off the top end. Not with a brickwall filter, but with a gentle slope and a little intention. Sometimes, the magic isn’t in what’s added… it’s in what’s missing . Drum Machine Stats Roland TR-606 Hi-Hat Frequency Facts • Sound Source : Square wave bursts + analog noise. • Filter Circuit : High-pass and band-pass analog filtering. 🎧 Frequency Characteristics : • Main Frequency Range: ~6–9 kHz • Energy Peak: ~7–8 kHz • Roll-Off Starts: ~10–11 kHz • Nothing Past: ~12 kHz 🔎 Tonal Notes : • Sizzly and lo-fi with a noisy decay. • Narrower and more “gritty” than 808 or 909. • Good for industrial, minimal, and electro sounds. Roland TR-808 Hi-Hat Frequency Facts • Sound Source : Six square wave oscillators summed and filtered. • Filter Circuit : Band-pass and high-pass filters. 🎧 Frequency Characteristics : • Main Frequency Range: ~5–7 kHz • Energy Peak: ~6 kHz • Roll-Off Starts: ~9–10 kHz • Nothing Past: ~12 kHz 🔎 Tonal Notes : • Metallic and diffused, without a sharp pitch. • Very little high-end sheen. • Warm, vintage, and instantly recognisable. Roland TR-909 Hi-Hat Frequency Facts • Sound Source : 6-bit PCM cymbal sample (with analog band-pass filter). • Filtering is part of its analog signal path. 🎧 Frequency Characteristics : • Main Frequency Range: ~6–7 kHz • Energy Peak: ~6.5 kHz • Roll-Off Starts: ~6–8 kHz • Nothing Past: ~12 kHz 🔎 Tonal Notes : • Crisp, snappy, and mid-focused. • No real brightness or shimmer. • Controlled and punchy with no harshness. Roland TR-707 Hi-Hat Frequency Facts • Sound Source : 8-bit PCM samples of real cymbals. 🎧 Frequency Characteristics : • Main Frequency Range: ~4–12.5 kHz • Energy Peak: ~7–9 kHz • Roll-Off Starts: ~11–12 kHz • Nothing Past: ~13 kHz 🔎 Tonal Notes : • Bright, digital bite with aliasing grain. • More “modern” than the 909 in feel. • Punchy but harsh if not tamed. Roland TR-727 Hi-Hat Frequency Facts • Sound Source : 8-bit PCM samples from Latin percussion recordings. 🎧 Frequency Characteristics : • Main Frequency Range: ~5–11.5 kHz • Energy Peak: ~7–9 kHz • Roll-Off Starts: ~10–11 kHz • Nothing Past: ~12 kHz 🔎 Tonal Notes : • Thinner and grainier than 707. • Noisy and brittle. • Useful for layered Latin textures or retro edge. Roland TR-505 Hi-Hat Frequency Facts • Sound Source : 8-bit PCM samples (shorter and grainier than the 707). 🎧 Frequency Characteristics : • Main Frequency Range: ~4–10 kHz • Energy Peak: ~5–7 kHz • Roll-Off Starts: ~9–10 kHz • Nothing Past: ~11 kHz 🔎 Tonal Notes : • Narrow and dry with digital grit. • Feels lo-fi and industrial. • Lacks air, but cuts in the mids. Roland TR-626 Hi-Hat Frequency Facts • Sound Source : 8-bit PCM samples, digitally cleaner than 505. 🎧 Frequency Characteristics : • Main Frequency Range: ~4–12 kHz • Energy Peak: ~6–8 kHz • Roll-Off Starts: ~11 kHz • Nothing Past: ~13 kHz 🔎 Tonal Notes : • Clean but still digitally cold. • Subtle harshness in the high mids. • Versatile in lo-fi and early ‘90s-style tracks. LinnDrum Hi-Hat Frequency Facts • Sound Source : 8-bit PCM samples of real acoustic cymbals. 🎧 Frequency Characteristics : • Main Frequency Range: ~5–10.5 kHz • Energy Peak: ~7–9 kHz • Roll-Off Starts: ~10–11 kHz • Nothing Past: ~12 kHz 🔎 Tonal Notes : • Crunchy and warm with a midrange focus. • Slight aliasing adds character. • Sits well in funk, electro, and early pop. Bonus - E-mu SP-1200 Hi-Hat Frequency Facts • Sound Source : User-loadable 12-bit PCM samples, played back at 26.04 kHz. 🎧 Frequency Characteristics : • Main Frequency Range: ~5–8 kHz • Energy Peak: ~6–7.5 kHz • Roll-Off Starts: ~9–10 kHz • Nothing Past: ~11–12 kHz 🔎 Tonal Notes : • Dark, crunchy, and alias-heavy. • Hi-hats sound boxy but punchy. • Defines golden-era hip-hop and gritty house.

