Post your questions here!

Home V2 Forums Q&A Post your questions here!

This topic contains 73 replies, has 15 voices, and was last updated by  Carlo Covelli 2 days, 13 hours ago.

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  • #6096 Reply


    Welcome to the Q&A thread. This is the designated area for you to post any questions for The ALLIANCE Q&A.

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    Note: Non-ALLIANCE members may only submit their questions to the Q&A Forum through Safari Web Browser. (Don’t worry Windows users, you can download it free!)

    • This topic was modified 9 months, 3 weeks ago by  Dom.
    • This topic was modified 9 months, 3 weeks ago by  Dom.
    • This topic was modified 8 months, 1 week ago by  Dom.
  • #6123 Reply


    Hey Luca & Nik,

    Had a couple questions for the Q&A:
    In the CRAS lecture you mentioned that low level information in the low end often gets brought up in rough mixes, and this can cause distortion when trying to get the level up… could you expand on this a bit (ie. specific instruments or frequency range)?
    Does multiband compression still have a purpose when you have access to the mix? Any tips on picking the # of bands or how you determine where to set the crossover frequencies?


  • #6124 Reply

    Edward Johnston

    Hey guys!
    I would like to know about your latest experiments of printing stems thru analog gears, and how you would recombine them later, ie would you recombine them ITB or redo an OTB pass in your analog summing?
    I’ve seen many big guys are printing stems and all lately, and I would like to know how you’re evolving on this topic 🙂

    On a kinda similar topic, I’ve seen Greg Wells doing summing for all his instruments in one master buss with mastering comp and eq, and in parallel he stems the vocals on their own buss, then recombine the two busses into his DAW and does some final processing to this to glue them…
    That inspired me to try this kind of workflow in a seperate way, like finishing the instrumental track first, treating summing and printing the result, then do the same with all the vocals.
    Then I would finally recombine this vocal stem on top of the instrumental one and do some final tiny limiting.

    Would you think it’s a great idea or would you prefer managing all the stems including vocals at once to keep a faster workflow?

    Thanks guys for the precious infos!

  • #6125 Reply

    James B

    I read somewhere that Laidback Luke puts multiple compressors on his master channel when producing to improve overall loudness. Is this something that you do? What are the pros and cons to doing this?

  • #6129 Reply

    Greg Myers

    Luca do you still DJ and produce?

  • #6130 Reply

    Kevin S.

    Studio DMI obviously has extremely reputable engineers. Many admire Scott Banks And Luca Pretolesi… But who inspires you and why?

  • #6361 Reply

    Bryce Vanchello

    With todays technology and streaming music being the norm. How do you make sure your mixes sound the same on all playback devices from tvs, radio, and mp3 players. When I am mixing a session and add reverb, the reverb always seems to be more apparent when I listen to the mix in my car. opposed to the mix in my studio on KRK 8’s. Do you have a tip to avoid this problem?

  • #6370 Reply

    Edward Johnston

    Hey Guys!! Hope you’re doing well!

    Curious about how you organise yourself in the studio, I mean what’s your schedule generally?
    Is it changing all the time or is there some hours reserved for Luca to work in the main mixing room, then the rest is for Scott?
    How many breaks do you make when mixing and mastering, or producing?
    How many expressos a day Luca? 😉 joking 😉

    And how do you split yourself with the Wynn stduio and the new DMI studio?
    Do you still go to the Wynn studio to help artists to record vocal and produce like you did on some Jake ü/ Major Lazor stuffs or do you let them your keys?

    Just curious about what’s a typical week at the Studio DMI!

    Thanks and take care guys!

  • #6373 Reply

    Miguel Suarez

    Hi guys. not sure if you could answer this one or not, but what kind of monitors would you suggest for mid to low budget?

  • #6374 Reply

    Jason Jacobs

    I have a 10×10 room with carpet, half vaulted cieling, and a giant foam beanbag couch behind me taking up half of the room and my KRK 6″ monitors infront of me, about a foot away from the wall on isolated stands. And I just bought 24 Auralex “stuidofoam wedgies”. My question is. Where do I put them?

  • #6379 Reply

    Conrad Nuer

    Hi Studio DMI, this question is for Less Distorted.
    Serum seems to be the industry standard when it comes to sound design. What makes this synthesizer so great? Are there others that can compete? Besides Serum, what are you “go-tos”?


  • #6380 Reply

    Dominick W.

