When you look at plugin prices today, it’s easy to feel overwhelmed. If I’d paid full price for every plugin I’ve collected over the years, I’d have spent thousands - seriously. And while I probably have  spent a few thousand over time, I’ve also managed to save just as much through strategy, timing, and most importantly, signing up to plugin companies . It Started with UAD It all kicked off for me back in 2003 with Universal Audio . I signed up to their mailing list and that one move ended up making a massive difference. Every now and then, UAD would drop $50 vouchers and run big discounts. If I timed it right, I could grab a $129 plugin for $39 - which worked out around £29 back then. I did that when I could and slowly built up a proper collection of solid, industry-standard tools. Why Signing Up to Plugin Companies Pays Off After UAD, I started signing up to other plugin companies - sometimes just out of curiosity. But over time, I noticed a few things that really paid off. Mailing lists  are a no-brainer. You get early access to deals, discount codes, and even the odd freebie. Arturia , for example, would send out free plugins at Christmas just for being on their list. Waves once gave away R Bass, and other companies regularly drop exclusive discounts or vouchers you’d miss if you weren’t subscribed. Then there’s rent-to-own options, which are a different thing altogether. Splice  and Plugin Boutique  offer this - and that’s how I picked up Serum  without having to drop a big chunk of money upfront. It’s a solid way to get what you need without the sting. And finally, I got into subscriptions. Slate Digital  was my intro - one price, loads of tools. Then Plugin Alliance  came along, and that became home for me. Their quality was spot on, and they let you choose 10 plugins to keep each year, which is huge. It gave me time to actually use stuff properly before committing. Each of these approaches - mailing lists, rent-to-own, and subscriptions - helped me build up a serious plugin collection without rinsing my bank account. Plugin Alliance: My Home Base Out of all of them, Plugin Alliance became my go-to. Their subscription model was ideal for my workflow - I could choose 10 plugins each year to keep. That setup let me experiment, test deeply, and eventually own the ones I used the most or those niche tools I needed every now and then. Their sound suits me, and their new releases consistently hit a high mark. Smart Choices Over Full Price Not every company offers discounts. Some plugins felt essential, and for those, I explored alternative ways of accessing them. Subscriptions and rent-to-own models became my bridge to tools I couldn’t otherwise afford. Trying before buying turned out to be invaluable. Final Thoughts in 2025 Now, in 2025, I still see value in signing up to plugin companies . Brands like Waves, UAD, Native Instruments, and more regularly offer fantastic deals, making it easier than ever to work with world-class tools. Whether you’re starting out or expanding your collection, staying in the loop via mailing lists and subscriptions is a no-brainer.

