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 yes, even some stock DAW plugins  (often underrated) 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 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 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 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.

Over the past decade and a half, I’ve studied some of the most influential mix engineers in the world to understand what makes their sound so powerful. This blog is a tribute to five exceptional professionals whose insights not only elevated my skills but also helped me believe in what’s possible beyond the walls of my own studio. It was Jaycen Joshua, during an episode of Pensado’s Place , who said he envisioned a future where independent engineers working from home could match the sound quality of top-level studios, thanks to evolving digital technology. This resonated deeply and guided my learning journey. Here are the five mix engineers who’ve most profoundly shaped my understanding of audio mixing. 5 Influential Mix Engineers Who Shaped My Sound 1. Michael White – Generous Educator Michael White tops my list due to the sheer volume of valuable information he has freely shared. For years, Michael consistently uploaded YouTube tutorials through his “Mixing with Mike”  series, packed with techniques he employed to craft hits for legends like Whitney Houston , James Taylor , the Rolling Stones , Talking Heads , and David Bowie . This was genuinely a gift. At the time, although I was already delivering successful club mixes instinctively, I lacked insight into professional equipment, plugins, and high-level studio methods. Michael’s tutorials opened doors previously accessible only by assisting in top-tier studios. His resources remain invaluable on YouTube today, continually inspiring aspiring mix engineers. 2. Dave Pensado – The Engineer’s Mentor No list would be complete without Dave Pensado. In the early 2010s, Pensado’s Place  was like a dream come true—an engineer-focused show providing weekly insights into the minds and methods of industry leaders . I meticulously took notes on gear, plugins, and mixing philosophies from every episode. Dave’s approach created unprecedented transparency, effectively bridging the gap between independent engineers and top-tier studio knowledge. His contributions forever changed how we learn mixing and showed me firsthand what’s achievable with the right information. 3. Manny Marroquin – Master of Precision Manny Marroquin stood out immediately through his interviews on Pensado’s Place . His humility and unmatched expertise made a lasting impression. Observing his approach taught me the importance of efficiency and precision in mixing. Knowing specifics like his preference for the Tube-Tech CL 1B on vocals and his affinity for the SSL 9000 K console provided invaluable clues in refining my own workflow. Manny’s mixes always exhibit consistency and quality. His disciplined approach showed me that there’s a structured path to achieving extraordinary mixes every single day. 4. Mike Dean – Breaking the Mold Mike Dean offered a different kind of inspiration—one tied directly to lifestyle and creative freedom. Known widely for his mixing prowess and smoking habits, Mike’s response on Pensado’s Place  to Dave Pensado’s comment about mixing while smoking— “I don’t know how you mix not” —struck a chord. As someone who’s navigated the complexities and stigmas surrounding cannabis use in a country where it’s still illegal, I found Mike Dean’s unapologetic stance a reminder that creativity has many forms. He demonstrated that top-level mixes can emerge from unconventional spaces, breaking preconceived notions about the “right” way to achieve success in music production. Additionally, his use of the BX_2098 EQ  introduced me to an incredible sound I continue to appreciate today. 5. Bobby Owsinski – Author and Guide Bobby Owsinski’s “Mix Engineer’s Handbook”  was my mixing bible for a significant period. Long before online tutorials became mainstream, this book provided an unmatched depth of professional mixing techniques. From essential methods like combining the LA-2A and 1176 compressors on vocals , the renowned Pultec EQ trick , to understanding critical frequency regions , Bobby shared insider studio techniques that felt like closely guarded secrets. Even today, Bobby continues giving back to the audio community through his mailing list, where he shares ongoing tips. Recently, I learned from him the transformative Stereo Pan technique in Logic, enhancing clarity and definition—something I now use daily. Wrapping Up These five mix engineers— Michael White, Dave Pensado, Manny Marroquin, Mike Dean, and Bobby Owsinski —represent the pinnacle of industry knowledge and generosity. In an era where elite mixing insights are more accessible than ever, their willingness to share has profoundly impacted independent engineers like myself. We truly live in a golden age of audio education—it’s never been easier to learn directly from the best. If you enjoyed this post, feel free to share or let me know which engineers have influenced you!

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.