    This questions for Less Distorted.
    Sometimes when I am producing my own tracks. I’ll get to the point to where I don’t want to add anymore instruments to the track, but overall it still sounds like it’s missing something. Have you ever had this problem? and what do you do to get past it?


    • This reply was modified 9 months, 1 week ago by  Dom.
  • #6452 Reply

    Miguel Suarez

    Is Mastering always necessary?

  • #6453 Reply

    Miguel Suarez

    I’ve been told that when choosing your engineer, you should chose one that specializes in that specific genre. Is this true?

  • #6496 Reply

    Joey Fernandez

    Hello, Luca!
    How do you go printing stems when you have plugins on your master fader? On an SSL console, you can sidechain into the master comp. How do you do it in the box?

  • #6497 Reply

    Edward Johnston

    Hey Guys!
    Hope you’re all doing great.
    Got a question about a “boost” technic I used lately to write faster and trigger more creativity;
    I’m starting using premades templates of tracks and throw away everything but keep the beats and Fx then put my instruments and vocals and producing technics on there so things take shape utlra fast and I’m feeling more creative and all, enjoying great worflow and feeling fun again when producing like this.

    But, what would you do when your track is done and you’re ultra happy with it, would you keep the obvious beats structure and fx to avoid breaking something working well, or would you replaced the samples or even rebuild the beat and change some fxs?
    Where stops effectivness in today fast real world and begins lasiness to you guys?
    Have you seen guys working like this before?

    Thanks you and have a nice day guys!

  • #6498 Reply


    Hey guys,

    What kind of ear training do you recommend for new engineers? Would you also recommend new engineers to look for an apprenticeship at an established studio or just experimenting a lot on your own?


  • #6532 Reply


    Hey guys,

    Just joined the alliance today.
    Im a producer from the UK and go by the alias NOXXID and produce mainly dubstep.

    I have a million and 1 questions to ask you guys but il start with just one lol.

    Im looking to achieve the perfect sub bass when sound designing. Every track i make i always experiment with the sub bass but never feel i can get it sounding like the PRO’S.

    Iv spoken to many dubstep guys and they all tell me they just use pure sin waves for subbass (under there main mid range bass) This may be true in some cases but i find a pure sin wave doesnt quite cut it harmonically in my mixes.

    When listening back to records made by skrillex for example i hear a broad range of sub bass from 34-80hz (roughly) which to me indicates its more than just a sin wave.

    Also when receiving dubstep tracks for mixing/mastering do most producers send you a separate sub layer or include the sub in the main bass stem.

    Any advice on subbass sound design and ranges/mixing would be a tremendous help.

    Cheers guys

  • #6535 Reply

    Edward Johnston

    Hey Luca & Scott!
    Hope you’re doing well guys;
    In some of the track reviews you did for me you noticed clipping on the side, so I’m curious about what kind of technics you would use to avoid this while keeping the loudness up to today’s standard.

    Second question I got for you, as far as mix/mastering and music style, what would be great reference tracks for the next year in you opinions?

    Thanks guys!

  • #6545 Reply

    Patrick Sweeney

    Hey guys,

    Thanks for this resource – love your work! What do you think is the best bang-for-buck tool (or process) for glueing mixes & generally making them sound more ‘finished’?

    Obviously this is a broad question, but as an example – I’ve noticed multiband compression on my mix bus can make a huge (almost magical) improvement to how polished my mix sounds. Is this just an effective band-aid solution on my otherwise lacking engineering skills, or do things like bus compression (or something else) really do a large majority of the heavy lifting in getting electronic mixes sounding professional?


  • #6609 Reply

    Edward “Artsy Moods”

    Hey guys,

    I just tried my 2Buss+ on drums like you showed in the recent video you did for Dangerous and result is very nice and modern with great clarity, noise floor is very very low compared to my previous UBK fatso + Elysia Nvelope (in shelves mode) combo for drum treatment… plus the 2Buss+ is way more easier and fast to operate, which would accelerate my workflow a lot…

    Did you experienced the same things and are those the reasons you’ve made this choice?
    And curious about seeing your Bax Eq on this side;
    do you use it on the whole drum+bass buss or somewhere else?

    Thinking of ditching my fatso and Inward Limiter previously used on my Drums and Vocals stems, to go straight from the converter to the 2Buss+, and use the money to later get a Bettermaker mastering limiter…
    Sounds like a good plan to you?

