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

Saturation is one of the most powerful tools  in a producer’s arsenal. For me, saturation is colour —it’s the density of a sound , shaping the harmonic character and adding warmth. It works similarly to compression but recreates the sound of analogue desks, transformers and electronics  rather than just controlling dynamics. When a sound comes straight from a VST plugin synth, it often lacks the depth and richness  found in analogue recordings. This is where saturation steps in. It’s that extra bit of sauce  that helps bring a sound into the mix , making it feel more natural and glued in place. Choosing the Right Saturator With so many saturators available, it comes down to finding the right colours and textures  that work for you. Here are a few of my go-to choices: Soundtoys Decapitator A staple in the dance music scene, Decapitator  is an incredibly versatile  saturator. I’ve used it many times in production and mixing, and it’s capable of handling nearly all tasks. Favourite Modes: • A (Ampex-style saturation) & E (EMI-inspired drive)  – My go-to choices. • N, T, and P  – Occasionally used for different textures. Key Features: • Tone Control  – Tilt the sound higher or lower in the frequency range. • High & Low Cut Filters  – Clean up frequency bands. • Drive & Mix Knobs  – Control saturation intensity and blend with the dry signal. You could probably mix an entire track using just Decapitator—it’s that versatile… SSL Saturator SSL’s take on saturation has a different colour  than Decapitator but is just as useful. It provides a smooth, analogue warmth  that blends effortlessly into a mix. The quality is exactly what you’d expect from SSL—clean, defined, and rich in character. It holds the tone beautifully, adding depth and cohesion without overpowering the sound. Looptrotter SA2RATE 2 – My Current Favourite Lately, my go-to saturator  has been Looptrotter’s SA2RATE 2 . The tone it creates is fantastic , and the magic dial  does something special—it holds the sound in place , almost like compression, keeping it solid and clear in the mix. The Role of Saturation in Mixing When used correctly, saturation can: Glue a track together Make sounds feel familiar and polished Add harmonic richness and warmth Help sounds sit better in a mix For me, saturation, EQ, and compression  do 80% of the mixing work . These three tools, when used thoughtfully, can bring clarity, warmth, and cohesion  to a track. Saturation is more than just distortion—it’s an essential part of modern production and mixing . Experiment with different saturators, find the colours that suit your style, and let your sounds come to life ! Would love to hear what saturators you’re using! Drop your favourites in the comments. 🚀🎛️

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  and use it to rebalance their mid/side content accordingly. The plugin makes it easy to make those focused adjustments without disrupting the rest of the stereo image. 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!

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

Exploring innovative plugins like Synplant 2 and Zyklop can breathe new life into your old samples, offering fresh and unique sounds for your productions. Synplant 2: Organic Sound Design Synplant 2 introduces a groundbreaking approach to sound creation by allowing users to “grow” sounds from seeds, resulting in organic and evolving textures. Its Genopatch  technology utilises artificial intelligence to generate synth patches from audio recordings, enabling creative manipulation and integration into your projects. This method encourages experimentation and can lead to unexpected, inspiring results, making it a valuable tool for producers seeking to revitalize their sample libraries.  Zyklop: Accessible Resynthesis In a similar vain, Zyklop, developed by Dawesome, is a free synthesiser plugin powered by the Re-synthesis V2  engine. It allows users to upload audio files into the oscillator slot, transforming them into a universe of sonic possibilities. With features like drag-and-drop simplicity, multiple play modes, and transformer dials to shape sounds, Zyklop delivers effortless creativity. Its user-friendly interface ensures accessibility for both beginners and experienced sound designers, making it an excellent choice for those looking to explore resynthesis without complexity.  Modern Usage The capabilities of Synplant 2 and Zyklop have not gone unnoticed in the music production community. Producers are increasingly incorporating their distinctive sounds into contemporary underground productions, showcasing their versatility and modern appeal. Incorporating these plugins into your workflow can open up new sonic possibilities, transforming outdated samples into vibrant elements that enhance your music’s freshness and originality. By integrating Synplant 2 and Zyklop into your production toolkit, you can rejuvenate old samples and infuse your tracks with innovative sounds, keeping your music fresh and engaging. 🔗 Synplant by Sonic Charge 🔗 Zyklop by Tracktion