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

I remember being in a studio in London 25 years ago , working on a session when the engineer turned to me and said, “Always work with the metronome on.”  At the time, I nodded, but it took me years  to truly understand what he meant. Now, after decades in music production, I realise that the metronome isn’t just a click in your DAW —it’s the pulse of your track . Everything in your production should sing with it, dance around it, and work with it . It’s what brings tightness, groove, and cohesion  to your music. Think of the metronome as the heartbeat of your track. It’s not just there to keep time; it’s there to ensure that every element in your mix is locked in  rhythmically. If something in your track isn’t quite sitting right, chances are it’s not fully in sync  with the pulse of your track. This is why classical musicians  have been practicing with a metronome for centuries . It trains their sense of timing and precision, ensuring that every note they play is in perfect rhythm. Whether it’s a pianist refining their technique or an orchestral musician maintaining tempo, the metronome is an essential tool  for musicians across all genres. Many DAWs allow you to customise the tone and key  of your metronome. In Logic Pro , for example, you can set the metronome to match the key of your track  and adjust its tone precisely. This means it can sit within the mix almost unnoticed , subtly reinforcing the rhythm without being distracting while you work. Classic Metronome Fine-Tuning Groove with Nudge & Track Delay Most DAWs come with a nudge feature , allowing you to shift elements by milliseconds or samples  using track delay settings. This is crucial  for getting everything to sit just right  in the groove. If something isn’t gelling, try nudging it forward or backward in time while listening to the metronome . It’s these micro-adjustments that take a track from feeling loose to feeling professionally tight . The Secret to Better Productions At first, hearing and feeling exact rhythmic placement  takes time and practice. But once you get it, you’ll never  produce without checking your elements against the metronome again. It becomes an essential part of your workflow —one that brings depth, movement, and precision  to your productions. So next time you’re working on a track, don’t just turn the metronome on— listen to it, feel it, and work with it.  If classical musicians rely on it to achieve technical perfection , why shouldn’t electronic music producers do the same? The tighter your elements lock in with the pulse, the stronger and more professional  your track will sound.

Looking for the best electronic music software ? Choosing the right DAW (Digital Audio Workstation) can shape your entire creative process. Whether you’re producing house, techno, ambient, or experimental electronica, your DAW affects how you write, sound design, and mix your music. With 30 years of experience using Ableton, Logic, Cubase , and Pro Tools , I’ve seen how each DAW carves out a different path. Here’s a breakdown of what makes each one unique—and which might be best for your workflow. My Journey Through DAWs Cubase (1993 – Early Days of MIDI) I started sequencing in Cubase  in 1993 when it was MIDI-only. It had a clean feel and solid timing—perfect for the kind of structured electronic music I was making. Logic Pro (2000 – Transition to Mac) Moving to Mac in 2000, Logic  was the obvious step. The learning curve was real, but its tight structure eventually won me over—especially for more technical arrangements. Ableton Live (2003 – Creative Experimentation) In 2003, I started using Ableton Live  via ReWire with Logic. It introduced a new way of thinking about music—non-linear, idea-driven, and fast. Version 3 at the time felt revolutionary. Pro Tools (2006 – The Mixing Era) While teaching at Point Blank and Sheffield College of Music, I adopted Pro Tools , the standard in commercial studios. It had excellent audio fidelity and precision but lacked strong MIDI tools. How I Work Today These days, I use Logic  and Ableton . I love Ableton’s creativity and spontaneity—but I keep coming back to Logic for sound quality  and MIDI arrangement . Tools like Cthulhu  and Scaler  expand Logic’s creative potential even further. How I Compare DAWs Before we dive into each one, here’s what I look at: Workflow & Usability  – Is it intuitive? MIDI Editing  – How powerful are the composition tools? Instruments & Sound Design  – What’s included out of the box? Mixing & Mastering Tools  – Can it compete with pro studios? Performance & Stability  – Can it handle large projects reliably? DAW Breakdown: Pros, Cons & Who It’s For Ableton Live Pros: • Unique Clip View  for live performance and quick idea generation. • Excellent MIDI editing  and automation. • Built-in synths and samplers like Operator  and Wavetable . • Max for Live  opens up endless creative possibilities. • Strong time-stretching and warping  capabilities. Cons: • Mixing workflow isn’t as refined as some competitors. • Can feel limiting for traditional arrangement-focused composers. Best for:   Live performers, experimental producers, and beatmakers. Logic Pro Pros: • Huge library of built-in instruments  and effects. • Excellent for composition and arrangement . • Smart Tempo  for seamless tempo matching. • Great stock plugins, including Alchemy  for sound design. • One-time purchase  (no subscription model). Cons: • Mac-only . • MIDI workflow isn’t as flexible as Ableton. Best for:   Composers, sound designers, and Apple ecosystem users. Cubase Pros: • Industry-leading MIDI editing and composition tools . • High-quality stock plugins and instruments. • Flexible mixing console  with great routing options. • Excellent for recording and arranging . Cons: • Can feel complex and overwhelming  for beginners. • Less geared toward live performance . Best for:   Producers who focus on composition, orchestration, and intricate MIDI work. Pro Tools Pros: • Industry standard  for recording and mixing. • Powerful audio editing and processing tools . • High-end stock plugins for mixing/mastering . • Seamless collaboration  with engineers and studios. Cons: • Not optimised for electronic music production . • Weak MIDI editing  compared to others. • Subscription-based pricing  can be expensive. Best for:   Engineers, mix engineers, and producers focusing on audio fidelity over electronic composition. Honourable Mentions FL Studio  – Loved by beatmakers, fast workflow Bitwig Studio  – Modular, Ableton-like innovation Reason  – Rack-based, hardware-style creativity Studio One  – A Logic/Pro Tools hybrid gaining traction Final Thoughts: Choose What Inspires You There’s no one-size-fits-all DAW. Each one offers different strengths: Use Ableton Live  if you’re about spontaneity and loops. Choose Logic Pro  if you love composing, scoring, and working inside Apple’s ecosystem. Go with Cubase  for deep MIDI editing and orchestration. Opt for Pro Tools  if you’re focused on mixing and mastering. Tip:  Try a few demos and trust your instinct—how it feels  to work is often more important than features on paper.