    Thanks guys, and Luca see you soon in Paris!! 🙂

  • #6610 Reply


    Hey Luca & Scott,

    In the first Q&A Scott mentioned outboard being able to push louder than ITB mastering for tracks with a big kick or sub… is this mostly in reference to the analog clipping stage or something else? How big would the difference be in terms of RMS or LU?

    Thank you!

  • #6735 Reply

    Dj Samiryi Szymon Gwóźdź

    Hi Luca. I’m making mixing and mastering for my record company, and… Mixes works very well. Producers, artists and record company like it. But i have a problem when full album is on a board. Every single track sounds fine but when you listen full album tracks are not consistent with themselfs. This is Big problem because I can’t make a good sounding cd as a whole. Have you got any solution? Tips…? I’m using same plugins, same techniques on Every track on an album.

  • #6778 Reply

    Edward Johnston

    Hey guys!
    When mastering tracks I didn’t produce and going for today’s loudness, presence and openness in the highs, I’m uncovering some harshness previously present but bearable in some samples of the track.
    Like for example snares or claps too crunchy and dirty in a bad way, overclipped or with some nasty digital ringing etc…

    So, what’s your prefered technics or plugins to get rid of such harshness brought forward at the final stage?

    Thanks guys!

  • #6814 Reply

    Aaron Demize

    Humans have only a certain threshold of audibility. Knowing this when mixing. would you roll off the high and low end at a certain frequency on everything or could I be taking away from the mix?

  • #6833 Reply

    mattia verasani

    Hey Guys!

    I would like to ask you if you use the PRO-C2 in the mastering stage even if the track has been mixed by yourself.
    Moreover, always in the mastering stage, I have started using the Vertigo VSM-3 as an exciter instead of the Izotope one. What you think guys about this choice?
    At the end, I would like to understand the purpose of the Essence in the mastering chain, if I may.


  • #6837 Reply

    Edward Johnston

    Hey guys,
    just had the chance to score a used Charter Oak PEQ-1 in place of my Fatso, knowing you’re using it for years I’m wondering what are its strengths appart its smooth tone and wonderful Air bands?
    I mean, do you find yourself particularly liking pushing some bands more than other?
    How are you using it mainly?

    … btw I swear I wasn’t just going for copying your setup, but I find myself attracted to the exact same gears the more I learn and experiment with many other pieces all the time…
    Your choices are just so on point each time!!
    It seems I should have just copied it from the start! lol 😉
    At least I know first hand why you’ve chosen those piece of gear, and made choices on my own from your wise lessons 🙂

    Anyway, thanks guys for dropping bomb knowledge each time!!
    Edward “Artsy Moods”

  • #6838 Reply


    Hey guys,

    Could you expand on how you’re using Limiter No.6 and what makes it so special?
    Also, is there a plugin equivalent of the P3S the way you use it in parallel?


  • #6842 Reply

    Edward Johnston

    Do you clean your master with RX after printing thru your analog to kill the noise floor coming up or do you let the file untouched?

    I’m asking cause despite highend cables and all, I seems to get a higher noise floor with the Charter Oak eq than with the Maag with which I could avoid cleaning…but the tone of the PEQ-1 is so sweet (this 15K kills!!!) so maybe it’s worth this post treatment in counter part?

  • #6875 Reply


    Hey guys,

    Thanks for answering my sub bass question last week, was really helpful.

    My question this week is about SSL master bus compression.
    I recently purchased a hardware unit and use it as the first effect on my master chain in ableton.

    So i buss out using abletons external effect, come back in and continue processing through ozone etc etc.

    What kind of settings would you recommended for the SSL at this final compression stage.



  • #6876 Reply



    If you get time i have a second question aswell this week 🙂

    When using the izotope stereo imager, how do you know when you have pushed it to far ?

    I usually pull the dial on the sub/ bass completely down, making everything mono under 200hz.

    But when im boosting the stereo image on the top end i struggle to monitor when iv gone to far.
    (I usually shape it like an upside down triangle)

    Iv heard the phase can be damaged if pushed to far though (100%) but im not sure.

    Any help on this is greatly appreciated


  • #7011 Reply

    Jakob Deeks

    Favorite new plugin?

  • #7012 Reply

    Paul Kennedy

    Do you have any particular methods or preferences of note? i.e using certain gear for certain sounds?

  • #7029 Reply

    George Yukhanov

    Hello! These are my questions:

    1. Whats the level of mixed track that you start to master? its -3db or more like -5db?
    2. How do you choose the mastering chain and what are your like default settings for it?
    3. Is it must be done to have low cut under 20 hz and upper 20 kHz on master?


