
Intentional Clipping (The “Anti-Compressor”)
We often reach for a compressor when we’re looking to control dynamics. While compression is great for tone and glue, it is actually quite poor

We often reach for a compressor when we’re looking to control dynamics. While compression is great for tone and glue, it is actually quite poor

In mixing, we often speak about left/right (width) and top/bottom (frequency), but the “Z-axis” (front/back) is often overlooked. Today, we’ll discuss how to push sounds

Professional productions often sound huge because the arrangements are actually quite small… Don’t believe me? Today, we’ll look into the “Delete” key as a production

Today, we’re going to talk about Sidechaining. But instead of sidechaining the bass to the kick, we will be using “ghost” (muted) trigger tracks to

Did you know that when a mix sounds powerful and balanced at conversation level, it will sound massive at live venues, festivals, and clubs? The

Most of our students reach for a subtractive EQ when a sound is “thin” or “dull.” But I would argue that many EQ problems are

Mastering today is very different to a couple of decades ago. I think people are sometimes confused by the fact that we’re called Mastering.com. We

Picture this: You’ve nailed your mix. But when you play it back-to-back with some of your favourite songs, something is still missing. That’s where mastering

If you’ve ever tried to get your tracks loud enough for streaming platforms, you’ve likely encountered two essential tools: clippers and limiters. Both can help

Mixing fatigue is the silent killer of great mixes. After hours in the studio, your ears get tired, your judgment blurs, and suddenly, that perfect