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

The Timeless Appeal of the Pultec EQ: A Personal Journey My fascination with the Pultec EQ began in 2006 when I first learned about its legendary status. This EQ, originally designed in the 1950s, had achieved an almost mythical reputation. I was captivated—how could something so old still be so revered in modern music production? My curiosity led me to explore plugin versions like Waves’ Puigtec EQ, developed with mix legend Jack Joseph Puig, and UAD’s Pultec EQ. These plugins gave me a glimpse of the magic, and for the first time, I began to understand why the Pultec was so celebrated. At first, I thought the plugins were fine. They brought a new clarity to the high end that I hadn’t experienced before, but they didn’t completely win me over. At the time, I was primarily using Logic’s built-in EQ, which felt familiar and reliable for my needs. Then in 2010, Pensado’s Place  hit the scene, and everything changed. In almost every episode, engineers raved about the Pultec EQ’s ability to shape low-end frequencies, particularly for kicks and bass. They emphasised the famous “boost and cut simultaneously” technique, which works by boosting the low end while subtly dipping the low mids, resulting in a clean, tight, and balanced low-frequency response. I revisited my Waves and UAD Pultec plugins, applying what I had learned, and suddenly everything clicked. I could hear the magic of the Pultec in action. It wasn’t just an EQ—it was a tool that could transform the foundation of a track. My desire for the real thing, the hardware Pultec, started to grow. The Klark Teknik EQP: Tubes Change Everything In 2017, Klark Teknik released their EQP, a budget-friendly hardware version of the Pultec. Unlike the plugins, this had actual tubes, a key part of the original Pultec’s design. For me, this was huge. Tubes are known for their warmth and musicality, and I knew I had to get my hands on one—or, ideally, two. After a long search (and a fair bit of patience), I managed to snag a pair of EQPs on eBay, brand new and unopened. For months, they seemed impossible to find in stores—either out of stock or unavailable altogether—which only made finally getting my hands on them even more thrilling. When they finally arrived, it felt like Christmas morning. I connected them to my RME 800 interface, set them up as external plugins in my DAW, and started experimenting. The difference was immediate. The hardware brought warmth and colour that the plugins simply couldn’t match. Kicks and bass were solid, vocals gained a newfound presence, and the tubes added a richness that elevated my productions. They just worked. For years, those EQPs became an integral part of my workflow, and the tactile experience of working with real hardware was both rewarding and inspiring The Bettermaker Passive EQ: A Modern Classic In 2024, Bettermaker released their Passive EQ, a modern take on the Pultec with additional features. At the time, I was subscribed to Plugin Alliance, so I downloaded it immediately. Bettermaker had already earned a reputation for their high-quality gear, and this plugin was no exception. The Bettermaker Passive EQ blew me away. It captured the essence of the Pultec while offering modern enhancements. The low end was punchy and clean, the Valve/Heat switch added a subtle gloss, and the Output Filter became my go-to tool for high and low cuts. It felt like the best of both worlds—the Pultec sound with modern flexibility. The Bettermaker impressed me so much that I decided to sell one of my Klark Teknik EQPs, keeping the other specifically for vocals. The plugin was that good—it delivered the sonic qualities I loved in the hardware while streamlining my workflow. The Pultec Legacy Lives On Owning hardware with real tubes was a significant moment for me. By this point, I already had a solid understanding of sound and production, but the tactile experience, warmth, and character of the Klark Teknik EQPs added a new dimension to my work. They reinforced what I knew about shaping sound while offering unique tonal qualities. That said, tools like the Bettermaker Passive EQ have shown me that modern technology can often rival, and sometimes even surpass, hardware in both practicality and sound quality. I’ve yet to work with an original Pultec, but the legacy of this iconic EQ continues to inspire me. Whether it’s through plugins or hardware, the Pultec’s ability to add weight, clarity, and musicality to a track remains unmatched. 🔗 Passive EQ by Bettermaker

