Chasing that authentic analog warmth  in a digital mix  is always a fine balance. Tape emulation plugins  have become go-to tools  for producers, with staples like Waves’ J37, Universal Audio’s Oxide, Kiive Audio’s Tape Face,  and Softube’s Tape  setting the standard. But over time, I’ve found some of these can start to feel a bit… sterile . The warmth  is there, but it starts to feel too controlled - like the tape effect  is static  rather than truly evolving , missing that natural movement  real tape has. So, I went digging for something with more movement, more depth -and that’s when I landed on Airwindows ToTape7 . Gave it a spin, and I’ve got to say- this one hits different. First Impressions Switching over to ToTape7  took a minute to get used to - mainly because of its bare-bones interface . Like most Airwindows plugins, there’s no flashy UI, no vintage tape deck graphics - just pure functionality . But once I got past that, it felt intuitive  and surprisingly responsive - more about what it does  than how it looks . Sonic Characteristics Just throwing ToTape7 on the mix bus  instantly pulls the track together - like it’s already closer to being done. The top end stays open , the low end locks in , and there’s this subtle movement that makes everything feel more alive . It’s not just about adding colour - it’s about giving the mix that final glue  without overthinking it. 🔹 Dubly Encode/Decode  – Inspired by classic noise reduction systems, this lets you shape the brightness and compression  of the signal before and after the tape stage. 🔹 Drive  – Controls input gain, letting you push for light saturation  or full tape distortion . 🔹 Flutter  – Adds realistic pitch movement , mimicking the quirks of physical tape machines. 🔹 Bias  – Adjusts the tape bias  to shape harmonics  and overall tonal balance . 🔹 Head Bump  – Simulates that low-end resonance  you get from real tape playback heads, giving the bass more weight . With these controls, you can dial in everything from a gentle tape sheen  to something much grittier and more saturated - and even the smallest adjustments can make a big impact  on the overall feel of the track. Conclusion ToTape7  is a serious contender  in the world of tape emulation plugins . The minimalist design  might not look like much, but under the hood, it’s a powerful, versatile tool  that delivers real tape warmth and character . If you’re looking for something outside the usual big-name tape plugins , ToTape7  is a refreshing, no-nonsense option  that gets the job done-and sounds great doing it. References • Airwindows ToTape7 Official Page • KVR Audio Forum Discussion on ToTape7 • Pro Audio Deals Review By integrating ToTape7 into your mixing workflow, you can achieve a nuanced and enduring tape sound that enhances your digital productions with analog warmth and depth.

If your audio samples are starting to feel stale, a few creative tools can make them feel brand new. Enter Synplant 2  and Zyklop -two innovative sound design plugins  that rethink how we work with samples, synthesis, and re-synthesis. Whether you’re crafting ambient textures or underground techno grooves, these plugins open doors to fresh sonic territory. Synplant 2: Organic Sound Design, Reimagined Synplant 2  by Sonic Charge isn’t your average synth. Instead of tweaking waveforms and envelopes, you “grow” sounds from digital seeds - creating strange, evolving textures that feel more alive than mechanical. Its standout feature, Genopatch , uses artificial intelligence to generate synth patches directly from your audio files. Just drag in a sound and Synplant will interpret it, mutate it and spit out something playable. It’s one of the most creative sound design plugins  on the market-and it rewards exploration. Perfect for those looking to escape preset fatigue and inject unpredictability into their sessions. The timbre and sonic depth  of the original sample are preserved-and often enhanced-by the sounds Synplant produces. Its tone feels refined, musical and full of character. Zyklop: Accessible, Powerful Re-synthesis In a similar vein , Zyklop  by Dawesome offers intuitive re-synthesis  with a drag-and-drop workflow - and it’s completely free. Built on the Re-synthesis V2 engine, Zyklop transforms any sound file into a new oscillator shape, ready to be manipulated in real time. It comes with multiple play modes and transformation dials, allowing deep sound shaping without a steep learning curve. Whether you’re new to synthesis or a seasoned sound designer, Zyklop is easily one of the best re-synthesis plugins  out there for effortless creativity.  