Every producer has their preferred workflow, but certain techniques can elevate your mixing in subtle yet crucial ways. For me, one of these techniques is setting my DAW to pre-fader metering  and regularly using pre-fader sends  when mixing. Here are the two main reasons I rely on pre-fader settings, and why you might find them useful too. 1. Accurate Input Level Monitoring with Pre-Fader Metering My DAW is always set to pre-fader metering , which means the channel meter shows me the exact level of audio coming into the channel, before  any adjustments I make with the fader. This setup provides a critical advantage: • Clear visual feedback on my gain structure. With pre-fader metering, I instantly know if my input levels are healthy or clipping, independent of my mixing adjustments. I don’t have to guess if lowering or raising my fader is masking an input issue. This ensures that I maintain optimal gain structure from start to finish, resulting in cleaner mixes. Tip:  If you find yourself constantly chasing volume adjustments, consider switching to pre-fader metering. You’ll see exactly what’s hitting your plugins, EQ, compressors, and effects, keeping your gain staging precise and consistent. 2. Placing Sounds Precisely in Space Using Pre-Fader Sends When mixing, spatial placement is everything. To place certain sounds further back in the mix, I rely on pre-fader sends  for my Shimmer reverbs and other spatial effects. Here’s how I approach it: • I’ll send audio from a channel pre-fader  directly into my reverb. • Initially, I can fully immerse the sound in the reverb, placing it at the very back of the mix. • Then, I gradually bring up the channel’s main fader. This brings the sound forward step-by-step until it sits perfectly in the desired spatial position— not too distant, not too upfront, just right . This method gives me pinpoint control  over depth placement: • Using a post-fader send , adjusting your fader changes both the dry and wet signals simultaneously, often muddying precise spatial adjustments. • With pre-fader sends , I have absolute control: the depth (wet effect) stays fixed, and the main fader simply brings the original sound forward or pushes it back. Using Pre-Fader Sends for Depth and Clarity in Mixing Pre-fader sends allow you to push sounds into the background while keeping the mix upfront clean. If I need to place sounds that are vast, or need to sound big, I’ll start by placing them deep into my reverb space using a pre-fader send . The dry signal remains low, letting the reverb establish the sense of depth first. Then, by slowly bringing up the dry fader , I can balance the sound’s presence without losing the immersive, vast feel. This technique helps maintain clarity in the foreground  while achieving a deep, spacious mix , keeping lead elements distinct and letting ambient sounds blend naturally. Conclusion: Why You Should Consider Pre-Fader Settings While workflows differ, incorporating pre-fader metering and sends into your mix process provides clarity and precision that’s difficult to achieve otherwise. Whether you’re focused on perfecting your gain structure or achieving a clear and nuanced spatial balance, pre-fader techniques can greatly enhance your control and confidence. Give pre-fader a try in your next session. It might just become your go-to mixing technique as well.