SIR StandardCLIP: My Go-To Clipper for Peak Control, Loudness & Snares That Hit Just Right Over the years, I’ve tested a lot of clipper plugins in search of one that balances transparency, control, and musicality. While there are plenty of great options—like Kazrog KClip 3 and Black Salt Audio’s Clipper , both of which I’ve used extensively— SIR’s StandardCLIP has firmly become my go-to. Why StandardCLIP? Clippers are essential for controlling peaks without introducing excessive compression, and the way StandardCLIP handles soft clipping is what sets it apart . Unlike some other clippers that can introduce strange artefacts, this one just holds the sound in place beautifully . It doesn’t feel like it’s altering the character of the audio; instead, it lets me push things where needed while keeping everything clean and controlled . You can drive it hard and get a noticeable effect, but for my approach— just controlling peaks and managing transients —it’s a perfect tool. The soft-clip saturator control  is a great addition, adding subtle harmonic richness when needed. Where It Shines in My Workflow ✅ Peak Control on Individual Tracks  – Just enough clipping on a drum or lead synth to tame rogue transients  without squashing dynamics. ✅ Love It on Snares  – Especially when you want them to crack through the mix with presence and energy . It helps contain any overly sharp peaks without dulling the attack , letting the snare sit just right in the mix. ✅ Subtle 2-Bus Clipping  – Occasionally, I’ll use it just before my mastering chain, if needed, to catch any peaks  before they hit my final processing. It’s a great way to preserve clarity  while maximising perceived loudness. ✅ Group Processing  – Applying slight clipping at multiple stages  across groups (e.g., drums, bass, synths) allows me to control peaks incrementally , keeping my mix competitive in the loudness game without introducing pumping or over-compression . ✅ Clean UI & Visual Feedback  – One of the best things about StandardCLIP  is the intuitive display . Being able to visually dial in the clip threshold  and immediately hear the effect makes it incredibly easy to use. Just pull the clip level down, control peaks to a desired level, and gain headroom —simple but highly effective. Final Thoughts There are plenty of great clipper plugins  out there, but StandardCLIP  has become my go-to because of its clean sound, reliable peak control, and easy workflow . It fits effortlessly into my mixing and mastering process . SIR StandardCLIP GUI If you’re looking for a powerful, transparent clipper that delivers without colouring your sound in unwanted ways , give SIR StandardCLIP  a go. Whether it’s taming transients, making snares hit harder, or tightening up your master , this plugin delivers every time. 🚀🎛️ Check out SIR StandardClip  for more details. For more production insights, check out my 10 Essential Music Production Tips.

When crafting a track, the sounds you choose define its energy, emotion, and character. It’s easy to focus on technical aspects—EQ, compression, levels—but what about life ? That intangible quality that makes a production feel vibrant, dynamic, and human? Why Sound Choice Matters Every sound in your track plays a role, whether it’s driving the rhythm, creating atmosphere, or delivering melody. But beyond fitting the mix, sounds should feel  right. The best productions don’t just sound clean—they breathe, move, and engage the listener on a deeper level. Texture & Authenticity Some sounds naturally carry more depth. Analog synths, live recordings, sampled textures, and even subtle background noise can add character. Compare a raw 808 kick to a sampled kick with room ambiance—you’ll notice an immediate difference in depth. Dynamic Contrast Too many perfectly clean, static sounds can leave a mix feeling lifeless. Adding dynamics—variations in volume, movement in effects, and subtle imperfections—creates an organic flow. For example, slightly detuning a synth line or using velocity changes on a hi-hat pattern makes the track breathe. Human Feel & Groove Electronic music thrives on precision, but that doesn’t mean everything has to be locked perfectly to the grid. Introducing slight timing variations, swing, or live-played elements can make a track feel less robotic. Think of the way a classic house groove swings or how a sampled drum break carries natural fluctuation—it’s those imperfections that bring life to your production and make it feel alive. Techniques to Add Life to Your Mix ✅ Flanger on Hi-Hats  – If a hi-hat pattern feels too static in the mix, adding a timed flanger can introduce subtle variations that bring it to life. Set the flanger length to work rhythmically with your production—it adds movement and breathes energy into the groove without overpowering the mix. ✅ Subtle Filtering for Movement  – A small amount of automation on a filter can do wonders. Slightly pulsing the frequency or moving the resonance up and down on a lead sound can introduce natural variations that add depth. Blending this into the original sound not only gives it a more organic feel but also helps it find its place in the mix. ✅ Pitch & Timing Modulation on Percussion  – Percussion sounds, like claps or snares, can sometimes feel repetitive when every hit is identical. Applying subtle pitch modulation —either manually or through an LFO—can make them feel more dynamic. Even a slight variation of a few cents can add realism, making the sound less robotic and more human. For timing variations , one technique I use is applying an LFO to the start point of a hi-hat sample . When set to random movement with really small variations , this introduces subtle, unpredictable shifts in the transient, creating natural  variations in each hit. The result is a hi-hat pattern that feels more alive and less rigid , helping it blend into the mix with gentle movement. Combined with velocity adjustments , this technique adds a layer of organic realism  to programmed percussion. This is just the start—there are countless ways to inject life into your productions . Experiment with movement, subtle imperfections, and textural layering  to craft a mix that feels dynamic and engaging.