The Role of Arturia V Collection in My Music Production Setup As someone who grew up chasing the sound of iconic hardware - often through sample packs or DIY attempts - I’ve found Arturia’s approach to software emulation nothing short of a revelation. After years of trying to pin down these classic sounds, using Arturia V Collection in music production has become second nature. It doesn’t just nod to the past - it delivers the raw, authentic tone of the machines that defined entire decades, with all the modern convenience of in-the-box production. These are my go-to picks from the collection: CMI V , Emulator II V , DX7 V , Solina V , and Vocoder V . Each one has earned its place in my toolkit for different reasons—but they all share a sense of character that’s hard to fake. CMI V – The Sound That Started It All The Fairlight CMI marked the dawn of digital sampling and carved out a permanent place in the DNA of electronic music . I’ve been chasing that sound for years - buying original sample libraries, experimenting with third-party emulations - but nothing ever felt truly usable in a real-world mix. Then Arturia dropped CMI V and everything just clicked. It captures the gritty, digital texture that shaped early electronic production , but gives me the control and flexibility I need inside a modern DAW. When I’m after that raw, unmistakably ’80s character - glassy, sharp, and slightly alien - this is always where I start. Emulator II V – Lo-Fi Soul with Character The Emulator II has this unmistakable lo-fi charm - 8-bit digital playback smoothed by warm analog filters. It’s the kind of sound that shaped the emotional core of early sample-based electronic music . I’d tried using sample packs over the years, even some rare .eii conversions, but they never felt playable or flexible enough. Arturia’s Emulator II V  changed that. It captures the imperfect texture of the originals - the subtle pitch drift , the grainy depth - and wraps it in a workflow that lets me use it like a proper instrument. If I’m building something emotional but still raw, this is one of my first stops. DX7 V – The FM Blueprint I don’t always reach for FM synthesis , but when I do, it’s the DX7 V . Sometimes I just need a reliable bass patch when I’m not in the studio, and this delivers. It nails the sound of my hardware DXs - and crucially, it gives me access to all the original presets , which I love. It’s one of the cleanest, most useable FM emulations I’ve worked with and a serious bonus is the enhanced UI and sound shaping tools Arturia has added. Solina V – The Synth String Sweet Spot Synth strings are tricky. They can sound dated, or just sit awkwardly in a mix. I used to rely on the JV1080’s Vintage Expansion for passable string textures, but nothing ever quite felt right - until I tried Arturia’s Solina V . I’ve never played a real Solina, but I’ve heard it in enough records to know the tone. This plugin hits that space perfectly: thick, lush, slightly phasey with that analog shimmer that feels like early electronica or cosmic disco . It’s not just string filler - it’s a character piece. When I need that emotional lift or nostalgic sweep, this is what I use. Vocoder V – Speaking in Frequencies The vocoder’s always been a symbol of electronic music’s more alien side - robotic, coded, processed to the point of abstraction. Arturia’s Vocoder V  leans into that history but adds a level of sound design depth that’s hard to ignore. I’ve used it on a few Am.Is.  tracks, now - it’s not just for “robot voice” clichés. The built-in synth and sampler let me sculpt formant shapes and textures that go from Kraftwerk to Burial in seconds. Whether I’m smearing a voice into the pads or creating something entirely synthetic, it gives me the tools to shape identity in sound. Arturia: The Future Built on the Past What I love about Arturia is that they don’t just emulate - they understand . Their synths aren’t museum pieces - they’re living instruments . Whether you’re chasing that retro texture or just want high-quality tools with character , Arturia’s approach gives you the best of both worlds. It’s not just nostalgia—it’s practical, powerful, and inspiring. Maybe it’s no coincidence I gravitate toward Arturia. I do have a French streak running through me - the art, the music, the visual style - from the bold lines of 1960s Pierre Cardin and Courrèges to the filtered funk and techno of ’ 90s Bangalter . There’s something in their design, their sound, their whole approach that feels familiar in all the right ways.

Audio saturation  is one of the most powerful and versatile effects in music production. Originally an analog artefact, it’s now deliberately used inside the box to add warmth, texture and harmonic richness to digital recordings. In this post, we explore the technical foundation  of saturation, how it affects waveforms, the types of saturation  and their sonic signatures and its real-world uses in music production . What Is Audio Saturation? At its core, audio saturation  occurs when a signal is pushed beyond the clean operating range of analog hardware, causing it to respond in a non-linear  way. This results in subtle compression and harmonic distortion that make the sound fuller, warmer and more vibrant. In today’s digital workflows, producers use preamp emulations  and channel strip plugins  to recreate this effect without physical gear. The Technical Foundation Saturation is a combination of: • Soft-knee compression : Smoothly reduces dynamic range without abrupt changes. • Harmonic generation : Introduces pleasing overtones that enrich the original sound. These effects come from analog devices like tape machines, tubes, transformers and transistors—all of which colour sound in their own unique ways. How Saturation Alters Audio Waveforms Saturation isn’t just about tone - it reshapes  audio waveforms. Here’s what happens: • Waveform Compression : Loud and soft parts are brought closer together. • Peak Limiting : Peaks are “shaved” off - soft clipping instead of harsh distortion. • Transient Softening : Attacks become slightly rounded, creating musical smoothness. • Dynamic Range Reduction : Helps create a more balanced, glued-together mix. Harmonic Enhancement: The Heart of Saturation One of the most valuable results of saturation is harmonic enhancement . These harmonics enrich the sound and make it more engaging: • Even-Order Harmonics : Octave-based; warm, musical, and smooth. • Odd-Order Harmonics : Third-based; gritty, edgy, and full of presence. The ratio of these harmonics depends on the gear or plugin you’re using. For example: • Tape saturation  = mostly even-order → vintage, mellow tone. • Tube saturation  = both even + odd → rich, full-bodied sound. • Transistor saturation  = mostly odd-order → sharper, aggressive texture. Types of Saturation & Their Sonic Signatures All of these can be emulated in the box using plugins from UAD, Waves, Plugin Alliance, and others. Channel Strip Emulations: Full Console Vibe Inside Your DAW Going beyond just preamps, channel strip emulations  model entire sections of legendary desks - combining: • Preamps • EQ • Filters • Dynamics • Fader colouration Mixing through a full console emulation (like SSL 4000 , Neve 88RS , or API Vision ) can glue your mix together and add consistent analog vibe across tracks. Practical Applications in Music Production Saturation is used in a variety of ways: • Add warmth to sterile digital tracks • Enhance texture and harmonic richness • Control dynamics subtly • Create vintage or lo-fi vibes • Help elements cut through a mix • Sculpt sound in creative design workflows ⚠️ Gain staging is key.  Saturation effects are highly input-level dependent. Drive it too little and you miss the magic. Too much and it distorts unpleasantly. 🔥 Saturation vs. Distortion: What’s the Difference? While often confused, there’s a clear distinction: Conclusion: Embrace the Colour Saturation isn’t just a throwback - it’s a sonic enhancement tool  for the digital age. It transforms sterile recordings into music that breathes, moves and connects. Whether you’re warming up vocals, adding edge to drums or gluing a whole mix together, saturation gives you the best of analog sound without leaving the box . Want to go deeper? Try stacking different saturation plugins on buses, explore channel strip workflows or A/B your mixes with and without it. You’ll hear the difference. For more on saturation in the mix, check out my post on Preamp emulations