While the timbre and tone  aren’t quite as rich as Synplant 2, the results still work well in a mix-and can produce wild, unexpected textures that spark new ideas. Why Synplant 2 and Zyklop Deserve a Place in Your Toolkit More producers are turning to tools like Synplant 2 and Zyklop  for audio sample transformation . They’re not just novel - they’re genuinely useful in creating textures that stand out in modern productions. By combining AI - driven synthesis with intuitive design, these plugins offer a different kind of workflow. They’re perfect for genres that value originality - think IDM, ambient, experimental pop or leftfield techno. Conclusion: Fresh Sounds from Familiar Sources If your sample library needs a reset, plugins like Synplant 2  and Zyklop  can do more than just tweak sounds - they can transform them. These aren’t just tools for designing patches; they’re creative companions that invite you to push sonic boundaries. Both Synplant 2 and Zyklop  offer unique approaches to sound design, and using them together can bring a new dimension to your sample library. Give them a try and see how they reshape your approach to production. 🔗 Synplant by Sonic Charge 🔗 Zyklop by Tracktion

When I’m deep into a mix, riding the faders, tweaking EQs, balancing elements by feel - not by numbers - I’ll often glance over at the meter. More often than not, the Totalyser is showing a curve that looks suspiciously familiar: a lift in the lows, a slight dip in the mids, and a rise up top. Almost like a soft smile. And every time, I think: Is that the Fletcher-Munson curve? Here’s the thing - I’m not aiming for it. I don’t treat it like a target. But when the mix feels right - like really right - that curve just seems to be there . Not because I forced it, but because everything has found its place. The energy is balanced. The track is alive. And there it is on the meter, clear as day. The Curve I'm Not Aiming For… But Often Land On The Fletcher-Munson curve - also known as equal-loudness contours - is about perception, not measurement. It shows how our hearing responds to frequency at different volumes. At lower volumes, the ear is far less sensitive to lows and highs. The midrange - especially around 2 to 5 kHz - is where we hear most clearly. And the wild thing is: When a mix is balanced and feels right, the visual curve on the Totalyser often echoes that perception. Not because I was chasing it, but because I was trusting my ears. It’s not science—it’s feel. And maybe that’s the point. What Is the Fletcher-Munson Curve? Let’s break it down properly. The curves were first documented in the 1930s by Harvey Fletcher and Wilden A. Munson at Bell Labs. They set out to understand how we perceive loudness across the frequency spectrum - and what they found was that equal energy doesn’t mean equal loudness . At low listening levels, bass and treble frequencies are perceived as quieter than mids. You need to crank the low end and the highs to hear them at the same perceived volume as, say, a vocal or snare. Here’s a visual of the curves to give you the full picture: Each line represents the relative levels needed across frequencies for sounds to feel equally loud. Notice how the lows and highs dip sharply at lower SPL (Sound Pressure Level)? That’s the “smile.” As you turn up the volume, these dips flatten out. Your perception evens out. That’s why a mix can sound dull at low levels and suddenly sparkle when louder.  Your ears fill in the bass and top end differently depending on level. The Meter Reflects the Mix, Not the Other Way Around I’ve learned to trust my ears first, always. But I’ve also noticed this: When I reach the point in a mix where everything feels tight, present and alive - the Totalyser often shows a curve with a gentle lift in the lows and a dip through the mids. It’s a familiar shape. But here’s the thing: it’s not the full Fletcher-Munson curve.  Not quite. That top-end lift you see on the classic equal-loudness contour? I don’t see that on my Totalyser. If anything, the highs often taper off. And yet - it still feels balanced.  It still feels right. That’s the clue: I’m not aiming for a curve, Fletcher-Munson or otherwise. I’m aiming for balance, presence and emotional impact. And when I hit that, the visual readout just happens to resemble something close to Fletcher-Munson - up to a point. So, should you aim for that curve? No.  If you try to force your mix to match a meter shape, you’ll likely end up flattening the personality of your track. But if you mix with your ears - if you trust your instinct - you might see something curve-shaped emerge. Not because you were chasing it, but because balance tends to leave a trace. That curve isn’t the goal. It’s the ghost of a good decision.