When you’re deep into music production, surrounded by thousands of drum samples and armed with tools like XLN Audio’s XO or Atlas, it’s easy to get lost in the possibilities. You can build kits from scratch, layer endlessly, and audition sounds from every genre and era. But here’s the thing - there’s still something powerful, even essential, about the classic pre-made drum kits . Classic and Modern Drum Machines: More Than Just Sounds I’m talking about the heavyweights - the foundations: Roland’s 606,707, 727, 808, 909 . The gritty magic of the E-mu SP-1200 and SP-12 . The raw, punchy feel of the Oberheim DMX . These weren’t just random collections of kicks and snares - they were cohesively designed instruments . Every sound was tuned, filtered, and shaped to complement the others. Each machine had a sonic fingerprint, and producers built entire genres around them. But this idea didn’t stop in the 80s and 90s. Fast forward to today and we’re seeing a new wave of drum machines  that continue this design-first philosophy. Machines like the Elektron Analog Rytm , Arturia DrumBrute , Roland TR-8S , and Ableton’s Drum Racks  follow in those footsteps. They don’t just offer sounds - they offer systems . Sounds that are shaped to interact well, designed with shared dynamics and harmonic ranges, often paired with sequencing features that enhance their rhythmic cohesion. Take the Analog Rytm  - its analog circuitry gives the whole kit a unified warmth, and its built-in compression and distortion let you shape the whole kit as one. Or the TR-8S , which modernises the 808/909 lineage with sample layering, yet still provides that classic internal glue. Even plugin-based machines like Punchbox  or XO  are often built around curated kits that share sonic DNA. What ties all these machines together - vintage or modern - is that their sounds are not random . They are curated ecosystems , designed to help you stay in the creative flow, not stuck in the sample browser abyss. Designed for Cohesion Each classic drum machine came with a carefully curated set of sounds. The kick, snare, hi-hats, toms - all processed, tuned, and shaped to sit well together. They weren’t just sonically cohesive; they were culturally cohesive  too. The SP-1200’s gritty, low-bit samples weren’t just a technical limitation - they gave birth to an entire aesthetic in hip-hop. The 909’s punchy kick and sharp hats defined the sound of house and techno. These kits weren’t built for flexibility. They were built for character . And that character is still just as relevant today. The Efficiency of Pre-Made Kits Building your own kit from scratch is a great exercise - especially if you’re chasing a unique sound. But it takes time. Matching the tuning, transients, tails, and frequency profiles of individual drum samples across a kit can be slow and often distracting from actually making music. Pre-made kits, especially the classic ones, give you a fast track to something that works . When you’re in a creative flow, that matters. Why These Kits Still Work There are a few reasons these iconic kits hold up: Shared sonic space : The sounds were designed with shared EQ curves and dynamic characteristics, so they sit well in a mix. Complementary envelopes : The attacks, decays, and sustain lengths of each sound don’t fight each other. Instant vibe : Whether it’s the crunch of the SP-1200 or the bounce of the 808, these kits carry decades of musical identity. Cultural reference points : Using a 909 kit doesn’t just sound good - it says something . It connects you to a lineage. Modern Tools Built on Pre-Made Drum Kits With modern tools like XO, you’re able to organise, explore, and audition thousands of drum sounds visually and sonically. But pairing this power with an understanding of what makes a classic kit work  can be game-changing. Rather than starting from total chaos, you can use the principles behind classic kits to guide your choices: tonal balance, envelope design, sonic glue. And if you’re ever stuck - there’s nothing wrong with starting with the full SP-1200 kit, tweaking it a little, and building from there. Final Thought In an age of endless options, constraint is power. Classic and modern drum kits are more than nostalgia - they’re a shortcut to cohesion. They remind us that sometimes, a well-chosen limitation can be the spark  that gets the track moving.