  • #7327 Reply

    mattia verasani

    Hi guys!

    1)Talking about software plug-ins, what kind of master buss compressor would you recommend in order to glue the mix of an EDM/Bass house production? I have tried the Vertigo VSC-2 compressor and i think that is really cool for that purpose. What is your opinion?

    2) I tend to use the Vertigo VSM 3 plugin as an exciter in the mastering chain. In particular, I always put the Vertigo VSM-3 after the BX digital V-3 eq, that I use in order to adjust some frequency-related issues present in the song. What is your opinion about this usage of the Vertigo VSM-3 in the mastering chain? Do you have any other suggestion?

    3) You have showed that in order to tame some nasty peaks in a song during the mastering session, you do a parallel compression with the P3s stereo compressor. In the past I had tried to do the same thing with the Opto stage of the Shadow Hill mastering compressor, but for 128 BPM songs I think it doesn’t work properly. Do you think that doing a parallel with the FG-Monster(or something similar) could be a good idea in order to tame nasty peaks? Is this operation also useful in order to not trigger the clipper with nasty peaks?

  • #7328 Reply

    David Pluym

    When mixing, I often encounter issues with phasing. Let’s assume you have a kick and bass and you are trying to get them to work together. My experience is that when using multiple software effect, the sounds on the mixer track seem to get a kind of phase distortion. Often, after applying an effect (for example compression or saturation), I find myself having to fix the phase offset.
    How do you handle phase issues between channels? Do you continuously check phase between two sounds?

    I wanna thank you for the masterclass at the ADE. The multiband expansion tip was really useful! I tried a variation where I wanted to get the bass working more together with the lead. Both were playing the same midi. By using a free band on the internal sidechain, I was able to use a frequency band with loads of dynamic groovy data, then I used it to expand the bass in the lows/low-mids. Every time when the midi plays, the bass gets a little bit more fullness. But because the expander only get triggered by rhytmic content, the result was having more groove and with that extra perceived loudness even though all the meters were telling the exact same thing. Thanks a lot for the tip!

    One more question. I am thinking about switching daws, from FL Studio to Studio One. FL Studio has a horrible latency compensation and horrible cpu management. With FL Studio, I am only able to utilize 13% of the cpu. How is Studio One handling plugins cpu wise in let say a 70+ mixer track situation? Taking into account that the majority of the effects consist of Fabfilter,Slate,Melda and Soundtoys plugins.

    • This reply was modified 7 months ago by  David Pluym.
  • #7337 Reply

    Nenad Rividic

    Hi Luca,

    Nice to have seen you at ADE on your workshop !

    You talked about compressing the mid – range end then bring it up to give the track life end my question to that is what is the range in the spectrum ?

    End my second question about that is i make Techno music end from the point off you is that technique suittable for my kind off music ?

    End do you have more tips en tricks for me on that to bring my Techno productions to life ??

    Let me know end in advance thank you for your time !

  • #7531 Reply

    Edward “Artsy Moods”

    Hey guys!

    It was so cool to see you Luca in Paris!! Loved the workshop and the extra time sharing diner!!! 😉

    I’m getting many tracks with old shcool bass synths, and they’re not always well designed and/or mixed, missing extension and fullness in the Sub/lows/Low mids…

    Can you share some tips to design better old school bass sound (think Moog kind) from the start, and then how to better them in Mix and mastering?

    For example if I remember well, what kind of treatments did you do on the bass on the Feder track?
    Like, on the mix and then mastering?

    Thank you very much guys!

  • #7565 Reply

    mattia verasani

    Hi guys!

    First of all, thank you so much for the exhaustive answers to the questions that I made last week!

    1) In my bass house tracks I tend to glue kick and subbass after I process them separately. I send them to a buss in which i put a compressor in order to glue them together. Do you think it is a proper way to manage low end informations? I tend to use an ssl comp for that purpose but I would like to try the new API 2500 from UAD. Do you think that an API2500 could be a good choice?

    2) Standard Clip is an amazing plug-in. However, I did not find any sheet that explains how the new function Ratio 2:1 works. Could you explain me the purpose of this function?

  • #7567 Reply

    David Pluym

    Hey guys!

    Thanks for answering my questions last time!