Every mix I do, there comes a point where it’s time to check Mid/Side processing . No matter the style or genre, what’s happening in the sides  of the mix is often very different from what’s in the mid —and understanding this can completely transform your mix. I use ADPTR Metric A/B  on my 2-bus  to easily switch between Mid/Side and analyse the balance. If I’m working on genre-specific mixing , I’ll always have a few reference tracks  loaded up, giving me a clear picture of where certain elements should sit. The Mid – Where the Weight Lives For club tracks , the mid-channel  is where all the weight sits—Kick, Snare, and Bass. This is pretty much standard for any track that relies on powerful low-end energy . But beyond this, where everything else sits is often dictated by genre expectations . Some tracks feature all the drums in the centre, going through a mono reverb , with nothing happening in the sides. A great example of this is “ Am I Dreaming ” by Metro Boomin, A$AP Rocky & Roisee . While watching the end credits of Spiderman – Across the Spiderverse  on my LG TV speakers , I was hit with full mono drums —something I hadn’t noticed in a while. It punched through in a way that was unexpectedly powerful. For club mixes , this approach makes sense. Many club sound systems are still mono , so having all your drum weight in the mid ensures the track hits consistently on any system . The Sides – Crafting Width & Depth While mono drums work well in some cases, in most modern mixes , the hats, claps, percussion, snares, and even kick tops  contribute to the stereo field. The key is making sure the mix is working in the sides as much as it does in the centre . When pushing elements out to the sides, you need to ensure: • The hats interact with the snare/clap & kick tops. • The stereo image remains cohesive. • The elements don’t feel detached from the main groove. It’s almost like another mix happening out there , and the goal is to make it as balanced and intentional  as the centre. Leads, Vocals & Pads – Finding Their Place When it comes to leads, vocals, and pads , it’s all down to personal choice and genre . • Check the references of tracks you like. • Understand why you like them. • Try placing elements in similar positions in your mix. This approach helps with separation and space , making sure each element sits where it best serves the track . Experiment, A/B, and adjust until it feels right for your mix . Mid/Side Tools & Techniques There are plenty of ways to place elements into the stereo field . Here are some of my go-to tools for shaping width and depth in a mix: 1. Wider (Polyverse Music) A simple but effective free plugin that adds stereo width without causing phase issues . Great for subtle widening. 2. Goodhertz Mid/Side Matrix I love Goodhertz Midside  for its Mid/Side control , which helps position sounds naturally  across the stereo field. I don’t have the full version at the moment, so I use the free version (Goodhertz Mid/Side Matrix)  to shape the stereo balance. 3. Sample Delay (Logic Pro X) + Stereo Pan Mode A classic stereo widening trick—using sample delay  to push a sound slightly out of phase  between the left and right channels, creating width.(Haas Effect) When using Sample Delay, I switch the pan mode to Stereo Pan  instead of Balance Pan (Split Stereo Pan Mode in Ableton). This allows me to control how much of the delayed signal is actually going into the sides , keeping it tight and balanced. 4. SPL Big A great tool for broadening sounds  in a mix while keeping them under control. Final Thoughts – A/B and Keep It Cohesive The beauty of Mid/Side processing  is that it gives you complete control over how your mix translates across different playback systems . • Use reference tracks  to compare and see how other producers distribute elements. • A/B your mix  often to ensure the stereo field is balanced. • Remember that there are no fixed rules —as long as the mix feels cohesive and intentional , you can place elements wherever they best serve the track. Whether you’re tightening up a club mix  or sculpting wide cinematic textures , Mid/Side processing is a powerful tool  that can take your mixes to the next level . Polyverses' Wider 🔗 Polyverse Wider – Free Stereo Expansion Plugin 🔗 Goodhertz MidSide Matrix – Advanced Stereo Processing 🔗 Goodhertz MidSide – Creative Mid/Side Processing 🔗 SPL BiG – Stereo Image Enhancer