If you’ve ever wanted to add space to a mix without losing punch or clarity, Soundtoys’ Spaceblender  might just be your new favourite plugin. I’ve been using it for a few weeks now, and to put it plainly - I’m loving it. What is Soundtoys Spaceblender? Spaceblender is Soundtoys’ new spatial processor, designed to blend reverb, delay, and width in a way that feels organic and musical. It’s not just another reverb or stereo widener - it’s more like a spatial sculptor , giving you fine control over the depth and dimension of your sounds. My Go-To Setting: The “Tight Space” What’s been working wonders in my mixes is a tight space setting - one of the more compact and intimate environments within the plugin(shown above). It doesn’t sound washy or artificial. Instead, it delivers a premium-sounding spatial bed that just sits right in the mix. It’s like putting a sound in a purpose-built space that was designed for it. Whether I’m placing a snare, tightening up vocal ambiance, or tucking synths into their own pocket, this setting adds dimension without smearing the transients or muddying the lows. It’s subtle, but you feel  it when it’s gone. ✨ Why It Stands Out Top-tier spatial quality  – The algorithm just sounds polished. Intuitive blending controls  – You can push or pull the space around your sound like you’re moving it in 3D. Doesn’t get in the way  – Perfect for clean mixes that still need a touch of depth. How I’m Using It in My Mixes Right now, I’m using it: On drum busses  – To create a tight, punchy room feel. On vocals  – To add intimacy and depth without long, obvious tails. On synth layers  – To give dimension and stereo width without pushing them too far behind the beat. Across the mix  – In a subtle way that blends everything together without washing anything out. Final Thoughts Spaceblender feels like the kind of tool you reach for when you want something just right . Not hyped, not overly lush—just clean, modern, and mix-ready . If you’re after high-quality spatial control, this is one to try. 🔗 Check it out on Soundtoys

Reverb and I have history. There have been times when I’ve been happily swimming in lush, spacious mixes - and others when I’ve sat staring blankly at my speakers, wondering what exactly just went wrong. It’s a tricky effect: it can transform a track or bury it, sometimes within seconds. Over the years, through experimenting with countless hardware units and plugins, I’ve finally landed on an approach that consistently works - and I’m happier with my reverbs now than ever before. As I continue fine-tuning my process, I wanted to share where I’ve gotten to so far... Start by Setting the Room The most important step is deciding on the space - the environment I want my track to exist in. Rather than treating reverb as a sprinkling of magic dust over certain elements, I approach it as placing the whole track in one coherent world. I send everything  in the mix to a single reverb aux/bus at 0dB. The actual send level doesn’t matter too much, as long as everything is consistent going in and a decent level. This sets up the initial feeling, or mood, of the track. Think of it as the whole track is suspended in the space. I keep a shortlist of go to reverbs: • Lexicon reverbs  (always musical and warm) • Valhalla   Shimmer (for my big distance reverb) • PhoenixVerb by Exponential Audio  (clean and beautifully transparent) • And even some stock DAW plugins  (often underrated) • Chroma Verb  for Ambient spaces I remember a guest on Pensado’s Place saying during “Batter’s Box” that reverb is “the feeling in the track,” and that’s exactly it. At this stage, I’m not trying to noticeably “hear” the reverb - I’m looking to feel the track settle naturally into a space. Finding Suspension Typically, I start off with a room or plate reverb , pulling the effect's aux fader all the way down. Then, slowly, bringing the fader up until the entire track gently sits in the chosen space. I once read (I think it was Attack Magazine) that sounds in reverb should feel like they’re “suspended”.  That stuck with me - it’s exactly what I’m looking for at this point: a cohesive, floating feel. If rooms or plates don’t quite hit the mark, I’ll experiment with halls and chambers instead. It’s finding that intangible moment when the track feels right. Adjusting the Reverb Balance Once I have the initial space dialed in, I fine-tune the balance. I’ll bring down the kick and bass sends  until their obvious reverb tails vanish. Not completely dry, I still want them subtly present in the same space. Just enough so they feel connected. From there, placing individual elements becomes intuitive: • Want a sound to sit further back ? Push a little more send. • Want it to move closer ? Ease it off. The goal is to have all the elements in the mix present in the space, creating a cohesive starting point. I also EQ on the reverb aux, gently rolling off the highs and lows before the reverb  itself. High and Low Pass filters on the channel before Reverb The EQ on the channel before the Reverb Soloing the reverb channel occasionally helps me understand exactly where these roll-offs place the reverb in the overall picture and feel of the track. Layering Spaces One reverb can be enough, but layering spaces can really enhance depth. I typically end up using two or even three reverbs to build dimension: 1. Primary Room (Room or Plate):  Your main environment—this is the “glue”. 