When it comes to digital audio workstations (DAWs), one of the most common questions among producers and engineers is: “Do all DAWs sound the same?” Technically, yes. But creatively and emotionally? Not even close. After years of working across Ableton, Logic, Pro Tools, and Cubase, I’ve come to realise the feel  of each DAW can leave a real imprint on your music - even when the raw audio engine behaves the same on paper. The Technical Truth Most modern DAWs operate at high bit depths and sample rates, often using 32-bit floating point audio engines. On a purely technical level, if you bounce the same raw audio from different DAWs without any plugins or processing, the result should be identical. That’s why many say all DAWs sound the same. But in practice, DAW sound differences  emerge from deeper layers of how audio is handled. Why DAWs Can Sound (and Feel) Different 🔉  Summing Engines Each DAW sums audio slightly differently. While this often results in only subtle tonal variations, experienced ears sometimes notice that Logic feels more “glued,” while Pro Tools has a more clinical separation. 🎚️  Pan Laws & Gain Staging This is one of the less-talked-about reasons DAWs might feel different. Pan laws affect how loud a signal is perceived when moved from centre to stereo. Different DAWs apply different default pan laws, which can create changes in stereo image and perceived balance - even if levels remain technically identical. 🎛️  Stock Plugins and Effects A big one. Each DAW’s native EQs, compressors, reverbs, and saturation tools come with their own sonic flavour. That alone can dramatically shift how a track feels - even if the underlying notes, samples, and arrangement stay the same. 🧠  Creative Environment Possibly the biggest difference of all. Each DAW nudges your creative instincts  in different ways. That means: Ableton  feels immediate, raw, great for layering and loops. Logic  feels polished, musical, and structured. Pro Tools  feels clean, precise, and powerful for mixing. Cubase  feels technical and detailed - fantastic for MIDI and scoring. The result? The music itself starts to feel  different, even before you realise it. My Journey: From Ableton to Logic to Pro Tools and Back The Feel Behind the Sound For me, the differences between DAWs have always been more emotional than analytical. They influence how I create, mix, and connect with the music. Over the past 30 years, I’ve moved through Cubase, Logic, Ableton, and Pro Tools - not just chasing features, but chasing feel . Here’s how that unfolded. Cubase: The Early Organic Years I started on Cubase , working in it for about 7 years. Everything was external MIDI  back then and audio “in the box” only started creeping in toward the late ’90s. But even with minimal internal processing, the feel  of Cubase was brilliant. The grooves felt organic - there was a musicality to it that I loved. It was intuitive and expressive. Logic: Technical but Professional In 2000, under a bit of peer pressure, I moved to Mac and switched to Logic . It immediately felt more technical - less free-flowing than Cubase - but also more professional . With everything still running via external MIDI, the DAW’s sound engine wasn’t a huge factor yet. But by 2003, as plugins started to take over, I began to hear Logic’s distinct sonic identity - glued, polished, and balanced. Ableton: Organic Energy, but Mixed Feelings In 2008, I jumped fully into Ableton . It gave me that familiar organic vibe  I’d felt in Cubase - the immediacy, the flow, the freedom to build without overthinking. I loved making music in Ableton. But when it came to mixing , I struggled to get the sound I needed. So I’d often bounce stems out and mix in Logic , which gave me the final results I was after. Pro Tools: Surgical Separation and Solid Results By 2010, I was ready for a more dedicated mixing environment, so I moved over to Pro Tools  and stayed there for 7 years. The results were excellent . The mixes had a hard-edged separation  and clarity. Everything had space, punch, and precision. Surprisingly, the interface felt very similar to Ableton - clean and familiar in its own way. But Pro Tools’ MIDI handling was clunky , which slowed me down on the creative side. Full Circle: Back to Logic Eventually, I had to face the fact that while Ableton was a struggle to deliver the final mix feel I needed and Pro Tools wasn’t ideal for MIDI creation, Logic gave me the best of both . So after much deliberation, I moved back to Logic - and I’m happy. I get the feel  almost instantly. It gives me the creative flow I need with the sound and polish I trust  across all my projects: So… Do All DAWs Sound the Same? Technically? Yes. Creatively? No way. The audio engine is only part of the story. What matters is the feel  of working in that DAW - how it makes you move, think, create, and respond emotionally to the sounds you’re building. Choosing the right DAW isn’t just about features - it’s about the musical fingerprint  it helps you leave behind.

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