    With a new track, in the break we have two sounds, one is a distorted bass sound with formant filtering and the other is a vocal choir consisting of 5 panned voices. Theme-wise, both sounds fit perfectly but mixing-wise, they clash. Both are screaming and fighting for attention, have sustained notes and work in the same frequency range. We really like both sounds, but it feels like i need to make a compromise to one of both sounds.

    1A) How do you prioritize clashing sounds like the example above?

    1B) The five vocal layers combined did sound like a synth pad, the stereo image was blurred and the natural feel of the track individually vanished. How do i prevent that from happening? Do you have specific techniques to let every vocal layer do something a tiny bit different?

    2) Something entirely different. In a lot of bigroom/electro house tracks, i see rms values of -1.5db rms on the subs (<80hz). This sounds like the opposite of ‘keeping the subs dynamic’, a regular topic at FOTW. When do you know when your mix has too much or too little dynamics in the subs?

  • #7574 Reply

    Jene Severe

    Hi! My name is Jean and I am a new member of The ALLIANCE. I’d like to know if you could provide some steps you take when mastering a song that will be uploaded on YouTube. Is there a difference between mastering for YouTube and regular mastering?

  • #7577 Reply

    David Pluym

    Hey guys!

    Thanks for the extensive answers to my question!

    Mixing for me always feels like a very left-brain activity, lots of logic. I struggle do more from a ‘gut feeling’, something that is easy when producing. It results in technical fine mixes, but they lack a certain magic that happens when you are creative. How do you make mixing more like ‘right-brain’ activity?

  • #7594 Reply

    David Pluym

    Another question that popped up.

    When we are recording samples, we like to record multiple mono sources and layer them together with MS decoding. Especially when you detune the to-be side signal. We pan one sound to the left and one sound to the right.
    For samples, this is a nice way to get a certain depth into drums that would naturally not exist. I was wondering how far this idea could be stretched in terms of mixing. Do you guys use MS decoding in a mixing situation, for example when having to deal with two channels with similar content? If yes, what is your process?

  • #7609 Reply

    Jackson Simmons

    Hi Luca and Scott.

    Recently I recorded a rap artist who provided me with an MP3, ripped straight from YouTube. The vocals sound good but the crappy MP3 makes the entire song sound horrible. The artist doesn’t want to use a different or better quality beat. Are there any steps I can take to improve the overall mix?

  • #7646 Reply

    Edward “Artsy Moods”

    Hey Guys! Hope you’re doing well!

    I just received today a Convert-8, feeling like my chain is now at the top from start to finish!
    I’m curious about how you’re using it, what level you choose to work, or any other settings that would impact the quality at the end.

    Another question, way less sexy, is how you deal with sequencing an EP or Album and how you would print it for clients?
    Does the CD printer and CD quality matter nowadays?
    How are you sure you’ve created a good master CD to be used as matrix in a CD factory?
    Does the client need to provide the ISRC or is it my job?
    If you could show here how all this is done I would be infinitely grateful!

    Those are very boring mastering questions but I never had a real complete answer on that topic and I’m kinda clueless about that, but lately a client asked me for all this as he is doing more Electro/pop and want real CD, when all my other clients are DJs never printing down CDs, all is dematerialised for them…

    Thanks you very much guys!!

  • #7677 Reply

    mattia verasani

    Hi Guys!

    1) The pultec eq from Acustica-Audio seems incredible ( By the way, this software house is italian 🙂 ). During this months I have notice that their emulation tend to be really accurate in the digital signal processing treatment of these famous devices. Do you have tried also Ivory IAE-2? I think that is an emulation of the Maselec eq and it is pretty impressive!

    2) In the sound design processing of my own kicks I have started putting on the Virtual Tape Machine from Slate Digital in order to give to them an analog feeling and increasing also the impact of it on the track. Do you think it would be better to use it in parallel or directly on the channel? I tend to put it directly on the kick channel and then compensate with an eq if needed ( SSL Channel eq of the UAD Ssl Channel strip).

    3) I always use on the mix buss the maag eq 4 from UAD, but i feel that sometimes when I apply the air band , the overall track starts to lose a little bit of focus on the low end. Therefore, I tend to put a baax eq after that in order to give back some low end. Is this approach reasonable?

  • #7678 Reply


    Hey Luca,

    Thanks for the amazing workshop! Naturally many questions came to mind..
    1. We saw a couple masters using the LinMB/StandardClip and one using Limiter No.6 to achieve the final level – what makes you pick one or the other?
    2. What changes in your mastering approach when dealing with EDM that’s closer to -2 or -3 RMS? (ex. MAKJ – DERP/Generic/etc.., TJR – How Ya Feeling)
    3. Would you ever just mix through the Zener instead of applying it during mastering if you’re going for a transparent level-only master?