2. Secondary Space (Larger Reverb):  Adds extra depth, complexity, and emotion. 3. Specialty Space (Valhalla Shimmer):  My secret weapon, adding atmospheric texture and distant depth. For the second and third reverbs, I narrow the stereo width slightly, creating the illusion of distance - just like perspective in a painting. The further away the space feels, the narrower I pan it . I find this helps the biggest, most distant reverb naturally sit behind everything else, reinforcing a sense of depth and distance. Should Shimmer Be Mono or Stereo? Mono Shimmer – When It Makes Sense mono the Shimmer  if: You’re using it as a subtle background haze  rather than a featured element You want the far verb to feel distant but centred , like it’s coming from behind  the mix, not around it You’re already using lots of stereo width elsewhere  (pads, hats, stereo FX) You’re mixing for vinyl , club systems, or mono compatibility Mono shimmer can give a ghostly, distant feel , like it’s echoing down a tunnel - especially effective in minimal techno or dub-influenced styles. Stereo Shimmer – When It Shines Shimmer really comes alive  in stereo if: You want it to expand the width and height  of the mix You’re using it on melodic or atmospheric elements  that benefit from a wide halo You’re layering it with a mono main reverb , and you want depth and  stereo space You’re looking for a surreal, dreamy, cinematic quality Stereo shimmer becomes part of the emotional architecture  of the track - creating a sense of air, lift, and float. It’s About Feel, Not Formula Ultimately, the key takeaway here isn’t a technical rulebook; it’s about feel. Approaching reverb in this way - placing the entire track in a unified, intentional space rather than just applying it piecemeal - changed everything for me. Reverb isn’t just another effect; it’s where the track lives. Get that right and everything else falls beautifully into place.

What Is Oversampling? Oversampling is the process of running a plugin or audio processor at a higher sample rate than your project’s default. So if your DAW is set to 48kHz, a plugin with 2x oversampling processes audio at 96kHz internally. The idea is to improve sound quality by reducing unwanted digital artefacts - especially those caused by non-linear processes like distortion, saturation or analog-style emulation. How Oversampling Works (Under the Hood) Oversampling isn’t just “running things faster.” Under the hood, it typically involves three steps: Upsampling  – The signal is resampled to a higher rate. Processing  – The plugin does its work at that higher rate (e.g. distortion, EQ). Downsampling  – The result is returned to the original project rate, but not before passing through an anti-aliasing filter  that removes high-frequency junk that could fold back into the audible range. It’s this full cycle - upsample, process, downsample cleanly - that helps prevent aliasing while preserving clarity. Why Use Oversampling in Music Production? The main reason to oversample is to avoid aliasing. Aliasing: The Culprit Aliasing happens when high-frequency content folds back into the audible range during digital processing. It creates harsh, non-harmonic artefacts that can clutter a mix - especially noticeable when pushing distortion, bitcrushing or intense EQ curves. This happens because of the Nyquist limit - the highest frequency a digital system can represent, which is half your sample rate . So at 44.1kHz, your Nyquist limit is about 22kHz. Any content above that folds back into the audible range as false frequencies. Oversampling  gives the plugin more headroom by temporarily raising the Nyquist limit. That way, any high-frequency junk stays out of the way during processing - and can be filtered out before the signal is brought back down. The result? A cleaner, more accurate sound. What About Quantisation Noise? Oversampling can also help reduce quantisation noise - caused when a smooth signal gets rounded to the nearest digital value. In modern 32-bit float workflows, quantisation noise is virtually a non-issue. The dynamic range is so massive that those micro-errors are inaudible in most cases. Still, if you’re working with older hardware, exporting to 16-bit formats, or stacking aggressive digital processing, oversampling can still play a helpful role. When Should You Oversample? ✅ Use Oversampling For: Saturation and distortion plugins  (where aliasing is most obvious) Analog-modeled compressors or EQs Mastering limiters or clippers