Mid-Side Compression became de-facto standard in Mixing modern genres of music. Mid-Side Compression puts power in the right place while adding depth and dimension.
Watch this 30-min tutorial to see how to use mid-side compression on mastering stage. For this example I was using Elysia Alpha Compressor that is available as native VST/AU/AAX plugin and UAD.

Danny Wyatt here. Thanks everyone for all of your thoughtful questions and comments. I’m having fun passing my 30+ years of music industry knowledge along to you. And I’m always learning new things, which keeps it fresh for me.

I’ve been teaching a new online class for six months now and I’m amazed by the results my students are getting. Their tracks sound dramatically better than when they started. They’re loud, they’re punchy, and they’re musical. In fact, I’m watching my students getting traction in all echelons of the music business.

And I want to help you do the same thing!

Today’s tip will help you make your track as loud as Knife Party–while still sounding musical. Thanks to Jason from Good Lyfe Addikts for the dope track! Here’s how double-limiting works:

1. Add the first limiter to your chain (I’m using Izotope Ozone)
2. Leave 1-2db of headroom
3. Drive the first limiter as hard as you can without...

Danny Wyatt here. Here are two suggestions on how to master a song to make it sound fat and analog.

The first is using Slate’s Virtual Tape Machines (VTM) plugin. The great thing is that it’s actually two different tape machines: one for mixing and one for mastering. I’ve put together a free video to walk you through the mastering side.

• Use the 1/2″ 2 Track tape setting for mastering
• Use the G9 tape type for the most flattering and modern sound on this plugin
• Use 30 ips for a higher frequency response
• Tape hiss can sound great
• Wow and flutter adds a little natural modulation that can sound cool
• You can bump the bass with the Bass Alignment setting

Make sure to overdo it first so you can really hear the effect, then back it off to get a more subtle application. This is one of my favorite tricks with any plugin. I always want to know what it’s capable of so I have that sound in my ear, but then I want to use only a little bit on my...

Danny Wyatt here. I’ve received a ton of emails, questions, and requests for mixing and mastering tips. Today I’m going to focus on commercial loudness.

Before I do, I want to mention that everything I’m showing you will work in any DAW. I have some favorite tools (like FabFilter, Izotope, and Universal Audio), but you can do this stuff using the stock plugins in Ableton, Logic, or whichever software you’re using.

I’m excited to show you these new techniques that I’ve developed over the past year. I find that my tracks sound best when I blend the latest high-tech surgical plugins with emulations of classic gear that’s been around forever. This gives me the best of both worlds: organic warmth and character shaped by precise digital tools.

Here are two of the questions I received:

1) “How do I achieve commercial loudness and maintain punchiness as achieved by artists like Knife Party, Skrillex, even Deadmau5. Any tips on this topic...