    – Andy

  • #7679 Reply

    Edward Johnston

    Another question for you guys!

    I received many stem mastering to do where the guys want me not to touch a specific element in the mix, or this element is on point, lets say a particular Kick, clap or vocal.

    Problem is when going thru the whole analog mastering chain with summing at the start it’s almost impossible not to change the sound of this element, or I loose many hours undoing with plugins what the mastering chain is doing, which is kinda irrealistic to recreate, crazy frustrating and a useless added process…

    I’m trying today to add second summing machine (in fact the summing part of my Antelop Satori monitoring controler, and first summing is 2Buss+) to bring back this particular element into the analog processed mix before the the very last combo of finisher (Bax+MPL2+PL2+Lyra).

    Once again I took this idea from you ;-), so you surely mastered this way of working, hence my question:

    How do you deal with that in your setup?
    At what point in the chain do you bring back element like this? Do you change it depending on the track?
    Do you vary the elements sent or do you always send the same Busses there?

    Thank you very very much for helping me with this difficult question guys, you’re the best!

  • #7686 Reply

    Edward Johnston

    Last quick questions about converters and Word Clock:

    Do you use a convert-2 for monitoring now or do you still use the Lyra ouput for this?

    What clocking the Lyra and Auroras from the Converts really brings you in the finish sound?

    What clocking cable brand are you using?

    Thank you!

  • #7777 Reply

    Edward “Artsy Moods”

    Hey guys!
    Hope you’re doing great and are enjoying xmas!

    I need your help to better how I manage the low & low mids, lets say from 120Hz to 700Hz, because sometimes I get bad surprises with track lacking a sort of fulness after test mastering.
    I feel sometimes I’m fooled by the Sub’s power, combined with the mids and highs freqs levels and excitation, leading me to forget to really fine tune this area just to discover on a shitty system with no sub that the track feels a bit odd and lacking…

    I already kinda asked you about that but maybe you have more tricks or some habits/workflow to manage those freqs correctly?
    Do you switch speakers there?
    Maybe using a sort of plugin like Audified MixChecker?
    Or simply soloing this band of freqs on a plugin then comparing levels with a well balanced reference track on the DR meter?
    Any simple method to avoid this bad surpise and get the master right faster?

    Thanks a lot for sharing guys!

  • #7805 Reply

    Edward “Artsy Moods”

    Hey guys, got some other questions for you:

    Do you prefer working on a whole mix+mastering or working on a stem mastering, and why?

    Also, how long does it takes for you to finish mixing+mastering a whole song compared to a stem mastering?

    I’m finding sometimes the line between stem mastering and remixing+mastering is hard to explain to customers; how would you more accuratly explain the differences between those?

    Thanks guys!!

  • #7810 Reply


    Hey guys, my question today is about Reverb. Do you guys see any advantages of putting a reverb on an insert vs a send? Also are there benefits to processing the reverb such as eq ie. low cuts or high cuts at certain frequencies, adding saturation, adding more width or mono making if you see the correllation in the red?
    Any other insights or philosophies on getting a good reverb sound I would love to hear.



  • #7814 Reply

    David Pluym

    Hey guys,

    Thanks for the great answers the previous time!
    Got a question about limiting. What is you viewpoint of using multiband limiting on the master bus, for example to save the low end dynamics from being squashed even further? Or is multiband limiting only useful on a single track or group bus?

    Thanks guys!

  • #7857 Reply

    Colin Warn

    Hey Guys, thank you for your feedback on my Track Review! Always helpful, but I do have a couple questions.

    -What techniques do you use in regards to saturation as opposed to compression? Using iZotope’s Trash on my end (have Saturn but it continually crashes my program): Is it just as simple as selecting the “Tape Saturation” option and pushing the whole track into it? Maybe multiband saturation?

    -In regards to the tips about making the kick beefier, would love a clarification on what you mean by giving my kick/snare a “solid tail.” Do you mean automate the decay time so that it quickly chops away after the initial transient?



  • #8027 Reply


    Hi everyone !

    I’ve been watching this video and .. it’s amazing! I immediately got in touch with Luca commenting on Fb and he sent me the edu email, then unfortunately, the video is no longer available and I have been sent here to ask how this technique is done.