High-frequency synths or instruments prone to aliasing ❌ Probably Skip It For: Basic utility plugins  (e.g. gain, pan, volume control) Linear phase EQs  (which may already oversample internally) Low CPU sessions or fast mixdowns where aliasing isn’t audible The Tradeoff: CPU Load vs. Clarity Oversampling can sound great - but it eats CPU. Some plugins let you choose the oversampling rate (e.g. 2x, 4x, 8x), while others adjust automatically depending on your bounce settings. Pro tip:  Use lower oversampling while producing, then turn it up for mixdowns or final bounces. Many DAWs or plugins have “render” settings that only apply higher oversampling during export. How to Spot Oversampling Options Most modern plugins label their oversampling in the UI: “HQ” or “High Quality” buttons Drop-down menus like: Off / 2x / 4x / 8x “Render” vs “Real-Time” quality settings If in doubt, check the manual - it’s often buried in the small print. Does Oversampling Always Sound Better? Not always. Some oversampling algorithms are better than others, and in some cases, you might prefer  the grit or aliasing of the raw signal (especially in lo-fi or experimental tracks). Use your ears and test it in context. Final Thoughts Oversampling in music production  isn’t about being technical for the sake of it. It’s about understanding where digital tools can fall short - and knowing how to work around that when needed. Like most things in mixing, it’s not about always using more - it’s about knowing when .

Back in 1993, I was just 21, living with my parents in Rotherham, and completely immersed in making music. My setup was simple: a Roland W-30, a DR-550 drum machine, and a borrowed Juno 106. That was all I needed to create a track that would unexpectedly find its way onto the dance floors of one of the most legendary clubs in the world. I started by sampling some drums, programming a bassline, and laying down a basic structure. At the time, I had no formal production training - just years of DJing and an instinct for what worked on the dancefloor. The next day, I played the rough idea at a local studio I used to frequent, and fate stepped in. Pianist Pete LeVine from LA and a local guitarist (whose name I never even caught) heard it and immediately wanted to contribute. Pete laid down some keys, and the guitarist came up with a hook line that became one of the defining features of the track. Armed with those new elements, I borrowed a Korg M1, went home, and got to work. That same night, I watched Top of the Pops  and caught a Brothers In Rhythm  remix, which inspired the arrangement and feel of the track. By morning, The Iron Hamma  was finished. From Bedroom to Pressing Plant At the time, I didn’t know much about mixing or mastering - I just knew that the track needed to go through the process. We booked Rob Gordon  (one of the key figures behind Warp Records) at Fon Studios in Sheffield  to mix it. After an 18-hour session that ended at 5 AM, the track was done. Later that week, I drove straight to Nick Webb at EMI  in London to get it mastered. With the final master in hand, the next step was getting it pressed. Without any knowledge of how distribution worked, we sent the master to PR Records  and pressed 500 copies under our newly founded label, Beeswax Records . Then, we did it the old-school way - jumped in the car and traveled across the North of England, dropping records off at shops, some buying them outright, others taking them on sale-or-return. That, I thought, was that. The Hacienda Calls At the time, I was DJing every Friday night as a resident at Rise in Sheffield - a 1,500 - capacity venue (The Leadmill) that was packed every week and voted #1 Club in the UK  by DJ Mag. My set ran from 9:30 - 11 PM , warming up for a guest DJ before closing the night from 1 - 3 AM . Saturdays were all about clubbing, and our go-to spot at the time was The Jam Factory in Sheffield - another iconic venue. Then, completely out of the blue, Virgin Records  called me. “You need to get to the Hacienda  this Saturday night. Graeme Park  has been playing your track for seven weeks straight, and it’s absolutely blowing the roof off.” I could hardly believe what I was hearing. Graeme Park? The Hacienda? My bedroom-made track? It didn’t seem real. That weekend, our crew headed to Manchester. We’d been to The Hacienda  plenty of times before, and our spot was always to the left of the stage - a prime place to absorb the energy of the club. That night, Tom Wainwright  warmed up and then Graeme Park took over. The place was electric, pure Hacienda prime . And then… I heard it. The bassline of The Iron Hamma  started rolling in, and the club erupted . It was surreal. A packed Hacienda, one of the world’s biggest DJs, and my track absolutely shaking the foundations . I stood there in disbelief, overwhelmed with a mix of numbness and joy. That moment will stay with me forever. A Chicago Label Comes Knocking A couple of months