Being a music producer isn’t just about making great music—it’s about navigating multiple income streams to sustain your career. Over the years, I’ve explored several of these, each with different results. Here’s my honest take on eleven proven ways producers can diversify their income, based on my own journey. 1. Selling Beats & Instrumentals One of the most common ways producers make money today is selling beats online through platforms like Beatstars , Airbit , or personal websites. Personally, I haven’t ventured deeply into beat-selling and find it tricky to gauge how well beats actually sell. If you’re active in this area, I’d love your insights—feel free to drop your experiences in the comments. 2. Mixing and Mastering Services Offering mixing and mastering is a steady way to monetise your technical skills. This has actually been a big part of my income since I began. Most of my clients have come through word of mouth, and it’s consistently provided me with regular work. Tip:  Prioritise relationship-building—happy clients naturally bring new ones through recommendations. If you’re just starting, creating a solid portfolio can help kickstart this process. 3. Royalties (Streaming & Sales) Royalties from streaming platforms (Spotify, Apple Music), direct sales (Bandcamp, physical releases), and rights organisations (MCPS, PRS, PPL, ASCAP) can offer continuous passive income. Royalties have been a consistent, though variable, source of income for me throughout my career, heavily influenced by the popularity of my releases. Tip:  Make sure all your metadata and publishing details are accurately registered with a music distributor or rights organisation relevant to your region (e.g., DistroKid, TuneCore, MCPS/PRS, PPL, BMI/ASCAP ). Accurate registration ensures you collect royalties globally. 4. Sync Licensing Sync licensing—placing your music in films, TV, commercials, video games, and online content—can be highly lucrative. I’ve secured a few sync deals over the years, but honestly, I haven’t actively pursued it as much as I probably should. It’s an area my label and I are aiming to focus more on in the future. If you’re experienced here, please share your tips in the comments. Tip:  Connect with music supervisors  and sync agents  who regularly place music similar to yours. Platforms like Musicbed , Artlist , or Songtradr  can help you find opportunities that fit your sound. 5. Sample Packs & Sound Design Creating and selling sample packs or sound presets can generate strong passive income. About 10 years ago, we created a sample pack for CR2 Records. It took about a month of dedicated work, but it was worth it—it’s still available today and continues to earn passive income for the label. Once it’s done, the potential to earn indefinitely is real. Tip:  Sell your packs on popular marketplaces like Splice, Loopmasters, or ADSR. 6. Educational Content Offering courses, tutorials, and mentorship can become a rewarding income stream. This is the area I’m currently most passionate about. With 30 years of experience, I’m sharing everything I’ve learned through this blog and my Patreon. For me, teaching what I know has become an incredibly satisfying way to both earn and give back. 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 one of my main income sources over the past decade. I see ghost production similar to the traditional studio producer’s role—guiding the vision of a track without necessarily having to be the face or name attached. 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 our label, Deli Records, and honestly, it’s still a work in progress. 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 produced tees and caps several times throughout my career and dream of eventually having my own clothing line. It combines passion and profit in a way few other things do. Tip:  Limited-edition or seasonal releases help drive demand and value. 10. Live Performances & DJing Performing live or DJing is a traditional but reliable income source for producers. For the first 20 years of my career, I was constantly playing out as a DJ. Over the past 15, I’ve focused almost entirely on the studio—honing my engineering skills and doing sessions. Performing has always been a major part of my income, but more than that, it feeds the creativity I bring back into the studio. The energy and insights from the stage directly shape the music I make. Tip:  Cultivate relationships and consistently deliver memorable performances to secure regular bookings. 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. I’ve done many remixes over the years—some became significant earners, others opened doors for future projects. Remixing keeps things creatively interesting and builds strong relationships with artists and labels. Tip:  Build connections with labels and artists whose sound aligns with yours. A strong remix portfolio can become a powerful calling card. Final Thoughts The truth about how music producers make money  today is that successful producers rarely rely on a single income source. Throughout my career, I’ve found that combining multiple avenues—no matter how small individually—adds up significantly, keeping things creatively interesting and financially stable. It’s quite an independent world out there now; producers are thriving by building careers from multiple micro-streams  of income, rather than relying on a single big payday. Embracing this approach can lead to long-term success and sustainability. What strategies have worked best for you? Are there any income streams you’d like to explore more? Let’s talk about it in the comments!