    Thanks to everyone, it’s a pleasure to be here.

  • #8054 Reply


    All the loudness talk got me wondering what’s a good loudness target to aim for. I’ve noticed most albums that sound great to me have an average DR of 10 to 8 and RMS of -12 to -8 dB for Hip-hop, and DR of 14 to 12 and RMS of -16 to -13 dB for old Soul and (Psychedelic) Rock music.Because I’m mostly producing Hip-hop, I usually aim for a DR of 10 to 7 (if I want it very loud) and RMS ~ -10 dB.
    What’s your average target? Thanks

  • #8066 Reply

    David Pluym

    Hey guys,

    In order to get at this top level where you guys are, where you excel in quality and service, a strong personal character and mindset is required.
    Which aspects of your character/mindset do you think contributed the most to this?
    How did you for example overcame a struggle musicwise or careerwise?

    • This reply was modified 4 months ago by  David Pluym.
  • #8068 Reply

    mattia verasani

    Hi Guys!

    I hope you are doing well!

    1) I have seen in the last fly on the wall that Scott have put the Fairchild from Acustica Audio on the main bass of the song. Why you have decide to use that tool in this situation?

    2) I have seen that sometimes subs and basses in general becomes really wild and I use limiters or compressors in oder to tame them. I usually use the VSM-3 vertigo as a Limiter, as far as the stage in which the third order harmonics are enhance can act as a limiting stage. However, I have noticed that plugin compressors and limiters tend to create artifacts, especially when they act on the 40Hz-50 Hz region. Did you ever notice that? How you tend to control wild subs/basses?

  • #8189 Reply

    Derek McKinnis

    Hi Guys! I always struggle to make my bass loud and present in the mix without being overbearing. Can you share some insight on how I can improve my mixing? Thanks

  • #8203 Reply

    Edward “Artsy Moods”

    Hey guys! hope your doing well!
    I’m hesitating to trade my RockRuepel comp two for the Dangerous Music Comp as I’m going after polishing a sound in the mastering stage more than reshaping it like with a usual SSL buss comp for example…

    Before doing so, can you describe a bit more in depth how the Dangerous Comp works for you please?
    Like, do you use it more to make gentle compression to get some “upfront density” leveling the high mids or do you make it move in the bass? How far do you go with it?

    I’m also curious about how you’re using the sidechaine with Bax Eq, I mean, what kind of results are you trying to get with?
    Only compressing the mids kinda like with a Pro-C2, letting the bass and highs untouched?

    Thank you very very much guys!!!

  • #8204 Reply

    Edward “Artsy Moods”

    On another topic:
    How are you dealing with reverb getting too loud in stereo mastering?
    Like, you would need to expand the stereo image but when you grabe the synth you also bring the reverb up and so the sound become less defined etc… Do you have some tricks for this? Or just ask for another mix with the reverb lowered?

    That leads me to some other questions:
    How many times are you asking for another mix to be able to bring the song where you want?
    It surely varies with your clients relationships but as for the other way around, how often guys/labels ask you for another revision of your mastering? I mean, technically you can do it all so how often tastes/choices dont aligned with clients view?
    Do you constantly go back and forth with the client to find what he wants while he may not really knows himself?

    Thanks you very much again for your precious help!

  • #8205 Reply

    Edward “Artsy Moods”

    Forgot to ask: Are you using the Dangerous in Mid Side too?

  • #8206 Reply

    Erick De La Torre

    Hi Studio DMI Team!

    My questions are:

    What do you think at this moment about Studio One? worth it the DAW Switch? Or new Logic X’s Update its a think you consider to go back to Logic? What are you favorite things about Studio One other DAW’s doesnt have?

    Do you have, in a future, plans for expand Studio DMI’s educational program to other languages? for example, Studio DMI en Español (Studio DMI in Spanish)

    Thank you.

  • #8208 Reply

    Edward “Artsy Moods”

    Forgot a last one! 😉 Do you prefer to put the Bettermaker before or after the Dangerous compressor?

  • #8655 Reply

    David Pluym

    Hey guys,

    I got some questions.

    1) Sometimes, bass expansion does not seem to liven up the low end of the bassline enough. Are there things to try or explore?

    2) What do you do to stengthen your vision on how a tune should sound in general? I try to listen to tunes often, but the producer/mixer/listener ‘hat’ shifts often during a track.