later, I got another unexpected call - this time from Cheese , a Chicago house legend and one of the Hot Mix 5  engineers. He was launching his new label, Mindfood Records , and had heard The Iron Hamma  at The Hacienda. He told me he had been advised to go to Manchester to hear it in the club, and after seeing the crowd’s reaction, he wanted to sign it . For someone like me - living in Rotherham, making music in a tiny bedroom - having a label in Chicago  (the birthplace of house music) want to sign my track was next level . We hit it off straight away, chatting for days and building a solid connection. Then came my first record contract . It was also my first time dealing with music lawyers . I reached out to a lawyer in my hometown, who immediately told me I needed a music industry specialist . So, I found one in London , and after weeks of back and forth, they advised me not to sign the deal . That was a gut punch. I had already built up £1,000 in legal fees , and now my lawyer was telling me to walk away. But Cheese? He was genuine , and I trusted him. He reassured me that he was offering a fair deal , and despite my lawyer’s warnings, I went with my gut and signed the contract . I’ve never regretted it. Cheese looked after me, and our partnership led to many more releases . To this day, he remains one of my closest friends - he was even my best man at my wedding . Lessons Learned What started as a simple idea in a spare bedroom turned into something far bigger than I could have imagined. The Iron Hamma  led me to The Hacienda, to Graeme Park’s setlist, to a Chicago record deal, and ultimately played a pivotal role in shaping my career. I share this story to say: you just never know where your music will take you . It’s easy to overthink, second-guess, and wait for the “perfect” moment - but sometimes, you just need to trust the process . Keep creating, keep putting your work out there, and stay open to opportunities. Because the track you make today might just end up shaking the foundations of a legendary club tomorrow.

The Timeless Appeal of the Pultec EQ: A Personal Journey My fascination with the Pultec EQ began in 2006 when I first learned about its legendary status. This EQ, originally designed in the 1950s, had achieved an almost mythical reputation. I was captivated - how could something so old still be so revered in modern music production? My curiosity led me to explore plugin versions like Waves’ Puigtec EQ, developed with mix legend Jack Joseph Puig, and UAD’s Pultec EQ. These plugins gave me a glimpse of the magic, and for the first time, I began to understand why the Pultec was so celebrated. At first, I thought the plugins were fine. They brought a new clarity to the high end that I hadn’t experienced before, but they didn’t completely win me over. At the time, I was primarily using Logic’s built-in EQ, which felt familiar and reliable for my needs. Then in 2010, Pensado’s Place  hit the scene, and everything changed. In almost every episode, engineers raved about the Pultec EQ’s ability to shape low-end frequencies, particularly for kicks and bass. They emphasised the famous “boost and cut simultaneously” technique, which works by boosting the low end while cutting at the same time, resulting in a clean, tight, and balanced low-frequency response. I revisited my Waves and UAD Pultec plugins, applying what I had learned, and suddenly everything clicked. I could hear the magic of the Pultec in action. It wasn’t just an EQ - it was a tool that could transform the foundation of a track. My desire for the real thing, the hardware Pultec, started to grow. The Klark Teknik EQP: Tubes Change Everything In 2017, Klark Teknik released their EQP, a budget-friendly hardware version of the Pultec. Unlike the plugins, this had actual tubes, a key part of the original Pultec’s design. For me, this was huge. Tubes are known for their warmth and musicality, and I knew I had to get my hands on one-or, ideally, two. After a long search (and a fair bit of patience), I managed to snag a pair of EQPs on eBay, brand new and unopened. For months, they seemed impossible to find in stores-either out of stock or unavailable altogether - which only made finally getting my hands on them even more thrilling. When they finally arrived, it felt like Christmas morning. I connected them to my RME interface, set them up as external plugins in my DAW, and started experimenting. The difference was immediate. The hardware brought warmth and colour that the plugins struggled to match. Kicks and bass were solid, vocals gained a newfound presence, and the tubes added a richness that elevated my productions. They just worked. For years, those EQPs became an integral part of my workflow, and the tactile experience of working with real hardware was both rewarding and inspiring The Bettermaker Passive EQ: A Modern Classic In 2024, Bettermaker released their Passive EQ, a modern take on the Pultec with additional