Sitting down and starting a new production can sometimes feel like the hardest part of the process. Over the years, I’ve found several ways to get the creative juices flowing, but the easiest and most effective approach for me is simply playing with a new plugin or piece of hardware. It’s not that every time I open a new plugin, I’m intentionally setting out to write a track. Instead, I approach it with curiosity— What does this plugin do?  Before I know it, I’ve stumbled upon something inspiring, and a track starts to take shape organically. That being said, I do have a structured process when it comes to actually finishing a track. Once I stumble upon an idea or something that excites me, I know exactly how to capture it and develop it into a full piece of music. My Evolution: From Sampling to Sound Design When I first started producing, my workflow was heavily centred around sampling records—both classic house records and old disco records. I’d chop up drum breaks, lift individual hits, or sample full sections of music to create something new. Over time, I transitioned from this method to building everything from scratch. This evolution has been quite a journey, and it’s one that I’m happy to share with you throughout this blog. The truth is, whether you’re working with samples, designing sounds from the ground up, or blending both approaches, it’s entirely possible to create finished, professional tracks. These days, platforms like Splice offer an overwhelming amount of high-quality material to kickstart a project, making it easier than ever to get ideas down quickly. The Power of Great Samples Some producers may feel like using pre-made samples is a shortcut, but I’d argue the opposite. High-quality samples can save time and provide an immediate foundation to build upon. For example, Drums That Knock  are some of the best-sounding drum samples out there. Similarly, Goldbaby  and Samples From Mars  offer sounds that have been meticulously processed through thousands of pounds worth of analog gear, making them ready to drop into a mix without much additional treatment. This is a huge advantage, especially when inspiration strikes and you want to keep the momentum going. Back in the day, when we sampled kicks, snares, and synth stabs from records, they were already fully processed and sat well in a mix straight away—that’s why they sounded so good! Modern plugins also come with built-in processing, but the question is: Is that processing right for the sound you want? When I receive tracks for mixing, one of the first things I do is strip away any unnecessary processing applied within VSTs before I even begin working on the mix Using Samples to Enhance Creativity At the end of the day, understanding what goes into a production gives you more creative freedom. If you’re struggling to get the sound you want, use elements from the genres you love. Sample kicks, take synth stabs, and incorporate them into your productions. It’s a proven method that has worked for countless producers. For example, Kick 3  is fantastic for recreating sampled kicks. If you love a specific synth stab from a classic house or techno track, sample it, tweak it, and make it your own. Put it into Synplant 2 or Zyklops and take it further. This approach isn’t about cutting corners—it’s about working smarter and focusing on creativity rather than getting bogged down in technical limitations. If you’re really struggling to get started, AI-powered GPT tools like Songmaker and MelodyMuse can generate fresh ideas. These models provide melodic and harmonic inspiration, helping you break through creative blocks and quickly establish a starting point for your track. Sometimes, all it takes is a simple idea to spark a full production. Conclusion Starting a new track doesn’t have to be intimidating. Whether you’re inspired by a new plugin, experimenting with chord progressions in Cthulhu , or digging into a fresh batch of high-quality samples, the key is to get something down quickly. Once you have an idea, the process of refining and structuring the track becomes much easier. There’s no right or wrong way to make music. Sampling, sound design, and hybrid approaches all have their place. The important thing is to find what works for you and enjoy the process. After all, the best tracks often come together when you’re simply having fun exploring new sounds.