While digital production dominates today’s workflows , analogue gear—especially preamps —continues to play a vital role  in shaping sound. These units don’t just amplify signals; they add tone , warmth , and harmonic colouration  that give recordings depth and personality. Whether in top-tier studios or through software emulations, that analogue character remains as relevant as ever . In fact, even in 2025, some of the world’s top engineers continue to use analogue preamps and mixing desks—not for nostalgia, but for their distinctive sound and tactile workflow. Engineers like Tony Maserati , Manny Marroquin , and Leslie Brathwaite  still rely on the signature SSL tone  to add depth and character to modern productions. For the rest of us, preamp emulations  offer a practical way to capture that analogue warmth without leaving the DAW. Whether you’re adding subtle saturation or gluing a mix together, preamps—real or emulated—remain essential tools for giving digital audio a more human, musical feel. Why Are Preamps So Important? At its core, a preamp’s job is straightforward: boost an audio signal from mic-level or instrument-level to line-level. But the magic of a preamp isn’t just about clean gain—it’s in the colour, warmth, and subtle saturation it imparts on the audio. Vintage preamps, such as Neve 1073, API 512, SSL, or tube-based designs, don’t just amplify; they also introduce unique harmonic content and pleasing distortion, giving recordings their distinctive sonic character. Colour and Character Through Saturation The term saturation  refers to subtle harmonic distortion. As audio signals pass through analog circuits, the slight overload of transistors, transformers, or vacuum tubes generates harmonic frequencies. This saturation subtly compresses and thickens the sound, enhancing clarity, warmth, and depth. Depending on the preamp, saturation can range from warm and lush (classic tube preamps) to crisp and punchy (transformer-based preamps). Producers and engineers have relied on these characteristics to give personality to recordings, turning sterile-sounding tracks into vibrant, textured audio. Why Use Emulations Inside the Box? Not every producer chooses to fill their studio with racks of vintage preamps. That’s where digital emulations step in. Modern plugins meticulously model the behaviour of legendary analogue hardware. Companies like Universal Audio, Soundtoys, Waves, and Plugin Alliance have perfected the art of recreating analog warmth within a digital workflow. Benefits of using preamp emulations include: • Accessibility : Instant recall, automation, and unlimited instances on your DAW. • Cost-effectiveness : Access to iconic gear that would otherwise cost thousands. • Convenience : Experiment quickly without physical patching or maintenance. Channel Strip Emulations: Taking It Further Preamp saturation is just one piece of the analogue puzzle. Channel strip emulations  model entire sections of vintage mixing consoles—combining preamp, EQ, filters, dynamics, and sometimes even fader colouration  into a single plugin. Classic desks like the SSL 4000 , Neve 88RS , or API Vision Console  are now fully emulated as plugins. These strips not only let you shape tone with EQ and compression, but they also add that subtle desk “glue” and cohesion across tracks—something analogue mixers were known for. Why Use Channel Strip Emulations? • Workflow familiarity : Mix “on a console” inside your DAW with an intuitive layout. • Instant vibe : The EQ and compression curves are often musical by design—great for getting results fast. • Consistency : Running all tracks through the same desk model can create a natural sonic cohesion, as if it were all mixed through a physical board. Channel strip plugins can live on every channel in your mix—some producers even use them as the first insert on every track, setting gentle input gain for harmonic consistency and working from there. How to Use Preamp and Strip Emulations Effectively Subtlety is Key Use saturation sparingly—aim for enhancement rather than obvious distortion. The sweet spot is where you just begin to hear the audio gain a richer, fuller tone. Experimentation Each preamp or channel strip has its own personality. Try different flavours—an SSL strip might tighten up drums, while a Neve EQ can warm up a vocal. Stacking and Layering Combining various preamp and channel strip emulations across your mix can bring the analogue “sheen” and depth often missing in digital-only productions. Final Thoughts Preamp and channel strip emulations offer the character and imperfections of analogue gear within the clean environment of a DAW. Whether it’s gentle saturation, harmonic enhancement, or the glue of an entire desk—these tools help us reintroduce colour, vibe, and soul into the digital mix process. Inside the box doesn’t have to sound sterile.  With the right tools, it can sound every bit as rich, musical, and alive as the gear it emulates.on. Your mixes will thank you.

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.