features. At the time, I was subscribed to Plugin Alliance, so I downloaded it immediately. Bettermaker had already earned a reputation for their high-quality gear, and this plugin was no exception. The Bettermaker Passive EQ blew me away. It captured the essence of the Pultec while offering modern enhancements. The low end was punchy and clean, the Valve/Heat switch added a subtle gloss, and the Output Filter became my go-to tool for high and low cuts. It felt like the best of both worlds - the Pultec sound with modern flexibility. The Bettermaker impressed me so much that I decided to sell one of my Klark Teknik EQPs, keeping the other specifically for vocals. The plugin was that good - it delivered the sonic qualities I loved in the hardware while streamlining my workflow. The Pultec Legacy Lives On Owning hardware with real tubes was a significant moment for me. By this point, I already had a solid understanding of sound and production, but the tactile experience, warmth, and character of the Klark Teknik EQPs added a new dimension to my work. They reinforced what I knew about shaping sound while offering unique tonal qualities. That said, tools like the Bettermaker Passive EQ have shown me that modern technology can often rival, and sometimes even surpass, hardware in both practicality and sound quality. I’ve yet to work with an original Pultec, but the legacy of this iconic EQ continues to inspire me. Whether it’s through plugins or hardware, the Pultec’s ability to add weight, clarity, and musicality to a track remains unmatched. 🔗 Passive EQ by Bettermaker

When the Universe Has Your Back: A Tale of Reverb, Challenges, and UAD Pure Joy Sometimes, the universe works in mysterious ways. A few weeks ago, I found myself staring down the daunting challenge of opening an old Am.Is. project on a new computer. My current setup is relatively similar to my old one, but over the past decade, I’ve bought and sold a lot of hardware. I was about to feel the consequences. On opening the project, I discovered I’d used the Strymon Big Sky  as my main reverb - a defining element of the track. Listening to the original bounce, it was clear the Big Sky wasn’t just a subtle effect; it was the glue holding the entire mix together. My heart sank. Buying another Big Sky pedal just to finish this track wasn’t realistic, so I had to figure out an alternative solution to recreate its magic. The Hunt for the Perfect Reverb I went through my arsenal of reverb plugins, tweaking and testing, trying to match the lush sound of the Big Sky. Nothing quite hit the mark. Frustration set in until I remembered something: Strymon had released a plugin version of Big Sky . Intrigued, I checked out their site. Seeing the £199 price tag made my heart sink again, but then I noticed they offered a 7-day free trial . At least this gave me a chance to try it out and determine how essential it was to the track. After downloading the plugin, I began exploring the settings. And there it was - the sound I’d used in the original project. It turned out the Plate reverb setting  was the magic ingredient. Clean, clear and lush, the Big Sky plugin delivered the same sonic character I remembered from the pedal. In that moment, I fully appreciated just how incredible this reverb truly is. A Christmas Miracle from UAD Although I was relieved to have found the solution, I knew the free trial would only buy me time. Purchasing the Big Sky plugin wasn’t in the cards right now. That’s when the universe stepped in again. The week before, UAD had gifted their Pure Plate Reverb  as part of their Christmas giveaway. With the original Big Sky preset being a plate reverb, I thought, Why not give it a shot?  I loaded UAD Pure Plate  into the project, set up the aux sends and compared it side by side with the Big Sky plugin. To my surprise and joy, the two were almost indistinguishable  to my ears. The Pure Plate effortlessly captured the lush, smooth character I was chasing. Not only was my heart lifted, but the pressure to buy the Big Sky plugin disappeared. Lessons Learned This experience taught me two important lessons. First, there’s almost always a way to solve a creative challenge if you’re willing to experiment and explore. Second, the universe sometimes has a funny way of offering what you need, just when you need it. The UAD Pure Plate  not only saved the day but reminded me of the joy and ingenuity that comes with music production. While the Big Sky remains an incredible piece of gear, the Pure Plate has proven itself to be more than capable of stepping into its shoes. UAD Pure Plate. UAD Pure Joy. 🔗 Pure Plate by UAD