When it comes to music production, small changes can make a huge difference. These 10 essential tips will help you refine your workflow, enhance your mixes, and help take your productions to the next level. 🎛 1️⃣ Compression: Keeping the Mix Tight & Balanced Compression controls dynamics , keeping loud and quiet elements  in check. • Slow attack, fast release  = keeps transients  intact. • Fast attack, slow release  = smooth, controlled levelling . • Up to 10dB gain reduction  works in electronic music  to keep things tight & powerful —you want the compressor in control, not crushing the sound . 💡 Tip:   Don’t overdo it.  Let the compressor breathe —adjust the threshold & ratio  instead of slamming the mix. 🎚 2️⃣ Get Analog Warmth with Tape • Tape saturation  adds natural warmth, glue, and harmonic richness  to a mix. • It smooths transients  and helps elements sit together  without over-compressing. 💡 Tip:  Apply gentle tape drive  on buses  for subtle warmth  without muddying the mix. 📢 3️⃣ Use Clipping for Transparent Loudness • Clipping instead of limiting can retain transients and avoid pumping. • SIR StandardClip is a powerful tool for clean loudness at a good price. • Tip:  Use it before your limiter for a louder, punchier mix. 🎶 4️⃣ Use Parallel Processing to Add Depth & Character • Instead of applying effects directly to a track, send a copy to an auxiliary channel  and process it separately. • Parallel compression  helps retain dynamics while adding power and presence. • Parallel saturation  can enhance warmth without overwhelming the original signal. 💡 Tip:  Blend the processed signal carefully with the dry signal to maintain clarity and avoid muddiness. 👂 5️⃣ Trust Your Ears Over Visuals in Mixing • It’s easy to overanalyse waveforms, meters, and spectrograms , but your ears should always come first . • Reference tracks can guide you , but a “perfect” spectrum  doesn’t always mean a great-sounding mix . • Some of the best mixes aren’t textbook perfect—they just feel right . 💡 Tip:  Try listening in the dark  to reset your ears, or step out of the room  and hear your mix from a distance for a fresh perspective. 🔊 6️⃣ Automate Volume Instead of Over Compressing • Don’t compress everything— ride the levels instead. • Works on vocals, synths, basslines—anything that needs movement. 💡 Tip:  Automate vocals up during quiet sections for clarity instead of adding more compression. Sonalksis’s Free G is a great plugin for this job. 🎵 7️⃣ Experiment with Timbral Layers in Sound Design • Don’t just rely on one synth patch — layer different sounds  for depth and character . • Blend digital and analog synths  for richer, more complex textures . 💡 Tip:  Listen for the spark —that one detail  that makes a sound exciting. That’s the magic. 🥁 8️⃣ Create Groove with Swing & Humanisation • If your drums feel too robotic, add subtle timing shifts. • Use swing, velocity changes, and manual nudging to add feel. 💡 Tip:  Slightly delay hats and percussion behind the beat for a natural groove. 📊 9️⃣ Use Spectral Shaping for Clarity in Mixing • Instead of static EQ cuts, use dynamic EQ or multi-band compression  for precise frequency control . • Prevents buildup in key frequency areas without removing energy, keeping the mix clear and balanced. • Soothe 2  is a great tool for this—it automatically tames harsh frequencies in vocals, synths, and high-end transients without over-EQing. 💡 Tip:  Use Soothe 2  or a dynamic EQ  on mids & highs to preserve clarity while smoothing out harshness . 🔉 🔟 Mix at Low Volumes for Better Balance • If a mix sounds good quiet, it will sound great loud. • Loud mixing causes ear fatigue & bad decisions. 💡 Tip:  Mix at conversational volume levels and take breaks. Final Thoughts Mastering these techniques will help you achieve cleaner, more professional mixes. Implement these tips in your workflow and notice the difference in your sound. Have a favourite production tip? Drop it in the comments and share your insights!