Audio saturation  is one of the most powerful and versatile effects in modern music production. Originally an analogue 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 analogue 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 analogue 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 analogue 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 analogue 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

It’s a classic story:  you’re deep into a mix, everything’s sounding solid  on your main monitors, but after a while, your ears get tired  and details start to blur . That’s why I’ve been using a mono Avantone Mixcube  for over a decade. When I switch to it, everything feels clearer —issues in the mids, vocal balance, and low-end  stand out in a way they didn’t before. I fix it here, and when I go back to my NS10s or Adams , the mix sounds fresher, tighter, and more balanced . It’s not about making a mix sound good —it’s about making it work everywhere . And that’s exactly why Auratones , and their modern counterparts like the Mixcube , have been essential in studios for decades. Why the Avantone Mixcube? The Mixcube is basically a modern take on the Auratone 5C , the tiny but brutally honest speaker that engineers swore by in the ‘70s and ‘80s. It’s a single-driver, full-range speaker with no hyped lows or extended highs. Just midrange —the part of the mix that actually translates across all systems. Because there’s nothing flattering about it, you’re forced to make better decisions. If the vocal is too loud, you hear it. If the bass is masking everything, you hear it. If your snare isn’t cutting through, you hear it. No sub frequencies to lean on, no fancy stereo imaging to get lost in—just the cold, hard truth. The Legacy of the Auratone 5C Before the Mixcube, the Auratone 5C was everywhere . These little boxes sat on consoles in studios working on some of the biggest records ever made. Quincy Jones, Bob Clearmountain, Bruce Swedien—these guys mixed using Auratones to make sure their tracks worked outside  the studio. Michael Jackson’s Thriller , Fleetwood Mac’s Rumours —all checked and refined on these speakers. The idea was simple: if a mix sounded good on an Auratone, it would sound good anywhere —from car radios to TVs to cheap home speakers. They weren’t designed to sound great. They were designed to tell the truth. Modern Applications The Auratone 5C eventually disappeared for a while, but the concept never died. Avantone brought it back with the Mixcube, keeping the same philosophy: simplicity, clarity, and translation . And honestly, it’s still one of the best tools for checking a mix. I start on my full-range monitors, get the mix feeling right, then flip to the Mixcube in mono. That’s where the real work happens. Once I’ve made adjustments there, going back to full-range speakers feels like taking the weights off . The mix just opens up. Virtual Auratone: The Slate VSX Surprise When I switched to the Auratone emulation  in Slate’s Virtual Monitoring system , I was blown away —it felt exactly  like my Mixcube  in my room. Same focus, same punch, same ability  to make the mix fall apart in all the right ways . Now, I actually use the virtual version  more than my real Mixcube . It does the same job—exposing flaws —without needing to be patched in or physically switched over . It just works. Final Thoughts Whether it’s a real Auratone 5C , an Avantone Mixcube , or a virtual emulation , a mono, full-range speaker like this is an essential tool. It forces you to make better mixing decisions, exposes weaknesses, and helps you create tracks that sound great everywhere —not just in the studio. If you’re not using one yet, maybe you haven’t felt the need for it—or just haven’t pulled the trigger on one. But it’s one of the simplest ways to make your mixes translate better. Bonus: How to Make a Mono Summing Cable for Your Mixcube If you’re using a single Avantone Mixcube  in mono and need to sum your left and right outputs safely, you’ll need a simple passive summing cable . Without it, you risk distortion, phase issues, or even damaging your audio source. Here’s how you can build one: What You Need: • Two 1/4” TS or TRS plugs   (for the left and right outputs) • One 1/4” TS plug   (for an unbalanced Mixcube input)   or   One XLR male connector   (for a balanced input) • Two matching resistors   (1kΩ to 4.7kΩ) • Soldering iron & heat shrink tubing How to Wire It: 1. Solder a resistor to each signal wire   (Tip of Left & Tip of Right) . 2. Join the ends of both resistors  and connect them to: • The Tip  of the TS plug (for an unbalanced input) • XLR Pin 2 (Hot/Signal)   (for a balanced input) 3. Connect the ground wires  from both stereo cables together and solder them to: • The Sleeve  of the TS plug (for an unbalanced input) • XLR Pin 1 & Pin 3 (Ground & Cold)   (for a balanced input) 4. Insulate everything  with heat shrink tubing to prevent shorts. Why Use Resistors? Without them, directly summing left and right can cause distortion and signal degradation. The resistors help prevent overloading and ensure a balanced mix. If you prefer a cleaner setup, you can build a passive summing box  with a stereo input and a mono output using the same resistor network inside a small enclosure. The Resistors Need to Be Matched • Prevents phase shifts  – If the resistors aren’t equal, the left and right signals won’t sum evenly, which can cause phase issues. • Keeps the mix centred  – Uneven resistance can make one side louder, shifting the summed signal off-centre. • Maintains proper impedance  – Matching resistors ensure both signals are attenuated equally, preventing distortion or level imbalances. What Value Should You Use? • Lower values (1kΩ)  give a stronger summed signal. • Higher values (4.7kΩ or more)  reduce the summed level slightly but provide better isolation.