Moving from a hybrid setup  to a fully laptop-based production environment  has been a journey filled with adjustments , challenges , and new discoveries . One of the biggest hurdles? Finding the perfect in-the-box reverb -something that could come close to the depth , warmth , and musicality  of the hardware I’d used for years. For a long time, I experimented with various plugins, searching for that familiar reverb sound  I had grown accustomed to. Some would seem right at first, but after extended use, they lacked the depth or character I was used to hearing. No matter what I tried, I couldn’t quite replicate the sound I knew . The Endless Reverb Experiment Over time, I’ve put countless plugins  through their paces: 🎛 SSL X-Verb 🎛 Valhalla 🎛 UAD EMTs 🎛 Lexicon PCM, MPX & LXP 🎛 PhoenixVerb 🎛 Various stock plugins Each of them brought something to the table - and I still use most of them regularly , depending on the session. But none quite gave me that feeling  I used to get with the right outboard reverb - until recently. The Bettermaker BM60: A Reliable Workhorse For the past year, the Bettermaker BM60 -based on Lexicon’s PCM 60 -became my go-to . It gave me that familiar , classic space  I’d grown up with. I was surprised to learn it’s based on impulse responses , because it still felt alive in the mix - rare  for IR-based reverbs, which can often feel static  over time. Then Came Quantec When Logic Pro introduced the Quantec Room Simulator  in late 2024, I tried it out on a whim. 💡 And I was seriously impressed . The space  it created, the clarity , the blend - it had the feel of high-end hardware . It sat in the mix  without needing constant adjustment. Musically , it just worked. For a moment, I thought: this might be it . It felt like the final piece  of the in-the-box puzzle . But Then-A Phase Issue After some extended use, I started noticing a subtle but persistent phase issue -something I hadn’t encountered before. I’m not sure if it was something up with the project or session , but the issue was clearly coming from the Quantec aux . Once I heard it, I couldn’t un-hear  it. It knocked my confidence  in the plugin slightly - especially when working on finely balanced mixes . Since then, I’ve been more cautious , using it selectively  rather than as a default. Still in the Toolbox I still rate the Quantec highly - it brings something unique , and I continue to use it on the right projects . But it’s no longer the sole answer  I thought it might be. These days, I’m mixing it up between the Quantec , BM60 , Valhalla , PhoenixVerb , and UAD’s Pure Plate . Each one has a role , depending on the space  I’m trying to create. Final Thoughts The search for “the one”  may never fully end - but I’m much closer to having a set of tools I trust . And if you’re in the market for a plugin that gets remarkably close  to high - end hardware reverb, the Quantec Room Simulator  in Logic Pro is still worth your time-just keep an ear out . 🔗 Quantec Room Simulator – Classic Reverb & Space Emulation

Since acquiring Slate’s VSX Headphone Monitoring System last year, my confidence in producing mixes that translate well across various listening environments has significantly increased. One of the standout features of the VSX system is its capacity to emulate multiple listening environments, allowing me to assess my mixes in contexts ranging from high - end studios to everyday settings. This versatility is invaluable for ensuring that a mix sounds balanced and impactful, whether it’s played in a professional studio or on consumer-grade equipment. However, I have noticed that prolonged use in a single virtual environment can lead to a sense of auditory sterility. To counteract this, I find that periodically switching to a different virtual space within the VSX system helps refresh my perspective and maintain a dynamic mixing experience. The accuracy of the emulations is particularly impressive. For instance, the Avantone/Mixcube setting within Slate’s virtual room closely mirrors the response of my physical Mixcube monitor, providing a reliable reference point. Similarly, the club setting offers an immersive experience that places me directly on the dance floor, enabling me to gauge how a track will resonate in a live venue. Even the various headphone emulations become comfortable and intuitive after a short period of adjustment, offering additional perspectives that are crucial for fine - tuning a mix. Transitioning between these virtual environments and my actual studio monitors or standard headphones provides a much-needed break and a fresh auditory approach, ultimately enhancing the overall quality of my mixes. When I heard that Mike Dean  mixed a Grammy Award-winning album  in his hotel room using his VSX’s Room Emulation , I was sold. That told me everything I needed to know - if an industry heavyweight could trust this system in a non -traditional environment, then it was undoubtedly capable of delivering professional, mix-ready results  anywhere. In summary, Slate’s VSX Headphone Monitoring System has become an indispensable tool in my mixing process, offering a diverse array of listening environments that ensure my mixes are well-balanced and impactful across all playback systems. 🔗 Slate VSX – Realistic Studio Monitoring Anywhere