Mix tools I’ve come to trust As a mixing engineer, I’ve spent countless hours experimenting with plugins, both paid and free. Interestingly, some of my most relied-upon plugins are completely free. Here are 5 essential free plugins that I would genuinely struggle without: 1. GHz Midside Matrix 3 (Goodhertz) First up is the GHz Midside Matrix 3 , the free version of Goodhertz’s exceptional Mid/Side processor. This plugin is my go-to when it comes to fine-tuning the mid and side balance  across a mix. Towards the end of the mix, I run a specific process: on the master bus , I’ll isolate the mid  and listen to the track all the way through, then do the same with the sides . I treat each as its own independent mix. This approach lets me hear balance and energy issues more clearly and pinpoint what each “space” of the mix needs. I insert the plugin on individual tracks  where needed and use it to rebalance their mid/side content accordingly. The plugin makes it easy to make those focused adjustments. The paid Goodhertz Mid/Side plugin includes extra parameters like Tilt  and Side Pan , which are exceptional tools to have. But even in its free form, this version is a powerful utility that earns its spot in my process every time. 2. Sonalksis FreeG The Sonalksis FreeG  is another seemingly simple, yet vital, plugin - basically a volume control plugin. However, its standout feature is its long and detailed fader , ideal for nuanced automation. I avoid automating my DAW’s main faders, as that tends to limit flexibility later on. Built-in DAW gain plugins typically feature short, fiddly faders, whereas FreeG  provides a generously-sized, highly precise alternative. This detail makes automating levels far easier, helping achieve smoother fades and refined volume adjustments without cluttering my main mixer. 3. TDR Kotelnikov (Tokyo Dawn Labs) When it comes to drum-bus parallel compression, nothing I’ve tried beats the Kotelnikov  compressor by Tokyo Dawn Labs. Its sound is incredibly clean, transparent, and controlled. Maybe it’s due to its advanced 64-bit multi-rate processing structure, the “Delta” oversampled signal path (which remains bit-transparent at 0 dB gain reduction), or the advanced stereo linking optimised for bus work. I’m not entirely sure what technical detail clinches it, but the end result is undeniably smoother, punchier drums with far fewer artefacts compared to other digital compressors. It’s simply outstanding. 4. Wider (Polyverse Music) For stereo widening, I frequently reach for Polyverse Music’s Wider  plugin. I often use the Haas effect technique manually, but Wider simplifies the process significantly. One strength of Wider  is that it maintains perfect mono compatibility. As you push sounds wider, subtle phase shifts create unique tonal pockets where sounds beautifully settle within the stereo field. It’s almost as if there are sweet spots hidden throughout the widening range, giving your tracks that polished, professional stereo spread without losing mono integrity. 5. Stereo Tool (Flux) Rounding out my list is Flux Stereo Tool , another invaluable Mid/Side-focused processor. On the surface, it’s a simple tool offering individual volume controls for the left and right channels, effectively similar to precise stereo panning. However, beyond basic adjustments, Stereo Tool provides detailed visual feedback, including: • Vector scope • PPM (Peak Programme) input/output meters • Phase correlation meter (continuously active) • Individual polarity reversal for left/right channels These features are brilliant for helping ensure everything stays precisely where intended in my stereo field. These five plugins collectively help my mixes every day. They’re proof you don’t always need to spend money to achieve professional-level results in audio production. Each has a crucial place in my mixing toolkit - I’d be genuinely stuck without them!

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

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.