Hey morbidmanmusic, my comment was 3 years ago so I meant EDM as in electronic dance music and not the god awful genre that it eventually became :)

3 yrs? not that big of a change since 2014. Good job on copping out when some one questions your preferences.

is he in his late 50s ?

amen. Joey, and Acle. look him up Pensado ppl..

Why? I know his setup rn, but i dont get why is that such a difference? He has probably tons of control in current setup, that is for sure.

Highpass everything at 32Hz is standard and great. No subs can play lower really and this keeps the bass cleaner and add room for headroom. The 150-200 Hz highpass at stereostuff is to keep bass mono and keep it cleaner.

same with me... my guess UAD fatso

There is many ways to do this it just depends on what you find to be the easiest and most efficient for yourself. In this example he is using busses, but you could also do it on individual tracks or even the master. He has all of his tracks sent to a mono buss and a stereo buss which both have a mid/side equalizer on it. On the mono buss the mid eq high pass filter at ~32hz and low pass filter ~300hz. On the side eq high pass at the highest frequency your eq goes (say 20khz). This will clear the sides of any sound and only allow sound in the mid up to 300hz, which will give you the desired low end mono effect. Alternatively you could use a mono eq on the mono buss with the same settings as the mid eq above. On the stereo buss use a mid/side eq. On both the mid and side eq he has a high pass filter at ~300hz. He also boosts the sides in higher frequencies to get an airy and wider effect. Using 2 busses as explained above is imo making this technique more complicated than it has to be, but the only way to explain the entire process. If you use ableton you could do this easily all on one buss by using an audio effect rack with 2 chains (1 mono, 1 side). You could also do this on one buss if you have a multi band tool that can split the frequencies.

Brendan Walsh Thank you for the feedback but, if you have the time I need you to walk me thru this step by step. I've never used the Mid/Side features of an eq before and I'm getting lost. Here is what I interpret you as saying. 1. Send all the Tracks to Buss A, which will have a Mono output. 2. Send all the Tracks to Buss B, which will have a Stereo output. NOTE: The only source of sound I should hear at this time is the outputs of Buss A and Buss B. If I mute Buss A and mute Buss B, I should hear nothing. 3. On each Buss, I will place 1 eq. 4. On Buss A I will set the eq to MID and apply a high pass cut off at 32hz and a low pass cut off at 300hz 5. On Buss B, I will set a the eq to SIDE and apply a high pass cut off at 20khz---- NOTE: At this point it stopped making sense to me, so I tried out this arrangement. I bussed my drums tracks and bass to one output, I'm using Logic, so I sent them to a summing stack, which effectively is a buss as it is the output for all the tracks contained therein. I turned the output of the summing stack to none, and created a Send to Buss 1 and a Send to Buss 2 , both set to unity gain. On Buss 1 insert A, I applied an Eq and set it to mid, and inside the mulitband eq set a low pass filter at 300hz. On Buss 2, insert A, I applied an Eq and set it to side, I did not engage any of the eq bands, instead I made insert B with a high pass filter at 300hz. I liked the sound that I got but I'm not sure that I achieve the result I was trying to get. For one I don't if just setting the eq to mid or side has any effect if you don't change the eq band width. You know its just too many parameters to set and know what they are supposed to be doing

It is for me. I was listening to the guitar widening part (at HD quality) thinking, "man that's subtle". I recorded the audio into a sample editor and the left and right channels are identical.

Reid Oda phew!

Reid Oda loooool I was thinking the same about the guitar widening!! now I undersand : )

Oh I see you already saw this interview. This was where I first heard of this dude. Its a Fatso(he said UAD Fatso...UAD makes it) and there didnt used to be a plugin for it but there is now(its based off vintage hardware). Something similar to the UAD Fatso is the PSP warmer plugins.

yeah i think i might have that its called Vintage Warmer? does that work? im laughing cause it didnt take me too long to find out he was talking about fatso after I made that comment. I guess it was how he said "UAD" that really threw me off. Thanks for the response. I know I cant afford UAD anything at the moment but I can say after seeing his hardware, I noticed the specific model he has is the UBK-Fatso if I am not mistaken, its yellow. *For those who are interested reading this, Kush is a plugin company who makes a decent UBK-Fatso emulating plugin from what I have read.

Johnny Diaz Yeah the vintage warmer does very similar...its all about algorithm but they designed it to be similar(or so my ears say). Imagine using Pepsi to make an ice cream float instead when the directions say Coke. I lusted for a fatso vst but i dont believe in magic tools. The closest thing to magic tools is definitely in the vintage emulated vsts or buying the expensive hardware but the funny thing is how close one can get to emulating a certain thing once they understand the tools they have and the many techniques at our hands. "Getting there quicker" is what its all about though as well as getting closer to the sound you were going for. I dont find fatso to have so much character uniquely that the PSP vintage warmer doesnt have. Flip the fat switch and drive the signal and use your parallel techniques and you could probably trick the ears of anyone swearing by the Fatso. Vintage compressor vsts and the coloring emulation hidden in them is about as magical as mixing tools get for me....that and vintage reverb emulation made to sound like the lexicon 224. Other than that, everything has an alternative. Guard your pockets my friend. Im fine still using Izotope 4 in an age when its already on like 7 or 8.

Either the Bass or the kick has to win you side chain in other genres so the kick can keep the beat pumping but dubstep is mostly about that sub bass so you don't want to mess with that too much

Andrew Hopewell hmmm 98% of my friends who are producers sidechain everything to the kick and snare. And also in masterclasses with some of the biggest names in the business like Culprate, Reso and Funtcase they all do the same thing.

***** I'm not sure I understand this comment :/ Sidechain compression is a mixing technique is it not? And he said he didn't do it at all.

Don't know what you are listening on… but his mixes are amazing on my near fields and in the club...

Listening on a monitoring environement which alerts me when there is harshness. There is none of this painful stuff on tracks like : "SHM - Don't you worry child" .... and yet it sounds and feels good everywhere, including the clubs.