    3) When you experiment in general, how do you make sure you maximize your learning experience? Do you take notes during experimentation?

  • #8656 Reply

    mattia verasani

    Hi guys!

    1) What is in your opinion a compressor in the digital domain that can emulate or behave as the Dangerous compressor? I am just curious, I have never had the possibility to try a real Dangerous comp and by watching tutorial and videos I can get get the exact feeling and how this really operates.

    2) Nowadays, I use as a buss comp Vertigo VSC-2 because I find it super clean an it can catch every transient in the proper way for 125/128 bpm tracks. It has the possibility to insert a filter in order to not compress the low end information. As far as I slightly compress, I do not enable it. In this way a compress a bit also the low end information. What you think about this operation?

    3) Ivory from Acustica Audio is my go through eq for the buss mix alongside the Baax Eq. What do you think about Ivory? Have you had the chance to try it?

  • #8658 Reply

    Bailey Mathews

    Hi, i am just starting to learn about mixing so sorry for my novice question. I want to sidechain my synth to multiple other tracks, but if my compressor only lets you sidechain to one other track, would I just add another compressor to sidechain another track? What is the best way to do this?

  • #8664 Reply

    Erick De La Torre

    Hi Luca & Scott! I’m just getting more into mixing bass music, and i found some problems to get ultra wide and open mid range for the synths (something like Diplo, Boaz Van de Beatz and Valentino Khan style). So, what are main tips / tricks / strategies for a clean, LOUD and open mid range without reach resonances and annoying digital harshness too soon? do you have favorite frequency ranges for boosts/cuts/saturations? Thank you! Also waiting for the 2017 Studio Tour! Times and gear changed since the 2014 video.

  • #8825 Reply

    Anthony Rodriguez

    Question: One of my favorite artists (Ilan bluestone) is always making it a point to say that NOTHING should go on the kickdrum (processing compression eq etc) and in other fly on the walls I have seen you guys do a few things here n there on kicks. So I’m confused what do you guys say?

  • #8826 Reply

    Adam Dixon

    Hey Guys,

    Iv recently purchased standard clip, which iv seen you guys using on FOTW episodes.
    Would you kindly explain how this plugin works and the best scenarios to use it on mix elements/master.
    Also could you demonstrate a few go to settings for this plugin.

    Thanks for your time.

    Cheers 🙂


  • #9069 Reply

    Mischa Chillak

    How do you guys get the high end right when mixing. When I compare my mixes to your mixes or other commercial mixes mine either sound harsh or dull. Usually when I get my mix as bright as my references it just doesn’t sound as smooth or clean. If I try to notch out areas of 6khz or other problem areas things start to sound phasey and odd. How do you get that exciting smooth topend in your mixes?


  • #9141 Reply

    Jared Hampton

    Hi guys my question is about the song Superstar by pegboard nerds and nightmare and stereo imaging. When I first listened to it. Everything sounded so good and clear and at the same time felt so wide! Whenever I mix my songs if I make them wide I feel like I leave a hole in the middle of the mix and don’t understand what I’m doing wrong…
    When using the imager, do you ever crank the level on a different band all the way up or down? Is that too extreme? Do you generally stay within a certain range on each band on every mix?
    thank u luca and scott.

  • #9303 Reply

    David Manceor

    Mastering for the best mix to play out, mastering for soundcloud, and mastering for all other streaming services.

    I’ve been doing a bit of research lately and it seems on soundcloud they use no LKFS normalization, but due to the codec you need about a -1.3 to -2db ceiling to avoid distortion after the codec.

    Alternatively on Spotify, Tidal, youtube, etc. They DO use LKFS normalization (they each vary but are between -16 and -13). My latest tracks I posted to Spotify had an LKFS of around -10 and merely got turned down to match everything else, so I could have saved dynamics and had a less crushed mix, which is the opposite of soundcloud where a heavily compressed/louder mix is more favorable.

    Would like to discuss this and wondering if you have separate masters for different streaming services and what is the best kind of master to play in a live setting. I would imagine a more dynamic mix, since it allows the amps and compressors in the clubs live sound rig to do their job.

  • #9327 Reply

    Carlo Covelli

    Hi guys,

    I always made my mix and masters only in the box. What would be your suggestion of first piece of hardware gear (eq? compressor? limiter? or else…) to have for hard music (techno, hardcore, raw rap/trap)? do you have a very specific suggestion like model or brand? best ratio price/result ?

    Thank you very much !

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